- Alexander Pope, On Windsor Forest, 1713, as edited by J. Butt, Alexander Pope, Poems, Twickenham edition, London & New Haven, 1961, 151–2.
- In his Mythologies, transl. Annette Lavers, Paladin, 1973, 129, Roland Barthes considers how myth acts not necessarily as a lie nor a confession, but as an inflexion; it is this inflexion which functions as a distortion.
- Questions on Geography, Power,/Knowledge, Selected Interviews and Other Writings, 1972–1977, of Michel Foucault, ed. Colin Gordon, The Harvester Press, 1986, 68.
- ibid.
- ibid.
- ibid., 75.
- Foucault, ibid., 68–69, goes on to refer to what he calls, in light of Solzhenitsyn, a carceral achipelago, to designate the way a punitive system is physically dispersed to cover the entirety of society, in an exhaustive surveillance which makes all things visible by becoming itself invisible.
- In Edward Said's exploration of Jane Austen and Empire in his Culture and Imperialism, Chatto & Windus, 1993, 95–115, he illustrates the interdependence inadvertently conveyed in her novels between British landowners and its colonies; the up-keep of Mansfield Park is, in fact, financially dependent upon Sir Thomas's sugar plantation in the Caribbean, maintained by slave labour—although the colony is always subordinate to its colonizer.
- As higher proportions of land came to be concentrated into an increasingly diminishing number of hands, statistically this meant that between 1760 and 1820 approximately 400 families came to own one-third of all the cultivated land.
- David H. Solkin, Richard Wilson, The Landscape of Reaction, The Tate Gallery, London, 1982, 127.
- ibid., Chapter III, 56.
- ibid., 114.
- This naturalization of difference was also justified by the Great Chain of Being, which theory was only displaced a century later by Social Darwinism.
- Brewer, Party Ideology, 164; as quoted by Soikin, 100.
- Morning Chronicle, no 317, 6 June 1770.
- Gainsborough's image of English social life as blissfully egaliterian, without conflict, is referred to by John Barrell, in his The Dark Side of the Landscape—The Rural Poor in English Painting 1730–1840, Cambridge University Press, 1980, as ‘Happy Britannia’. While the gentry are unrepresented in Constable, his rural communities are invariably idealised, his land fruitful with his dignified figures, never vagrants, disposed in harmony with the land—all during a period of vicious riots in Suffolk.
- See Candice Bruce, A Landscape of Longing in this Journal, quoting from G. Nadel, Australia's Colonial Culture. Ideas, Men and Institutions in Midmineteenth Century Eastern Australia, Cambridge, Mass., 1957, 29–30.
- While I read Streeton's pictorial signs as signifying the unlocatable, and therefore atypical Australian plains, as is mentioned in The Necessity of Australian Art, ed. Ian Burn, Nigel Lendon, Charles Merewether and Ann Stephen, Power Publications, 1988, 20, this physiognomy of land forms would have been recognisable to anyone familiar with the Grampian district in Victoria.
- In The primitive unconscious of modern art (or White Skin/Black Mask as published in Recodings, Bay Press, 1985), Hal Foster theorises how a dual process of decoding and recoding operated with the ethnographic appropriation of tribal objects and their reappropriation by Western artists.
- Author's Note: Eighteenth century landscape is a field I explored at the Courtauld Institute of Art, particularly in the light of the Richard Wilson exhibition at the Tate Gallery in 1982, and the catalogue by David Solkin. Since devising the B. Art Theory subject, The Grand Narratives of Western Art, it is also a field I address in lectures. Additionally this essay, as indicated in the Preface, is intended as introductory and an acknowledgement of some of the issues considered in formulating the tide Colonizing the Country.
Australian Journal of Art
Volume 12, 1994 - Issue 1: In Memoriam: Ian Burn