The world of Australian landscape painting rarely finds itself at the center of controversy, yet this month it did just that. The Wynne Prize, an accolade for outstanding landscape paintings of Australian scenery or figure sculptures from Australian artists, was awarded to Sam Leach. However, the painting’s origins stirred debate when it was discovered that Leach’s work was based not on an Australian scene but rather an image he encountered online. This revelation sparked public outcry.
In response, Germaine Greer, a seasoned feminist thinker and public intellectual, came to Leach’s defense. She penned an article titled, “So an artist found a work on the web, copied it and won an award. Why the fuss?” Greer elaborates on the situation: Leach openly acknowledged the painting’s inspiration came from Adam Pynacker’s “Boatmen Moored on the Shore of a Lake,” a piece from around 1660. Despite never viewing the original, Leach used an online image as his reference.
Greer argues that while Leach’s artwork was criticized as an imitation of Pynacker’s, it is not a mere copy. Instead, it represents a complex reinterpretation. Pynacker’s original piece is a study in the effects of sunset light on a lake, with various figures and animals populating the scene. Leach’s version strips away these elements, focusing on a different artistic challenge. Greer underscores that landscape painting transcends mere visual representation, serving instead as a tangible expression of concept.
Ultimately, the decision of the Art Gallery of New South Wales’s director and trustees allowed Leach to retain the prize. Leach, reflecting on his work, stated, “I made this painting with total sincerity and a great deal of thought.”
