AUSTRALIAN HISTORICAL STUDIES最新文献

{"title":"Richard Browne’s Portraits of Aboriginal Australians: Analysing the Evidence","authors":"Alisa Bunbury","doi":"10.1080/1031461x.2023.2251993","DOIUrl":"https://doi.org/10.1080/1031461x.2023.2251993","url":null,"abstract":"AbstractRichard Browne (c. 1776–1824) was the most prolific artist working in Sydney in the 1810s and early 1820s to depict Aboriginal people, known for producing sets of Awabakal, Worimi and other individuals in a range of poses. This article reappraises his idiosyncratic and often criticised portraits through an intensive re-analysis of his oeuvre. For this, all examples held in Australian institutions and known private collections were examined, and information collated from auction and provenance records. This analysis has resulted in a revised tally of around one hundred individual watercolours, significantly more than previously realised. Inscriptions, papers and watermarks were compiled and compared, providing evidence of Browne’s working methods. Recently emerged examples of his art strengthen knowledge of his market, including French explorers and Wesleyan missionaries. For the first time, a list of the individuals he named and painted has been compiled, to aid future research by Aboriginal communities. Notes1 James Dixon, Narrative of a Voyage to New South Wales and Van Dieman’s Land (Edinburgh: John Anderson, 1822), vi; Bernard Smith, European Vision and the South Pacific (Melbourne: Oxford University Press, 1960/1989), 221; Richard Neville, Richard Browne: A Focus Exhibition (Newcastle: Newcastle Art Gallery (NAG), 2012), [3]; Shane Frost and Kerrie Brauer, Awabakal descendants, interview with Neville in Treasures of Newcastle from the Macquarie Era (Newcastle: State Library of New South Wales (SLNSW)/NAG, 2013), 24.2 Niel Gunson, biography in Joan Kerr, ed., The Dictionary of Australian Artists: Working Paper I A–H (Sydney: Power Institute, 1984), 104–6, updated in Kerr, ed., The Dictionary of Australian Artists (Sydney: Oxford University Press, 1992), 102–3; Tim Bonyhady commentary, The Skottowe Manuscript, facsimile (Sydney: David Ell Press/Hordern House, 1988); Neville’s collaborative work with NAG and Awabakal and Worimi communities (ibid.). Individual watercolours have been discussed by curators, dealers and auction houses.3 Silentworld Foundation Collection, Sydney, SF001614–615.4 Mellors & Kirk, Nottingham, 24 June 2020, lot 298, catalogue entry. The watercolour was removed from the album prior to acquisition by UMAC. 2022.0026.001-002.5 Neville suggested more than fifty portraits and about ten subjects: see Richard Browne: A Focus Exhibition. My tally includes all Sydney works, including the letterheads (NLA 2012.4828.1–7). Fifteen of the watercolours are currently unlocated, presumed in private Australian collections.6 As, for example, in Kenneth Dutton, ‘The Skottowe Manuscript and the Cook Connection’, Journal & Proceedings of the Royal Society of NSW 153, no. 2 (2020): 158.7 The name Awabakal was subsequently given to the traditional owners of this Country: this is now used by community members.8 Marriage was encouraged but no record of a ceremony is known, possibly due to Browne’s Catholicism.9 SLNSW V1B/Newc/1810-19/1.1","PeriodicalId":45582,"journal":{"name":"AUSTRALIAN HISTORICAL STUDIES","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135948252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Values in Cities: Urban Heritage in Twentieth-Century Australia <b> <i>Values in Cities: Urban Heritage in Twentieth-Century Australia</i> </b> By James Lesh. London: Routledge, 2022. Pp. 338. A$218.00 cloth.","authors":"Ky Gentry","doi":"10.1080/1031461x.2023.2259138","DOIUrl":"https://doi.org/10.1080/1031461x.2023.2259138","url":null,"abstract":"\"Values in Cities: Urban Heritage in Twentieth-Century Australia.\" Australian Historical Studies, ahead-of-print(ahead-of-print), pp. 1–2","PeriodicalId":45582,"journal":{"name":"AUSTRALIAN HISTORICAL STUDIES","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135902773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Seeing Aboriginal Art: Settler Classifications of the Work of William Barak","authors":"Nikita Vanderbyl","doi":"10.1080/1031461x.2023.2259408","DOIUrl":"https://doi.org/10.1080/1031461x.2023.2259408","url":null,"abstract":"AbstractThis article sets out to demonstrate the uneven history of settler-Australians’ labelling of Indigenous cultural objects and documents as ‘art’. Using the case of William Barak (c. 1824–1903) as its example, it asks, how was Barak’s work understood prior to the major re-evaluations of Aboriginal art as ‘art’ in the 1980s? A series of fleeting moments of understanding, exchange and recognition provide a hitherto-overlooked genealogy of the shifting reception of Barak’s paintings and drawings within his own lifetime and up to the 1940s. These moments encompass his agency in diplomatic exchange, his peer-to-peer relationships in Melbourne’s colonial artworld, and the early placement of Barak’s work in cultural institutions leading eventually to the first inclusion of his work in an art exhibition in 1943. Selected examples from this trajectory demonstrate an uneven path to recognition while illustrating their ability to exceed the category of art from a western viewpoint. Notes1 I use the term Kulin Nation to denote several language groups who gathered at Coranderrk at different times. It denotes many commonalities in language and cultural practices, but is not intended to homogenise the groups within: Wurundjeri Woi-wurrung, Dja Dja Wurrung, Wathaurong, Boon Wurrung and Taungurung. This article contains outdated spelling and terms, some of which are considered unacceptable or offensive, in quotes drawn from historical sources.2 For further details see Andrew Sayers, Aboriginal Artists of the Nineteenth Century, paperback ed. (Melbourne: Oxford University Press in Association with National Gallery of Australia, 1996), 20.3 Notably, the locations of some reserves were chosen by Kulin people themselves. See also Tracey Banivanua Mar and Penelope Edmonds, Making Settler Colonial Space: Perspectives on Race, Place and Identity (Houndmills, Basingstoke, Hampshire; New York: Palgrave Macmillan, 2010).4 Philip Jones, ‘Perceptions of Aboriginal Art’, in Dreamings: The Art of Aboriginal Australia, ed. Peter Sutton (New York: G. Braziller in association with Asia Society Galleries, 1988), 143–79, 144.5 See Catherine Speck in this issue.6 Darren Jorgensen and Ian McLean, Indigenous Archives: The Making and Unmaking of Aboriginal Art (Perth: UWA Publishing, 2017); Howard Morphy, Aboriginal Art (London: Phaidon, 1998); Wally Caruana, Aboriginal Art (London: Thames & Hudson, 2003); Andrew Sayers, Australian Art (Oxford: Oxford University Press, 2001); Philip Jones, ‘Perceptions of Aboriginal Art’; Ian McLean, Rattling Spears: A History of Indigenous Australian Art (London: Reaktion, 2016); Sasha Grishin, Australian Art: A History (Melbourne: The Miegunyah Press, 2013).7 Carolyn Dean, ‘The Trouble with (the Term) Art’, Art Journal 65, no. 2 (2006): 30, https://doi.org/10.1080/00043249.2006.10791203 (accessed 1 May 2023).8 Jack Latimore and Nell Geraets, ‘Barak where it Belongs: Indigenous Art Returns Home After Auction Win’, Age, 26 May 2022, https://www.t","PeriodicalId":45582,"journal":{"name":"AUSTRALIAN HISTORICAL STUDIES","volume":"157 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135948259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"No Country for Old Men: Australian Art History’s Difficulty with Aboriginal Art","authors":"Charles Green","doi":"10.1080/1031461x.2023.2220712","DOIUrl":"https://doi.org/10.1080/1031461x.2023.2220712","url":null,"abstract":"The subject of this article is the absence of Aboriginal art during the period that established the idea of a distinctively Australian modern art. It is intended as a contribution to the historiography of modern and contemporary Australian art history. The period discussed is the two decades between 1962, when Bernard Smith published Australian Painting, 1788–1960, and 1988, the year of the Australian Bicentenary. The article explores what changed in these years when art historians, critics, and curators, albeit belatedly and reluctantly, finally began to acknowledge the great contemporary Aboriginal painting that had long been in many artists’ sights as inspiration and model, and in plain view on display in the so-called primitive cultures’ sections of state museums. It argues that this was because it did not seem part of the national story of art.","PeriodicalId":45582,"journal":{"name":"AUSTRALIAN HISTORICAL STUDIES","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135948512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Women and Whitlam: Revisiting the Revolution <b> <i>Women and Whitlam: Revisiting the Revolution</i> </b> Edited by Michelle Arrow. Sydney: University of New South Wales Press, 2023. Pp. 352. A$34.99paper.","authors":"Marian Quartly","doi":"10.1080/1031461x.2023.2259141","DOIUrl":"https://doi.org/10.1080/1031461x.2023.2259141","url":null,"abstract":"\"Women and Whitlam: Revisiting the Revolution.\" Australian Historical Studies, ahead-of-print(ahead-of-print), pp. 1–2","PeriodicalId":45582,"journal":{"name":"AUSTRALIAN HISTORICAL STUDIES","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135901756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Artist-Collector: Eugene von Guérard and the Berlin Ethnological Museum","authors":"V. Ruth Pullin, Thomas A. Darragh","doi":"10.1080/1031461x.2023.2256350","DOIUrl":"https://doi.org/10.1080/1031461x.2023.2256350","url":null,"abstract":"AbstractThe nineteenth-century landscape painter Eugene von Guérard was an avid collector. A series of letters held by the Ethnological Museum Berlin, translated by the authors from ‘old’ German into English, describes his personal collection of Australian Aboriginal cultural objects and its transfer, along with 64 objects acquired on consignment, to the Ethnological Department of the Berlin Museum in 1879. Complemented by the publication of the complete correspondence in a companion paper, this article contextualises the letters within von Guérard's careers as artist, curator and collector, positioning them within the framework of his travels as recorded in his sketchbooks, and in relation to specific consequential experiences and individuals, prevailing colonial narratives and European and colonial collecting agendas and networks. The letters inform, and are informed by, von Guérard’s art, collecting and professional practices, with new insights captured in the intersections between them. Notes1 Thomas Duckett (1839–1868), 12 April [1867]. Thomas Duckett papers. Harris Museum and Art Gallery, Preston, UK. PRSMG Arch141.2 James Smith, ‘A Colonial Artist], The Illustrated Australian Mail 4, no 1. (22 February 1862): 49–50.3 Eugen von Guérard to Julius von Haast, 20 January 1885, Haast Family Papers, Alexander Turnbull Library, Wellington, New Zealand, 177-0037. Published in English translation in: Thomas A. Darragh and Ruth Pullin, Lieber Freund! Letters from Eugen von Guérard to Julius von Haast (Ballarat: Art Gallery of Ballarat, 2018), 63. Von Guérard, one of Australia’s greatest nineteenth-century landscape painters, was born in Vienna in 1811, travelled and studied in Italy between 1827 and 1838, and studied and lived in Düsseldorf until 1852. He spent twenty-eight years in Australia, travelling extensively from his Melbourne base, and in 1882 returned to Düsseldorf, before settling in London with his daughter in 1891. He died in 1901.4 ‘List of Works selected from E. von Guérard's Catalogue’, Public Library, Museums & National Gallery of Victoria, 29 October 1881. PROV 805, unit 115.5 Thomas A. Darragh and Ruth Pullin, ‘Eugene von Guérard and the Ethnological Museum Berlin: Correspondence 1878–1880’, Proceedings of the Royal Society of Victoria 135, no. 1–2 (Melbourne: CSIRO Publishing, in press).6 N. Peterson, L. Allen and L. Hamby, ‘Introduction’, in The Makers and Making of Indigenous Australian Museum Collections, ed. Nicolas Peterson, Lindy Allen, Louise Hamby (Melbourne: Melbourne University Press, 2008), 8; Voss, Report to the General Administration, response to 2232/78, 12 November 1878, Zentralarchiv, Staatliche Museen zu Berlin.7 Research is currently being undertaken by the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS), to which the authors have contributed; see also: Anna Weinreich et al., ‘Artists, Archives and Ancestral Connections: An Aboriginal Collection between Australia and Berlin’, in So","PeriodicalId":45582,"journal":{"name":"AUSTRALIAN HISTORICAL STUDIES","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135948260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Clifton Pugh’s ‘Aboriginal’ Epiphany and the Transformation of his Landscape Art (1954–65)","authors":"Debbie Robinson","doi":"10.1080/1031461x.2023.2255201","DOIUrl":"https://doi.org/10.1080/1031461x.2023.2255201","url":null,"abstract":"AbstractThis article focuses on two episodes in the Australian modernist artist Clifton Pugh's (1924–1990) artistic career – his journey across the Nullarbor Plain in 1954 and 1956, and his travels to the Kimberley in 1964 – where his experience of the desert environment and its Indigenous inhabitants resulted in a pictorial engagement with aesthetic and sociological forms of Aboriginalism. Pugh's landscapes contributed significantly to national imagery during the 1950s and 1960s, yet his engagement with Aboriginal art, people, and culture has been overlooked. Drawing on the visual record, critic's reviews, and Pugh's statements and interviews, this article argues that Aboriginalism was a crucial element in shaping his expression of a primal Australian landscape and his own existential search for identity as an artist and as an Australian. It not only transformed his landscape art but also his sense of being and belonging in the Australian environment. Notes1 Robert Hughes, Art of Australia (Melbourne: Penguin Books, 1966), 237; Bernard Smith, Australian Painting 1788–1970 (Melbourne: Oxford University Press, 1971), 407.2 Pugh’s engagement with the natural environment and his life in the bush have been extensively explored in biographies by Traudi Allen and Sally Morrison and survey texts by Christopher Heathcote and Sasha Grishin. I aim to present new material and interpretations of Pugh’s work based on my assemblage of the first catalogue of over 1,460 known artworks and how Pugh’s interest in Aboriginal art and culture intersects with his biography, personal statements, and interviews. See Traudi Allen, Clifton Pugh, Patterns of a Lifetime: A Biography (Melbourne: Thomas Nelson Australia, 1981); Sally Morrison, After Fire: A Biography of Clifton Pugh (Melbourne: Hardie Grant Books, 2009); Christopher Heathcote, A Quiet Revolution: The Rise of Australian Art 1946–1968 (Melbourne: Text Publishing, 1995); Christopher Heathcote, Patrick McCaughey and Sarah Thomas, Encounters with Australian Modern Art (Melbourne: Macmillan Art, 2008); Sasha Grishin, Australian Art: A History (Melbourne: The Miegunyah Press, 2013); Debbie Robinson, ‘Imaging a Biocentric Australia: Environmentalism and Aboriginalism in the Art and Life of Clifton Pugh (1924–1990)’ (PhD thesis, University of Melbourne, 2022).3 Noel Macainsh, Clifton Pugh (Melbourne: Georgian House, 1962), 7–8; Allen, 52; Morrison, 131 and 412; Geoffrey Dutton, White on Black: The Australian Aborigine Portrayed in Art (Melbourne: Macmillan, 1974); Catherine De Lorenzo and Dinah Dysart, A Changing Relationship: Aboriginal Themes in Australian Art 1938–1988 (Sydney: S.H. Ervin Gallery National Trust Centre, 1988); Ian McLean, White Aborigines: Identity Politics in Australian Art (Cambridge: Cambridge University Press, 1998); Claire Baddeley, Motif and Meaning: Aboriginal Influences in Australian Art, 1930–70 (Ballarat: Ballarat Fine Art Gallery, 1999); Christine Nicholls, From Appreciation to Appropriat","PeriodicalId":45582,"journal":{"name":"AUSTRALIAN HISTORICAL STUDIES","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135948256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Authenticity and the National Vision: A Reconsideration of the Role of the Reeds in the Art of the Angry Penguins","authors":"Traudi Allen","doi":"10.1080/1031461x.2023.2250364","DOIUrl":"https://doi.org/10.1080/1031461x.2023.2250364","url":null,"abstract":"","PeriodicalId":45582,"journal":{"name":"AUSTRALIAN HISTORICAL STUDIES","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135983334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘There not being any place to keep her’: Incarcerating Women in Nineteenth-Century Western Australia","authors":"C. Ingram","doi":"10.1080/1031461x.2023.2229357","DOIUrl":"https://doi.org/10.1080/1031461x.2023.2229357","url":null,"abstract":"","PeriodicalId":45582,"journal":{"name":"AUSTRALIAN HISTORICAL STUDIES","volume":"29 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73819804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Truth Telling, Historiographical Agonism, and the Colonial Past in Germany and Australia","authors":"Matthew P. Fitzpatrick","doi":"10.1080/1031461x.2023.2224822","DOIUrl":"https://doi.org/10.1080/1031461x.2023.2224822","url":null,"abstract":"","PeriodicalId":45582,"journal":{"name":"AUSTRALIAN HISTORICAL STUDIES","volume":"9 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82867681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}