格里森出生在悉尼的区霍恩斯比在1915年，并出席东悉尼技术学院从1934年到1936年

1938年格里森就读于悉尼师范学院，在那里他获得了普通小学教学2年训练。 萨尔瓦多达利，恩斯特，安德烈·马森，弗洛伊德和荣格成为格里森工作的重大影响。

格里森的主题一般钻研潜意识使用文学，神话或宗教题材。他在荣格的原型特别感兴趣集体无意识。

1944年创建格里森的撒种引用让-弗朗索瓦·米勒的1850画的同名。而不是显示了集团主图的一道风景，格里森提出了一个荒凉的一个令人毛骨悚然的二十世纪的观点。他谈到了作品的起源作为长期战争的创伤的响应：

我觉得总是有希望它可以影响人们思考战争的方式。它可以提醒人们它的恐怖和防止其再次发生。你看，我是在1915年第一次世界大战期间出生的，而我最早的经验是与人谁在战争或想起了战争非常生动，然后，就在我开始画画，第二次世界大战开始了。所以，战争变成了一种从婴儿通过我的脑海里潜伏恐怖青春期后期，当它被再次全部建立了一个又一个的。

Gleason was born in Sydney District of Hornsby in 1915, and attended the East Sydney Technical College from 1934 to 1936
In 1938, Gleason studied at Sydney normal college, where he received 2 years of training in primary school. Salvador Daly, Ernst, Andre Mason, Freud and Carl Jung became a major influence on the work of Gleason.
Gleason's theme is generally used in the subconscious mind to use literature, mythology or religious themes. He was particularly interested in Carl Jung's prototype collective unconscious.
In 1944 the creation of Gleason Jean Francois Miller's 1850 seed reference picture of the same name. Instead of showing a landscape of the group's main chart, Gleason presents a bleak view of a gruesome twentieth Century. He talked about the origin of the work as a response to the trauma of the long war:
I think there's always hope that it can affect how people think about war. It can remind people of its terror and prevent it from happening again. You see, I was born in 1915 during the first World War, and the earliest I experience is to think of war or war is very vivid, and who, as I began to paint, the Second World War started. So, the war turned into a kind of horror from the baby lurking in my mind through the late adolescence, when it was once again set up one after another.