Pub Date : 2023-10-02DOI: 10.1080/1031461x.2023.2259138
Ky Gentry
"Values in Cities: Urban Heritage in Twentieth-Century Australia." Australian Historical Studies, ahead-of-print(ahead-of-print), pp. 1–2
“城市的价值:20世纪澳大利亚的城市遗产”。澳大利亚历史研究，印前(印前)，1-2页
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Pub Date : 2023-10-02DOI: 10.1080/1031461x.2023.2259408
Nikita Vanderbyl
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 This article contains outdated spelling and terms, some of which are considered unacceptable or offensive, in quotes drawn from historical sources.2 For further details see Andrew Sayers,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
news-article60281582(访问日期为2022年2月3日)一位记者指出，女王不再从她不认识的臣民那里收到礼物。参观科兰德克。土著人送给女王的礼物;《在科兰德克的布拉西勋爵》，3.18《巡回总督》。参观科兰德克。一个土著人送给女王的礼物。19 ' Lord Brassey at Coranderrk '， 3.20同上21 Alfred William Howitt, The Native Tribes of south Australia (London: MacMillan and Co.， 1904)， 108;黛安·e·巴维克，科兰德克的叛乱，编。劳拉·e·巴威克和理查德·e·巴威克(堪培拉:土著历史公司，1998)。《巡回总督》。参观科兰德克。土著人送给女王的礼物塞耶斯，19世纪的土著艺术家，13.24“巡回总督”。参观科兰德克。一个土著人送给女王的礼物塞耶斯，19世纪的土著艺术家，20.26“巡回总督”。参观科兰德克。《一个土著给女王的礼物》，5.27同上28《Table Talk》，Table Talk, 1897年10月29日，1,http://nla.gov.au/nla.news-article145860367(2023年2月3日访问);弗朗西斯·弗雷泽，《科兰德克的国王》，澳大利亚，1897年12月25日。http://nla.gov.au/nla.news-article138632422(2022年7月13日访问)琼斯，“土著艺术的感知”，144.30恩斯特·格罗斯和克劳迪娅·霍普金斯，“民族学与美学”，《翻译中的艺术》第6期，no。1 (2014)， https://doi.org/10.2752/175613114X13972161909562(2023年4月30日访问)苏珊·洛伊什，《重新思考澳大利亚艺术史:土著艺术的挑战》(纽约:劳特利奇出版社，2018)，105.32托马斯·沃斯诺普，《澳大利亚土著的史前艺术、制成品、作品、武器等》(阿德莱德:政府印刷公司，1897);塞缪尔·桑顿，“澳大利亚土著艺术的问题”，维多利亚学院的诉讼(1897年4月5日)。33对于回旋镖的这一过程的解释，见Philip Jones，“回旋镖的不稳定飞行:民族志对象的可变性”，澳大利亚研究杂志16期，第150.34期。35 (1992): 64.35 Ian D. Clark等人，“澳大利亚维多利亚州Coranderrk原住民站的生火旅游奇观——一个案例研究”，《遗产旅游杂志》第15期，第64.35页。3 (2020): 256, https://doi.org/10.1080/1743873X.2019.1572160(2023年7月12日访问)。巡访总督。参观科兰德克。一个土著给女王的礼物，A. 5.37。G. L. Shaw，《Loch, Henry Brougham(1827-1900)》，《澳大利亚传记词典》(堪培拉:澳大利亚国立大学，1974年)。38“Corrobboree纠纷”，吉普斯兰农民杂志和Traralgon, Heyfield和Rosedale新闻(Vic.)， 1887年2月3日，22,http://nla.gov.au/nla.news-article227343256(访问2023年4月26日);库珀，《回忆巴拉克》，39页杰森·吉布森和拉塞尔·穆雷，《吉普斯岛最后的杰雷尔:重新发现一个土著仪式场所》，《民族历史》67期。4 (2020): 555, https://doi.org/10.1215/00141801-8579216(2023年5月31日访问);海伦·加德纳和帕特里克·麦康威尔，《南方人类学——费森和霍伊特的Kamilaroi和Kurnai的历史》，马特·松田编(纽约:帕尔格雷夫·麦克米伦出版社，2015)，第40页吉布森和穆雷特，560;Nikita Vanderbyl，“艺术家和政治家:威廉·巴拉克和土著文物的跨帝国流通”(博士论文，拉特伯大学，2019)，112.41 D. J. Mulvaney，“作为部落长老的人类学家”，《人类》7 (1970):213;Gibson和mullet42 Mulvaney, 214.43苏格兰国家档案馆:gd268 - 647,137 - 8, Loch to Deakin, 1886.44“总督和吉普斯兰Corroboree”，Mount Alexander Mail, 1887年2月3日，28,http://nla.gov.au/nla.news-article198277636(访问2023年4月26日);《机器人之争》David Cahir和Ian Clark，“一个具有启发性的奇观”:1835-1870年澳大利亚维多利亚州“旅游Corroborees”的历史”，旅游管理31 (2010):413,http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/65449(访问日期为2020年8月23日)Dick Sandmullet，“Corroborees——一个黑家伙的信”，塔斯马尼亚，1887年2月19日，29.47 Anne Fraser Bon，“巴拉克是一个土著政治家”，Argus, 1931年11月28日，6,http://nla.gov.au/nla.news-article4438423(2023年5月2日访问)关于帝国文化的定义，见Tracey Banivanua Mar，“帝国文化和土著权利:追踪现代话语的跨洋回路”，土著历史37(2013):1-28.49见Vanderbyl，“艺术家和政治家”第4章雪莱·埃林顿，《什么成为真正的原始艺术?》《文化人类学》，第9期。2 (1994): 208, https://doi.org/10.2307/656240(于2023年5月1日查阅)威廉·巴拉克正在画《仪式》，1902年，约翰内斯·海耶摄影，国家肖像画廊。https://www.portrait.gov.au/portraits/2000.33/william-barak-at-work-on-a-drawing-at-coranderrk(2023年5月1日访问)好。 53简·莱登，《目光接触:拍摄澳大利亚土著居民》(达勒姆:杜克大学出版社，2005年)，72.54库珀，《记住巴拉克》，24.55例如霍伊特，255-56.56库珀，《记住巴拉克》，25.57琼·m·康奈尔，《维多利亚时代的房屋画家和Plein-airist:约翰·马瑟的早期墨尔本岁月(1878-1891)》(澳大利亚艺术硕士，莫纳什大学，1994年)约翰·马瑟的信件，维多利亚艺术家协会内部信件，MS 7593信箱585/1(b)，维多利亚州立图书馆;“先生。John Mather, Table Talk(墨尔本)，1891年2月27日，7,https://trove.nla.gov.au/newspaper/article/147284260(访问日期为2022年1月25日)。项目X 814
{"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":null,"pages":null},"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}
Pub Date : 2023-10-02DOI: 10.1080/1031461x.2023.2220712
Charles Green
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.
{"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":null,"pages":null},"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}
Pub Date : 2023-10-02DOI: 10.1080/1031461x.2023.2256350
V. Ruth Pullin, Thomas A. Darragh
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
21《五十年代的先驱者:一位澳大利亚淘金者的日记，1853年8月18日至1854年3月16日/ Johann Joseph Eugen von gusamrard》，未发表的手稿，悉尼新南威尔士州图书馆迪克森画廊，11.22所描绘的武器显示了土著居民追捕敌人的标题，1854年;1854年墨尔本展览的官方目录，与巴黎展览有关，1855年，第八部分，目录编号4-40:35.24伊丽莎白·威利斯，“绅士收藏家:菲利普港区，1835-1855”，彼得森，艾伦和汉比，制造者和制造，131.25冯·古萨姆拉德曾与路德维希的兄弟奥古斯特·贝克尔在<s:1>塞尔多夫学习，在1854年墨尔本展览上展示了挪威8月的午夜太阳(Cat。328号)点Eugene von gusamrard，“Australien reminzenzen”，Mitchell图书馆，新南威尔士州立图书馆，悉尼。27 Eugene von gusamrard，“My My by Geelong”，1854年4月22日。冯·古萨姆拉德于1854年3月12日拜访了塞德尔一家，但从他的速写本中未注明日期的素描位置来看，日期是1855年冯·古萨杰致沃斯，1879年7月7日，1926/79号入职登记册，中特拉拉奇夫，SMB。关于冯·古萨玛德的探险地图，见Ruth Pullin，尤金·冯·古萨玛德的速写本:作为旅行者的艺术家(巴拉瑞特:巴拉瑞特美术馆2018)，307-17.31冯·古萨玛德致沃斯，1879年7月7日。菲利普·琼斯，《这片奇妙的土地:纸上的殖民艺术》，Alisa Bunbury主编(墨尔本:维多利亚国家美术馆，2011年)，99.33 Eugene von gusamrard，速写本XXIV, 1855年和速写本XVIII，新南威尔士州图书馆，DGB16，第3卷80-85和DGB14，第7卷74.34冯·gusamrard to Voss, 1879年7月7日，Zentralarchiv, SMB.35 James Dawson，引用于Tim Bonyhady, The Colonial Earth(墨尔本:Miegunyah Press, 2000)， 341.36例如，尤金·冯·古萨杰，“土著家庭集团”，1856年6月22日，铅笔，17.5 × 23.7厘米，墨尔本大学艺术收藏。37安德鲁·塞耶斯，19世纪的土著艺术家(墨尔本:澳大利亚牛津大学出版社，与澳大利亚国家美术馆1994年合作)，3.38马术马戏团也启发了约翰尼·道森的[欧洲夫妇和马;[赛马]，新南威尔士州国立图书馆，悉尼，PXA 606.39, 1878年8月25日，Von gusamrard给Bastian, Zentralarchiv, SMB.40, Von gusamrard给Voss, 1879年7月7日，Zentralarchiv, SMB.41, Gilgar Gunditj elder，阿姨Eileen Alberts, Johnny Dawson (Kangatong)的后裔。约翰·道森，绘画，约1855年，铅笔，墨水和水彩，23.7 × 30厘米，欧根·冯·古萨玛德收藏，EMB, VI 2585 b.在普林复制，尤金·冯·古萨玛德的速写本:艺术家作为旅行者，174.43朱迪·里奇，在凯特琳·莱曼的演讲上，“Hoofing It!”44 .《阿斯特利马戏团马鞍上和舞台上的芭蕾舞》，《舞台杂志》(澳大利亚戏剧遗产，2019年8月31日)，https://theatreheritage.org.au/on-stage-magazine/general-articles/item/591-hoofing-it-ballet-on-saddle-and-stage-at-astley-s-circus(2023年1月10日访问)1879年7月7日，冯·古萨杰致沃斯，中央情报局，45;1878年8月25日，von gusamrard致Bastian, Zentralarchiv, SMB.46一位通讯员，“澳大利亚的素描”，《伦敦新闻画报》，第29卷，第29号。830(1856年11月15日)，491.47 EMB ID:两个石轴VI 2575, 2576;袋鼠牙项链VI 2579;网袋VI 2577;回飞镖VI 2574;芦苇篮子(Bin nuk) VI 2578。芦苇篮子上的条目是von gusamrard“澳大利亚物品清单”上的第21个条目，参考了清单上的第17个条目:von gusamrard致Voss, 1879.7月7日。Ian D. Clark，“我们都是一个血统”——西维多利亚的Djabwurrung土著人民的历史，1836-1901，第1卷(出版地点和出版商未知，2016年)，284.49 Eugene von gusamrard, King Kooneware的肖像[原文如此]，1856年6月26日，9' x 11½'。《补充目录:澳大拉西亚-美拉尼西亚-密克罗尼西亚-波利尼西亚，补充目录》(伦敦:弗朗西斯·爱德华兹，书商，1903年)，Cat。不。1878年8月25日，冯·古斯曼给巴斯蒂安的信，1879年7月7日，冯·古斯曼给沃斯的信，1874年2月9日，冯·古斯曼给阿尔弗雷德·豪威特的信。Howitt论文，维多利亚州国立图书馆，墨尔本，MS 9356, 1045/3a, no。4.53伊恩·d·克拉克:《坎普顿的贾格杜隆族人的民族历史》(出版地点和出版商未知，2022)，201,203。这群人与伊莎贝拉·道森的合影由坎珀当和地区历史协会保存。《对其异化的抗议》，坎珀当纪事，1889年9月26日，2.55冯·古斯曼拉德致巴斯蒂安1878年8月25日，Zentralarchiv, SMB.56同上，57同上。 58罗伯特·布劳·史密斯，维多利亚州的土著居民，从各种来源为维多利亚州政府汇编的有关澳大利亚其他地区和塔斯马尼亚州土著居民习惯的注释(墨尔本:约翰·费雷斯，政府印刷公司)。由George Robertson出版，1878年)，278年，图27.59 Von gusamrard to Bastian, 1878年8月25日[Robert Brough Smyth]，由维多利亚公共图书馆和博物馆的受托人指导出版的国家美术馆的民族典型艺术品目录(墨尔本:Mason, Firth & McCutcheon, 1878年);冯·古萨杰致冯·哈斯特，1879年1月16日，中央档案馆，SMB。在Darragh and Pullin, Lieber Freund!, 30岁;Brough Smyth的收藏于1877年11月15日购买。“[…]Dunkelt镇”[Dunkeld]， Eugene von gusamrard速写本编号。第二十五章,1856年版。新南威尔士州立图书馆，DGB16，第4卷，第10卷;1879年7月7日，von gusamrard to Voss，中央档案馆，SMB;妇女和两支长矛，EMB VI 2561,VI 2562, VI 2563.62平版印刷，发表于S. Dougan Bird，关于澳大利亚气候
{"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":null,"pages":null},"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}
Pub Date : 2023-10-02DOI: 10.1080/1031461x.2023.2259141
Marian Quartly
"Women and Whitlam: Revisiting the Revolution." Australian Historical Studies, ahead-of-print(ahead-of-print), pp. 1–2
《妇女与惠特拉姆:重新审视革命》澳大利亚历史研究，印前(印前)，1-2页
{"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":null,"pages":null},"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}
Pub Date : 2023-10-02DOI: 10.1080/1031461x.2023.2255201
Debbie Robinson
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
摘要本文聚焦于澳大利亚现代主义艺术家克利夫顿·皮尤(1924-1990)艺术生涯中的两个片段——1954年和1956年穿越纳拉伯平原的旅程，以及1964年前往金伯利的旅行——他对沙漠环境和当地土著居民的体验导致了他与土著主义美学和社会学形式的绘画接触。皮尤的风景画在20世纪50年代和60年代对国家形象做出了重大贡献，但他与土著艺术、人民和文化的接触却被忽视了。本文根据皮尤的视觉记录、评论家的评论以及他的陈述和采访，认为土著主义是塑造他对澳大利亚原始景观的表达，以及他作为艺术家和澳大利亚人的身份认同的存在主义探索的关键因素。这不仅改变了他的景观艺术，也改变了他在澳大利亚环境中的存在感和归属感。注1罗伯特·休斯:《澳大利亚艺术》(墨尔本:企鹅出版社，1966年)，237页;伯纳德·史密斯，澳大利亚绘画1788年至1970年(墨尔本:牛津大学出版社，1971年)，407.2皮尤与自然环境的接触和他在丛林中的生活已经被广泛探讨在传记由特劳迪·艾伦和莎莉·莫里森和调查文本由克里斯托弗·希思科特和萨沙·格里辛。我的目标是根据我收集的超过1460件已知艺术品的第一个目录，以及皮尤对土著艺术和文化的兴趣如何与他的传记、个人陈述和采访相交叉，呈现出对皮尤作品的新材料和解释。参见Traudi Allen, Clifton Pugh，《一生的模式:传记》(墨尔本:Thomas Nelson Australia出版社，1981);莎莉·莫里森，《火灾之后:克利夫顿·皮尤传》(墨尔本:哈迪·格兰特出版社，2009年);克里斯托弗·希思科特:《安静的革命:1946-1968年澳大利亚艺术的兴起》(墨尔本:文本出版社，1995年);Christopher Heathcote, Patrick McCaughey和Sarah Thomas，《邂逅澳大利亚现代艺术》(墨尔本:Macmillan Art, 2008);Sasha Grishin，《澳大利亚艺术:历史》(墨尔本:The Miegunyah Press, 2013);2 . Debbie Robinson，“想象一个以生物为中心的澳大利亚:克利夫顿皮尤艺术和生活中的环境保护主义和土著主义(1924-1990)”(博士论文，墨尔本大学，2022)Noel Macainsh, Clifton Pugh(墨尔本:Georgian House, 1962)， 7-8;艾伦,52岁;莫里森，131和412;杰弗里·达顿，《黑人上的白人:艺术中描绘的澳大利亚土著》(墨尔本:麦克米伦出版社，1974年);凯瑟琳·德·洛伦佐和黛娜·迪萨，《变化中的关系:澳大利亚艺术中的土著主题1938-1988》(悉尼:S.H. Ervin画廊国家信托中心，1988);伊恩·麦克莱恩，《白人土著:澳大利亚艺术中的身份政治》(剑桥:剑桥大学出版社，1998年);克莱尔·巴德利，主题和意义:澳大利亚艺术中的土著影响，1930-70(巴拉瑞特:巴拉瑞特美术馆，1999);克里斯汀·尼科尔斯，《从欣赏到挪用:澳大利亚视觉艺术中的本土影响和形象》(阿德莱德:弗林德斯大学艺术博物馆城市画廊，2000);3 .戴娜·默里，《天空之声》(达尔文:查尔斯·达尔文大学出版社，2006)鲍勃·霍奇，《土著真相与白人媒体:埃里克·迈克尔斯与土著主义精神的相遇》，《连续统一体:澳大利亚媒体与文化杂志》第3期，第3期。Vijay Mishra，“澳大利亚文本中的土著代表”，Continuum: The Australian Journal of Media & Culture 2, no. 2(1990): 202.5。1 (1987): 165-88;鲍勃·霍奇和维贾伊·米什拉:《梦的阴暗面:澳大利亚文学与后殖民》(悉尼:Allen & Unwin出版社，1991);贝恩·阿特伍德，“引言”，《权力、知识和土著》，贝恩·阿特伍德和约翰·阿诺德主编(墨尔本:拉特罗布大学出版社与澳大利亚研究国家中心联合出版，1992年)，i-xvi.6Mishra, 165;霍奇和米什拉，27岁;Attwood,我;爱德华·赛义德，《东方主义》(纽约:古着图书，兰登书屋分部，1979)，3.7赛义德，20-1.8霍奇，202;阿特伍德，iii和iv.9麦克莱恩，82.10阿特伍德，i.11克利夫顿·皮尤，“声明”，1959年，载于伯纳德·史密斯，《作为英雄的艺术家之死:历史与文化随笔》(墨尔本:牛津大学出版社，1988年)，第106 - 7.12页。克利夫顿·皮尤，“人类展览录像画廊”，亚历克斯·波蒂格侬采访，珀斯艺术节，1982.13同上，14同上，15莫里森，445页;克利夫顿·皮尤，《展览声明》，皇家南澳大利亚艺术协会，1959年5月。克利夫顿·皮尤，引用于《年轻艺术家描绘沙漠》，《星期日泰晤士报》，珀斯，1955年1月10日。莫里森,445;罗纳德·伯恩特，“以奥尔代亚为中心的部落迁徙和神话，南澳大利亚”，大洋洲12号。1(1941年9月):4.18 Morrison, 133.19 Clifton Pugh，引用于“Australian Artists Look Outback”，Theatre and Arts Letter(1962): 4。 20查尔斯·珀西·芒福德，澳大利亚北领地阿纳姆地土著装饰艺术(阿德莱德:南澳大利亚皇家学会，1939年);罗纳德·伯恩特和凯瑟琳·伯恩特，《西北北领地的土著艺术》，Meanjin 9号。3 (1950): 183-8;阿道夫斯·彼得·埃尔金、凯瑟琳·伯恩特和罗纳德·伯恩特，《阿纳姆地的艺术》(墨尔本:柴郡，1950年);查尔斯·珀西·芒福德，美国-澳大利亚科学考察阿纳姆地记录:1艺术，神话和象征主义(墨尔本:墨尔本大学出版社，1956年);查尔斯·珀西·芒福德，《土著艺术》(墨尔本:朗芒出版社，1961年);罗纳德·伯恩特主编，澳大利亚土著艺术(悉尼:Ure Smith, 1964).21麦克莱恩，96-7.22安娜·海比希，《旋转梦想:澳大利亚1950-1970年的同化》(珀斯:弗里曼特尔出版社，2008年)，317.23理查德·T.M.佩斯科特，《序言》，载于查尔斯·巴雷特和阿尔弗雷德·s·凯尼恩，澳大利亚土著艺术(墨尔本:布朗，普赖尔，安德森为维多利亚国家博物馆的董事会，1947年)，3.24皮尤，《人类画廊展览录像》，25格特鲁德·兰格，“皮尤的绘画是至关重要的”，信使邮件，布里斯班，1957年7月3日;詹姆斯·格里森，“大胆的艺术:呼吁感官”，太阳报，1957年11月6日;27先驱报，1957年3月6日，n.p.，在MS9096克利夫顿·皮尤的论文，系列10。28 Max Harris，“Pugh Hits the Gong”，Mary ' s Own Paper (Adelaide, 1959年5月)，n.p.a rharris于1938年加入了Jindyworobak俱乐部，在其成立之初，并担任其第一任秘书。他的诗《我几乎无法忍受这一天》发表在《金迪worobak季刊》第1期(1939年4月)，第16期，而《让我不要称你可爱》则出现在1940年的《金迪w
{"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":null,"pages":null},"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}
Pub Date : 2023-09-11DOI: 10.1080/1031461x.2023.2250364
Traudi Allen
{"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":null,"pages":null},"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}
Pub Date : 2023-08-03DOI: 10.1080/1031461x.2023.2229357
C. Ingram
{"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":null,"pages":null},"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}
Pub Date : 2023-07-25DOI: 10.1080/1031461x.2023.2224822
Matthew P. Fitzpatrick
{"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":null,"pages":null},"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}
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