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"With the three additional chapters on Australian painting since 1970 by Terry Smith".
This is the fourth edition of the classic text first published in 1962. It discusses the achievements of all Australia's leading artists and a great many lesser-known ones. It is written for those seeking a comprehensive introduction to the subject and will be valuable to students, teachers, and the general reader. All facets of Australian painting are generously illustrated.
In the modern State, power rests on the consensus of the citizens. They accord its institutions the authority to regulate society. State theory suggests that this authority is a right to speak on certain matters in certain ways and to have the audience agree with those statements. It is a matter of an authorised language; all others fall into the category of ratbaggery. In this 1991 book, the first major book applying State theory to Australia, Alastair Davidson shows how Australian citizens were formed in the nineteenth century, and how their particular characteristics led to the empowering of a certain language of power: legalism. He further shows that this made the judiciary the most powerful arm of government - unlike countries where the people arm sovereign and the legislature supreme - because the judiciary has the last say on all issues and in its own language.
Exhibition catalogue of Australian art which toured the United States and Canada, 134 works were included in this exhibition among which were 11 bark paintings from the East Alligator River District, Northern Territory and three pen drawings by Tommy McRae from Victoria; front and back cover includes Aboriginal motifs by Alistair Morrison; article by Margaret Preston annotated separately.
Hilda Rix Nicholas was an assertive and accomplished woman who conscientiously set out to carve a place for herself alongside the most important male painters in Australia between the wars. The great strength of her work and her career lies in her determined quest for equal rights and in her passionate commitment to Australia at a time when women were excluded from its representation.
The prominent Australian artist Nora Heysen has been said to have worked in the shadow of her father Hans Heysen, one of Australia's most recognised landscape painters. Letters between the two, however, reveal a different story. In 1934, when Nora first travelled to London to study art, she experienced her first time away from home and the first of many, often exotic places from where she would write home to Hahndorf, South Australia. The correspondence between Nora and Hans continued until his death in 1968. Theirs was a close and affectionate relationship, in which father and daughter shared a lifetime of thoughts about art and life, and a mutual respect and admiration for each other's work. Heysen to Heysen is a showcase of letters between Nora and Hans Heysen from the collection of the National Library of Australia. Accompanied by carefully selected images and text by leading art historian Catherine Speck, the publication lifts the lid on a vista of Australian art.
"This bibliography supplements the greatest of modern art bibliographies, Etta Arntzen and Robert Rainwater's Guide to the literature of art history (ALA, 1980)"--Preface.