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Vale Thomas (Tom) Thompson [1923-2019]

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Vale Thomas (Tom) Thompson [1923-2019]

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On behalf of the National Art School, it is very sad to hear of the loss of alumnus and former staff member Thomas (Tom) Thompson (1923-2019), who died in Sydney at the age of 95 on 13 July 2019.

Born on the 16 November 1923 in Narrabri, NSW, Tom studied at the National Art School on a Commonwealth Reconstruction Training Scholarship (CRTS) from 1947 to 1950 after serving in World War Two as a tank gunner in Bougainville. His fellow students included Tony Tuckson, Guy Warren, Bert Flugelman, John Coburn and Robert Klippel. A talented student, he graduated with a Painting Diploma and was awarded the College Medal.

After finishing his studies, he went to England where he worked as a night watchman for the National Gallery in London. After a period overseas, he taught at the South Australian School of Art from 1952 to 1955.

Tom returned to the National Art School as a teacher in 1955, teaching painting and drawing for over 20 years. A great chronicler of events, he helped preserve the NAS Collection, and did many drawings of the site, its history and its occupants. Fifty-seven of his drawings of fellow artists are held in the State Library of NSW, and many of these are of teachers at the NAS. From 1975 to 1976 he was Head of the School of Art and Design before resigning to paint full time in his studio in Braidwood, NSW.

Influenced by Italian renaissance painting, Tom painted a number of large murals during his career. His commissioned works included murals for the International Air Terminal at Mascot, Sydney, three panels in tempera for Australia House, London, and a major mural for Parramatta City Council depicting the early days of the city.

His work was included in the Tate Gallery Exhibition of Australian Art, 1963, and he exhibited widely throughout Australia as well as undertaking a number of study tours of Europe. Thompson’s work was exhibited in The Studio Tradition, Manly Art Gallery, 2001, and Lines of Fire in the NAS Gallery in 2008, and ten of his student works are represented in the NAS Collection. His work is held in the National Gallery of Australia, State galleries in Victoria, South Australia, Western Australia, and Wellington, New Zealand.

The National Art School extends condolences to Tom’s family and friends. He will be greatly missed by his former colleagues and many students.

Steven Alderton
Director and CEO, National Art School

Top: Tom Thompson at the National Art School in 1948.
Below: Tom Thompson in 1986 and 2013. Photos: Cat Sparks

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What`s happening at the National Art School on 6 September? RSVP to our Open Day today to find out. (Link in bio)

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Aug 22

Open post by nas_au with ID 18108965371553992
What's happening at the National Art School on 6 September? RSVP to our Open Day today to find out. (Link in bio)

Hear artist James Nguyen (@jamesnguyens) discuss the process of his artwork ‘Homeopathies_where new trees grow’ (2025), a site-specific installation created for The Neighbour at the Gate, now on at NAS Gallery.

In response to the exhibition, Nguyen created a large-scale suspended textile, dyed with introduced weeds and contaminated mud collected along the Duck River and Parramatta River in Sydney. These local sites, like many places in Vietnam, continue to be contaminated by Agent Orange, dioxins and toxic leachates that account for the industrial scale manufacturing of chemical weapons along Homebush Bay.

The Naarm/Melbourne-based, Vietnamese Australian artist positions his personal experiences and perspectives in dialogue with others in his interdisciplinary practice, moving between live and online performance, video, drawing and installations. This work was made in conjunction with Nguyen’s aunt, Nguyễn Thị Kim Nhung, and uncle, Nguyễn Công Chính, who you can hear in conversation with the artist in the Artist Talks archive on our website.

The Neighbour at the Gate is now on until Saturday 18 October 2025. 11am – 5pm, Monday to Sunday. Plan your visit at the link in bio.

The Neighbour at the Gate has been made possible with the generous support of the NSW Government through its Blockbusters Funding initiative.

View Instagram post by nas_au

Aug 21

Open post by nas_au with ID 18372900358179933
Hear artist James Nguyen (@jamesnguyens) discuss the process of his artwork ‘Homeopathies_where new trees grow’ (2025), a site-specific installation created for The Neighbour at the Gate, now on at NAS Gallery. In response to the exhibition, Nguyen created a large-scale suspended textile, dyed with introduced weeds and contaminated mud collected along the Duck River and Parramatta River in Sydney. These local sites, like many places in Vietnam, continue to be contaminated by Agent Orange, dioxins and toxic leachates that account for the industrial scale manufacturing of chemical weapons along Homebush Bay. The Naarm/Melbourne-based, Vietnamese Australian artist positions his personal experiences and perspectives in dialogue with others in his interdisciplinary practice, moving between live and online performance, video, drawing and installations. This work was made in conjunction with Nguyen’s aunt, Nguyễn Thị Kim Nhung, and uncle, Nguyễn Công Chính, who you can hear in conversation with the artist in the Artist Talks archive on our website. The Neighbour at the Gate is now on until Saturday 18 October 2025. 11am – 5pm, Monday to Sunday. Plan your visit at the link in bio. The Neighbour at the Gate has been made possible with the generous support of the NSW Government through its Blockbusters Funding initiative.

Congratulations to our recent BFA graduate Samuel Chan (@__szwc), who has been named one of three recipients of the ‘most exceptional’ prize at the Dr Harold Schenberg Arts Awards.

Now in its 16th year, the Dr Harold Schenberg Arts Awards offers the largest prize pool for emerging artists in Australia and is part of PICA’s ‘Hatched: National Graduate Show’. To be part of ‘Hatched’ exhibition is an honour as it showcases the next generation of Australia’s contemporary creative voices, presenting artworks by 23 outstanding art school graduates from across the country.

Sam’s award-winning installation work includes `At Eventuality’s End` - an evocative sculptural piece previously featured in our ‘Queer Contemporary: Chaosophy ‘exhibition as well as the NAS Grad Show.

Inspired by our alumni success stories? Join our Open Day on 6 September to explore your own creative path and get application-ready with one-on-one consultation sessions. (Link in bio)

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(In order of appearance in the video)

`Embrace`, 2024, resin, stainless steel hook, Conte crayon, 47 x 14.5 x 9.5cm

‘Transfiguration’, 2024, Chillagoe White Pearl marble, mild steel, incense, 172 x 26 x 26cm

`Noose`, 2024, resin, graphite, titanium rod, 30 x 14 x 5cm

`At Eventuality`s End`, 2024, hand-dyed paper, wire mesh, mild steel rod, 255 x 80 x 60cm

Image courtesy and © the artist, photograph: Jennifer Leahy (@silversalt_photography)

@pica_perth

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Aug 19

Open post by nas_au with ID 17898579813255911
Congratulations to our recent BFA graduate Samuel Chan (@__szwc), who has been named one of three recipients of the ‘most exceptional’ prize at the Dr Harold Schenberg Arts Awards. Now in its 16th year, the Dr Harold Schenberg Arts Awards offers the largest prize pool for emerging artists in Australia and is part of PICA’s ‘Hatched: National Graduate Show’. To be part of ‘Hatched’ exhibition is an honour as it showcases the next generation of Australia’s contemporary creative voices, presenting artworks by 23 outstanding art school graduates from across the country. Sam’s award-winning installation work includes 'At Eventuality’s End' - an evocative sculptural piece previously featured in our ‘Queer Contemporary: Chaosophy ‘exhibition as well as the NAS Grad Show. Inspired by our alumni success stories? Join our Open Day on 6 September to explore your own creative path and get application-ready with one-on-one consultation sessions. (Link in bio) -- (In order of appearance in the video) 'Embrace', 2024, resin, stainless steel hook, Conte crayon, 47 x 14.5 x 9.5cm ‘Transfiguration’, 2024, Chillagoe White Pearl marble, mild steel, incense, 172 x 26 x 26cm 'Noose', 2024, resin, graphite, titanium rod, 30 x 14 x 5cm 'At Eventuality's End', 2024, hand-dyed paper, wire mesh, mild steel rod, 255 x 80 x 60cm Image courtesy and © the artist, photograph: Jennifer Leahy (@silversalt_photography) @pica_perth
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