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Notes
1. Stephen Alomes, When London Calls: The Expatriation of Australian Creative Artists to Britain (Cambridge: Cambridge University Press, 1999), xi.
2. Terry Smith, Transformations in Australian Art: The Twentieth Century – Modernism and Aboriginality (Sydney: Craftsman House, 2002), 30.
3. Martin Harrison and Rebecca Daniels, ‘Australian Connections’ in Anthony Bond et al., Francis Bacon: Five Decades (Sydney, NSW: Art Gallery of New South Wales, 2012), 33–39.
4. Eileen Chanin, ‘Pioneering Cultural Exchange: Two International Exhibitions 1931–1933, initiated by Mary Cecil Allen and Alleyne “Clarice” Zander’ in Robert Dixon, Veronica Kelly, Impact of the Modern: Vernacular Modernities in Australia 1870s–1960s (Sydney: Sydney University Press, 2008), 149.
5. Basil Burdett, ‘Mrs Zander's Exhibition of British Contemporary Art’, Art in Australia 49 (1933): 46.
6. Eileen Chanin and Steven Miller, Degenerates and Perverts: The 1939 Herald Exhibition of French and British Contemporary Art (Carlton: Miegunyah Press, 2005), 17. The Herald Exhibition of French and British Contemporary Art, which toured Australia in 1939, was sponsored by Sir Keith Murdoch and promoted by the Herald and Weekly Times newspapers, and the Adelaide Advertiser. It consisted of 217 works, including major works by artists such as Cézanne, Van Gogh, Gauguin, Matisse and Picasso. The exhibition was extremely successful and has been regarded as the first modern art exhibition shown in Australia, having had a considerable influence on Australian art history.
7. Chanin and Miller, Degenerates and Perverts, 153.
8. The word ‘British’ will be preferred to ‘English’ and used throughout this paper since the historiography of modernism discussed hereof is not geographically limited to England.
9. Alleyne Zander, foreword to Exhibition of British Contemporary Art (Melbourne: Arbuckle, Waddell, 1933).
10. Davis Michael T. Saler, The Avant-Garde in Interwar England: Medieval Modernism and the London Underground (New York: Oxford University Press, 1998), 7.
11. Charles Harrison, English Art and Modernism: 1900–1939 (New Haven: Paul Mellon Centre for Studies in British Art, 1994), 118.
12. ‘British Art: A Splendid Exhibition’, Sydney Morning Herald, 19 April 1933. Press clippings related to the 1933 Exhibition of British Contemporary Art (Clarice Zander papers, AGNSW Archives, Sydney, MS1997.10).
13. David Peters Corbett, The Modernity of English Art: 1914–1930 (Manchester: Manchester University Press, 1997), 83.
14. Michael J. K. Walsh, A Dilemma of English Modernism: Visual and Verbal Politics in the Life and Work of C. R. W. Nevinson (Newark: University of Delaware Press, 2007), 43.
15. In other words, according to Bell and Fry, form is the most important element in a painting and modernism aims at pleasing the eye.
16. Roger Fry, Cézanne: A Study of his Development (London: Hogarth Press, 1952), 38–54.
17. Having been unable to find a reproduction of Peploe's Teapot and Grapes on display at the 1933 exhibition, we will instead rely on Still Life (c. 1913), showcased at the Herald Exhibition in 1939, in order to demonstrate how the artist depicted simple still-life arrangements for formal experimentation.
18. Peters Corbett, Modernity, 5.
19. This reading of modernism, drawn from Baudelaire's The Painter of Modern Life (1863) – describing modernity as ‘the ephemeral, the fugitive, the contingent’ – then taken up by Marshall Berman's All that is Solid Melts into Air (1982), allows David Peters Corbett to discriminate English modernist practices into categories, thereby testifying to a fragmented English modernism.
20. Peters Corbett, Modernity, 7.
21. Ibid.
22. Ibid., 61.
23. Clarice Zander, ‘Modern Art: A Historical Explanation’, Manuscripts: A Miscellany of Art and Letters (1933) reprinted in Ann Stephen et al., Modernism & Australia: Documents on Art, Design and Architecture 1917–1967 (Carlton: Miegunyah Press, 2006), 111.
24. Charles Harrison, English Art and Modernism, 1900–1939 (New Haven: Paul Mellon Centre for Studies in British Art, 1994), 118.
25. Whether this is a curatorial choice on behalf of Zander is questionable. According to Chanin and Miller in Awakening: Four Lives in Art (Mile End: Wakefield Press, 2015), Zander gathered a great majority of artworks for the Exhibition of British Contemporary Art thanks to her connections through the Redfern Gallery. It could therefore be argued that Zander encountered difficulties obtaining artworks by Wyndham Lewis, for instance.
26. Zander, ‘Modern Art: A Historical Explanation’ in Stephen et al., Modernism & Australia, 110.
27. ‘Mrs Zander's Exhibition of British Contemporary Art’ (advertisement), Art in Australia 49 (1933): 59.
28. Arthur Angell Phillips, The Australian Tradition: Studies in a Colonial Culture (Melbourne: Longman Cheshire, 2nd ed., 1980), 89.
29. ‘Organisation of British Exhibits of Fine Art in Exhibition Abroad’, 1936, 12 (British Council papers, The National Archives, London, BW 67/1).
30. ‘Organisation of British Exhibits of Fine Art in Exhibition Abroad, Appendix B’, 1936, 1 (British Council papers, The National Archives, London, BW 67/1).
31. ‘British Art Exhibition at Home and Abroad: A Report for the British Council for Relations with Other Countries’, 1935, 4 (British Council papers, The National Archives, London, BW 78/1).
32. Edward Said, Orientalism (New York: Random House, 1978) cited in Bill Ashcroft, Gareth Griffiths, Helen Tiffin, The Post-colonial Studies Reader (New York: Taylor and Francis, 2006), 24.
33. Rex Butler and A. D. S. Donaldson, ‘Stay, Go, or Come: A History of Australian Art, 1920–40’, Australian and New Zealand Journal of Art 9, 1/2 (2008): 118–43.
34. Andrew McNamara, ‘The Bauhaus in Australia’ in Ann Stephen et al., Modern Times: The Untold Story of Modernism in Australia (Carlton: Miegunyah Press, 2008), 6.
35. Edwards Deborah and Denise Mimmocchi, eds, Sydney Moderns: Art for a New World (Sydney: Art Gallery of New South Wales, 2013), 16.
36. Alexandra Harris, Romantic Moderns: English Writers, Artists and the Imagination from Virginia Woolf to John Piper (London: Thames and Hudson, 2015), 20.
37. Harris, Romantic Moderns, 58.
38. Heather Johnson, The Sydney Art Patronage System 1890–1940 (Grays Point: Bungoona Technologies, 1997), 100.
39. ‘In Aid of the Australian Red Cross Society of N.S.W., Exhibition of “An Englishman's Home” in Period Room.’ Records related to the exhibition An Englishman's Home (Clarice Zander papers, AGNSW Archives, Sydney, MS1997.10).
40. Harris, Romantic Moderns, 11.
41. ‘Basis of Empire In Home’, Daily Telegraph, 7 May 1941. Press clippings related to the exhibition An Englishman's Home (Clarice Zander papers, AGNSW Archives, Sydney, MS1997.10).
42. Joanna Banham, Encyclopedia of Interior Design (New York: Routledge, 1997), 87. Banham also mentions the participation of Clement Meadmore in the design of the rooms ‘Young Modern’ and ‘Classic Modern’; however, this information seems erroneous (the artist would have been 12 years old at the time of the exhibition organised by Clarice Zander in 1941).
43. ‘Exhibits Insured For Thousands of Pounds’, Telegraph, 1 May 1941. Press clippings related to the exhibition An Englishman's Home (Clarice Zander papers, AGNSW Archives, Sydney, MS1997.10).
44. Ibid.
45. ‘Woman About’, Daily Telegraph, 8 May 1941. Press clippings related to the exhibition An Englishman's Home (Clarice Zander Papers, AGNSW Archives, Sydney, MS1997.10).
46. Clarice Zander, ‘The Style Empire and the Rococo Period in England’, The Home, 1 May 1941, 17.