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This is the fourth in our series of publications concerned with the gallery's extensive and exceptional Australian works on paper collection. The selection for this publication and exhibition is by Hendrik Kolenberg, Senior Prints, Drawings and Watercolours and Patricia James, one of our longest serving and most trusted Gallery Volunteers
This comprehensive survey uniquely covers both Aboriginal art and that of European Australians, providing a revealing examination of the interaction between the two. Painting, bark art, photography, rock art, sculpture, and the decorative arts are all fully explored to present the rich texture of Australian art traditions. Well-known artists such as Margaret Preston, Rover Thomas, and Sidney Nolan are all discussed, as are the natural history illustrators, Aboriginal draughtsmen, and pastellists, whose work is only now being brought to light by new research. Taking the European colonization of the continent in 1788 as his starting point, Sayers highlights important issues concerning colonial art and women artists in this fascinating new story of Australian art.
With reproductions in colour and black-and-white, this detailed exhibition catalogue contains an introductory essay, biographies of artists, a bibliography, and an illustrated list of works.
Traditional postcolonial scholarship on art and imperialism emphasises tensions between colonising cores and subjugated peripheries. The ties between London and British white settler colonies have been comparatively neglected. Artworks not only reveal the controlling intentions of imperialist artists in their creation but also the uses to which they were put by others in their afterlives. In many cases they were used to fuel contests over cultural identity which expose a mixture of rifts and consensuses within the British ranks which were frequently assumed to be homogeneous. British Art for Australia, 1860–1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries represents the first systematic and comparative study of collecting British art in Australia between 1860 and 1953 using the archives of the Australian national galleries and other key Australian and UK institutions. Multiple audiences in the disciplines of art history, cultural history, and museology are addressed by analysing how Australians used British art to carve a distinct identity, which artworks were desirable, economically attainable, and why, and how the acquisition of British art fits into a broader cultural context of the British world. It considers the often competing roles of the British Old Masters (e.g. Romney and Constable), Victorian (e.g. Madox Brown and Millais), and modern artists (e.g. Nash and Spencer) alongside political and economic factors, including the developing global art market, imperial commerce, Australian Federation, the First World War, and the coming of age of the Commonwealth.
An exhibition publication featuring curatorial essays and works from the Metropolitan Museum of Art, New York
This broad-sweeping survey of the National Gallery's paintings, sculptures, drawings, prints, photographs, and decorative arts and design collections features more than 400 works. Indigenous and non-Indigenous works are represented, with iconic favourites such as Sidney Nolan's 'Ned Kelly' series set alongside important but lesser-known acquisitions. The works are arranged in chronological order, from 1770 to 2002--'Pre-colonial and Colonial' through to 'Art Now'. Insightful essays from over 50 artists, curators and scholars, range from personal reflections by artists discussing their own works to more discursive or critical commentaries placing works in their historical context.
First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.