- I have analysed this frontier ideology in respect to the art of the first decade of the colony, the so-called Port Jackson painters.
- Joseph Lycett (1824), ‘Picturesque Views in Australia’, Documents in Art and Taste in Australia, ed. Bernard Smith, Oxford University Press, Melbourne, 1975, p. 27.
- Jeanette Hoorn, ‘Exposing the lie of Terra Nullius’, Art and Australia, vol.31, no.l, Spring 1993, p. 83.
- Ross Gibson made this point in The Diminishing Paradise, Angus & Robertson, Sydney, 1984.
- I am here following Kenneth Burke's contention that the negative is the basis of all language, of all human symbolic systems, and that ‘a specifical symbol-using animal will necessarily introduce a symbolic ingredient into every experience. Hence, every experience will be imbued with negativity.’ (Kenneth Burke, Language as Symbolic Action: Essays on Life, Literature and Method, California University Press, Berkeley, 1968, p. 469.
- Lewin ‘was the first free [European] artist to come to Australia and attempt to make a living as a professional painter’ (AA, 465), dying in New South Wales in 1819.
- Bernard Smith, (1962), Australian Painting 1788–1990, Oxford University Press, Melbourne, 1991, p. 19.
- P. Cunningham, Two Years in New South Wales, Volume 2, 2nd edition, Henry Colburn, London, 1827, p. 51.
- Coral Lansbury, Arcady in Australia. The evocation of Australia in nineteenth-century English literature, Melbourne University Press, Carlton, 1970, p. 51
- op. cit., p. 43.
- He was in Australia between 1825 and 1828, but painted some of his Australian landscapes after returning to England.
- Tim Bonyhady, Images in Opposition. Australian landscape painting 1801–1890, Oxford University Press, Melbourne, 1985, p. 6. However Smith notes that Glover may have been induced to migrate as a result of his son's misdemeanours (See Bernard Smith, European Vision and the South Pacific, Oxford University Press, London, 1960, p. 194 f).
- For the most thorough discussion of Glover's attitude to and contact with Tasmanian Aborigines, see Bonyhady, p. 30–34.
- As John McPhee did in The Art of John Glover, Macmillan, South Melbourne, 1980, p. 35.
- Bernard Smith, European Vision and the South Pacific, p. 201.
- op. cit., p. 30.
- op. cit., p. 32.
- See Walter Benjamin (1940), ‘Theses on the Philosophy of History’, Illuminations, translated Harry Zohn, Fontana/Collins, Bungay, 1970.
- Homi Bhabha, ‘The World and the Home’, Social Text, 31/32, 1992, p. 144.
- op. cit., p. 51.
- Bernard Smith, European Vision and the South Pacific, p. 196.
- ibid., p. 199.
- Though not necessarily completed in this order, the sketches exhibit a synchronic structure that underpins (or provides a semiotic order to) their differences. (SLNSW, Sydney; NLA, Canberra; NGV, Melbourne; QVMAG, Launceston; TMAG, Hobart; V&A Museum, London).
- Robert Hughes(1966), The Art of Australia, Penguin, Harmondswoth, 1970, p. 41–42.
- op. cit., p. 47.
- Paul Carter, The Road to Botany Bay, Faber and faber, London, 1987 p 133.
- ibid., p. 100.
- I am here drawing on the distinction which Lacan drew between foreclosure and repression—the latter returning what is exckuded into the realm of the symbolic (ie the realm of language). For a useful discussion of this difference, see Martin Jay, Downcast Eyes, University of California Press, Berkeley, 1994, p. 354–355.
- Albert Boime, The Magisterial Gaze Manifest destiny and American Landscape Painting c. 1830–1865, Smithsonian Institute Press, Washington, 1991, p. 7.
- Thomas Cole, ‘Essay on American Scenery’, American Monthly Magazine, new series, Volume 1, January 1836.
- Quoted in Boime, op. cit.
- ibid., p. 132.
- See C.M.H. Clark, A History of Australia, Volume 3, Melbourne University Press, Carlton, 1973, p. 98.
- He was at the time looking down from the mountain through a telescope on Port Phillip, named after Arthur Phillip. Mitchell thus replaced the Founding Father of the penal colony with another Father more suited to his noble mission. ‘Australia’ was being written into the European legend.
- Indeed, Carter argues that Mitchell conducted his exploration as a theatre of conquest. Carter also details, better than any other writer I know, the neo-classical aspects of Mitchell's journals (op cit., chapter 4).
- op. cit., p. 126.
- Major T. L. Mitchell, Three Expeditions into the Interior of Eastern Australia, Second edition, Volume One, T. & W. Boone, London, 1839, p. 10.
- ibid., Volume One, p. 49.
- Major Mitchell, Volume Two, p. 170.
- ibid., Volume One, p. 1 of preface.
- ibid., Volume Two, p. 171.
- They are illustrated in ibid., Volume One, p. 262 and p. 155 respectively.
- C.M.H. Clark, A History of Australia, Volume 3, p. 69.
- ibid., Volume 3, p. 63.
- ibid., Volume 3, p. 315.
- Letter from Sturt to George Macleay, A4099, July 1845, quoted in Stephen Martin, A New Land European Perceptions of Australia 1788–1850, Allen & Unwin, 1993, p. 43.
- Charles Sturt, Narrative of an Expedition into Central Australia, Volume Two, T. & W. Boone, London, 1849, p. 2.
- David Collins, An Account of the English Colony in New South Wales, T. Cadell Jun., and W. Davies, 1798, London, Vol 1, p. 5. January 1788.
- Alexis de Tocqueville (1831), Journey to America, translated by George Lawrence, Anchor Books, New York, 1971, p. 350.
- ibid., p. 377–378.
- ibid., p. 398–399.
- George Miles, ‘To Hear an Old Voice Rediscovering Native Americans in American History’, Under an Open Sky Rethinking America's Western Past, eds. William Cronon, George Miles, Jay Gitlin, W.W. Norton & Company, New York, 1992, p. 52–53.
- He was quoting from Mark Twain, Roughing It, American Publishing Company, Hartford, 1872, p. 146–149.
- Charles Harpur, The Creek of the Four Graves (1867–68).
- Quoted in Bernard Smith, European Vision and the South Pacific, p. 169; from F. Péron, Voyage of Discovery to the Southern Hemisphere, London 1809 (translation of Voyage de découvertes aux terres Australes, Paris 1807), p. 286.
- Henry Lawson, ‘In a Dry Season’ While the Billy Boils (first series), Collected Short Stories of Henry Lawson, Angus & Robertson, 1984, p. 50.
- Quoted in Smith, The Interpretation of Australian Nature During the Nineteenth Century, University of Sydney, p. 63.
- Quoted in Smith, The Interpretation of Australian Nature During the Nineteenth Century, p.64.
- See Bernard Smith, The Interpretation of Australian Nature During the Nineteenth Century, B.A. (Hons.), (English), University of Sydney, 1952, unpublished thesis, p. 38–40.
- Marcus Clarke, ‘The Buffalo Ranges’, Documents on Art and Taste in Australia 1770–1914, ed. Bernard Smith, Oxford University Press, Melbourne, 1990, p. 138.
- ibid., p. 135.
- Marcus Clarke, ‘Waterpool Near Coleraine’, ibid., p. 135.
- Marcus Clarke, ‘Preface’, The Poetical Works of Adam Lindsay Gordon, Ward, Lock & Co. Limited, London, n.d., p. vii.
- Marcus Clarke, ‘Waterpool Near Coleraine’, p. 134–136.
- Marcus Clarke, ‘The Buffalo Ranges’, p. 135.
- Bernard Smith, ‘Hardship and Weird Melancholy’, Documents on Art and Taste in Australia, p. 129.
- Founded in 1871 in Melbourne.
- Bernard Smith, ‘Hardship and Weird Melancholy’, Documents on Art and Taste in Australia 1770–1914, ed. Bernard Smith, Oxford University Press, Melbourne, 1990, p. 129.
- Bernard Smith, Place, Taste and Tradition. A Study of Australian Art since 1788, Ure Smith, Sydney, 1945, p. 165.
- Bernard Smith (1962), Australian Painting 1788–1990, Third Edition (with three additional chapters on Australian painting since 1970 by Terry Smith), Oxford University Press, Melbourne, 1992, p. 55–56.
- ibid, p. 71.
- Bernard Smith, Australian Painting, p. 82.
- Bernard Smith, Australian Painting, p. 82.
- op. cit., p. 31–34.
- Bernard Smith, The Spectre of Truganini, Australian Broadcasting Commission, Sydney, 1980, p. 17.
- Its most direct expression occurs in Streeton's The Selector's Hut: Whelan on the Log (1890) and Condor's Under a Southern Sky (1890).
- Marcus Clarke, ‘Waterpool Near Coleraine’, Documents on Art and Taste in Australia 1770–1914, ed. Bernard Smith, Oxford University Press, Melbourne, 1990, p. 135.
- See Frederick Jackson Turner, The Frontier in American History, Holt, Rinehart and Winston, New York, 1962..
- op. cit., p. 15–42.
- See Albie Thorns, Bohemians in the Bush The Artists’ Camps of Mosman, ed. Linda Slutzkin and Barry Pearce, Art Gallery of New South Wales, Sydney, 1991; and Helen Topliss, The Artists’ Camps: Plein Air Painting in Melbourne 1885–1898, Monash University Gallery, 1984.
- Smith, Australian Painting, p. 99.
- For a discussion of this tradition, see Robert Cafritz, Lawrence Gowing and David Rosand, Places of Delight The Pastoral Landscape, Clarkson N. Potter, New York, 1988.
- The Impressionists were not the first to do this. Originally the domain of the Cammeragal people, Mosman had been a whaling a station in the 1830s and 1840s, a failed pleasure ground in the 1850s which, in the 1870s, was subdivided and a regular ferry service established. The tent camps which became artist colonies in the 1890s were first established in the 1880s on these subdivisions.
- See Albie Thorns, p. 31.
- See Ian McLean, ‘White Aborigines, the cultural imperatives of colonialism’, Third Text, 22, Spring 1993, p. 17–26.
- See Ian McLean, ‘Colonials Kill Artfully’, Perspectives on Academic Art, ed. Paul Duro, Art Association of Australia, Canberra, 1991, p. 56–71.
Australian Journal of Art
Volume 12, 1994 - Issue 1: In Memoriam: Ian Burn