NOTES
- Readers should note my close association with the exhibition. I was on the initial planning committee (with John McPhee and Max Staples) convened by Hansen, and like them, contributed an essay to the catalogue. I would particularly like to thank David and Max for all the fun and ideas we shared over the years in chasing Glover and the picturesque from one Patterdale to the other.
- Bernard Smith, “The Myth of Isolation”, The Death of the Artist as Hem (Melbourne: Oxford UP, 1988) 223.
- ibid. 225.
- Frederick McCubbin, “Some Remarks on the History of Australian Art”, The Art of Frederick McCubbin, Documents on Art and Taste in Australia 1770–1945, ed. Bernard Smith (Melbourne: Oxford UP, 1990) 272.
- Terry Smith, Transformations in Australian Art, 2 vols. vol. 1 (Sydney: Craftsman House, 2002) 9.
- William Moore, The Story of Australian Art, 2 vols. vol. 1 (Sydney: Angus & Robertson, 1934) 34.
- ibid. 87–8.
- Margaret Preston, “Survey of Australian Art”, Art of Australia 1788–1941 (NY: Museum of Modern Art, 1941) 20.
- ibid. 22.
- This was the Art Gallery of South Australia, at the recommendation of Sir Kenneth Clark. In 1939 the State Library of New South Wales purchased paintings by Glover, well before any mainland state art gallery. They bought Aborigines Dancing at Brighton Bay, Tasmania (1835), a year after they received Hobart Town, taken from the Gardens where I Lived (1832) from Sir William Dixson.
- In Place, Taste and Tradition A Study of Australian Art since 1788 (Sydney: Ure Smith, 1945) Smith mentions him twice, first in a quote by the nineteenth-century Polish scientist, Dr John Lhotsky, which is critical of Glover for not being “a sufficient observer of nature” (91), and second in a brief notice that he had come “out to Australia in his old age.” (103) By contrast, the colonial painter Conrad Martens is given star treatment, and even Thomas Wading receives considerably more attention.
- Bernard Smith, European Vision and the South Pacific, 2nd ed. (Oxford: Oxford UP, 1989) 263.
- ibid. 265.
- Robert Hughes, The Art of Australia. (Melbourne: Penguin, 1970) 41–2.
- Paul Heinrichs, “He Captured the Gums”, Age, Melbourne (26 November 1977).
- John McPhee, The Art of John Glover (Melbourne: Macmillan, 1980) 51.
- Heinrichs, “He Captured the Gums.”
- Brian Hoad, “The Hack who became Master”, The Bulletin (10 December 1977).
- Hughes, Art of Australier. 41–2
- Frederic Rogers, “Glover on Display”, Sunday Mail, Brisbane (15 January 1978).
- Tim Bonyhady, Images in Opposition (Oxford: Oxford UP, 1985) 47.
- Christopher Allen, Art in Australia (London: Thames & Hudson, 1997) 28.
- Ron Radford and Jane Hylton, Australian Colonial Art 1800–1900 (Adelaide: Art Gallery of South Australia, 1995) 71.
- Allen, Art in Australia, 28.
- David Hansen, “Catalogue of Paintings and Drawings”, John Glover and the Colonial Picturesque (Hobart: Tasmanian Museum and Art Gallery and Art Exhibitions Australia, 2003) 206.
- ABC Radio National, 4 July 2004.
- Hansen, “The Life and Work of John Glover”, John Glover and the Colonial Picturesque. 98.
- As a raft of English art historians have recently argued, e.g. John Barrell, The Dark Side of the Landscape (Cambridge: Cambridge UP, 1980); David Solkin, Richard Wilson: The Landscape of Reaction (London: Tate Gallery, 1982); Michael Rosenthal, Constable: The Painter and His Landscape (New Haven: Yale UP, 1983); Nigel Everett, The Tory View of Landscape (New Haven: Yale UP, 1994).
- He would have known this because his sons preceded him, and also because, intending to get a land grant and farm, he probably familiarised himself with books like Godwin's Emigrant's Guide to Van Diemen ‘s Land more properly called Tasmania, containing a description of its climate, soil, and productions: a Form of Application for free grants of land… and other information useful to emigrants (originally London: Sherwood, Jones, and Co, 1823; facsimile edn. Hobart: Tasmanian Government Printing Office, 1990) 1–2.
- Clive Turnball, Antipodean Visions (Melbourne: F. W. Cheshire, 1962) 4–5.
- Smith, European Vision and the South Pacific, 263–4.
- Daniel Thomas, The Outlines of Australian Art: The Joseph Brown Collection, expanded edn. (Melbourne: Macmillan, 1973) 15.
- Quoted in Hansen, “The Life and Work of John Glover”, John Glover and the Colonial Picturesque, 98.
- ibid. 98.
- J. S. MacDonald, “Arthur Streeton”, Art in Australia 3.40 (October, 1931) 22–3.
- Carol Lansbury, Arcady in Australia: The Evocation of Australia in Nineteenth Century English Literature (Melbourne: Melbourne UP, 1970) 163.
- Indeed McCubbin admitted as much by quoting the English writer George Borrow, who exhorted English artists “to bide in thy native land” rather than travel to Rome for inspiration: “what has thou to do with Rome, and thou an Englishman? Did thy blood never glow at the mention of thy native land as an artist merely?…Seek'st models? To Gainsborough and Hogarth turn; not names of the world, may be, but English names.’…In the same spirit as Borrow”, said McCubbin, “I would address the young Australian artists.” (McCubbin, “Some Remarks on the History of Australian Art”, 277–8.
- ibid. 271.
- “The Rise and Progress of Water Colour Painting in England no IX”, Somerset House Gazette XIII (3 January, 1824) 193.
- Somerset House Gazette IX (6 December, 1823) 132
- See W. K. Hancock, Australia (London: Ernest Benn Ltd., 1930) 53–68.
- Glover famously exhibited his work in London in the company of paintings by Claude that he owned.
- Radford and Hylton, Australian Colonial Art, 58.
- ibid. 56.
- Hansen, “The Life and Work of John Glover”, John Glover and the Colonial Picturesque, 44.
- ibid. 45.
- ibid. 48.
- Filippo Baldinucci, quoted in Humphrey Wine, Claude the Poetic Landscape (London: National Gallery Publications, 1994) 13.
- “The Rise and Progress of Water Colour Painting in England no III: Turner and Claude de Lorraine”, Somerset House Gazette VII (22 November, 1823) 97–9
- Ackermann ‘s Repository of Arts, Literature, Commerce Manufactures, Fashions, and Politics, Series 2, vol. XIII, LXXVII (May 1822) 303.
- ibid. vol. IX (May 1813) 53.
- ibid,. Series 3, vol. VII, XLI (May 1826) 299
- John McPhee, “The Symbolic Landscape”, John Glover and the Colonial Picturesque, 110.
- Hansen, “The Life and Work of John Glover”, Ibid. 106.
- See W.J. T. Mitchell, Landscape and Power (Chicago: Chicago UP, 1994)
- J. S. Benson & P. A. Redpath, “The Nature of Pre-European Native Vegetation in Southeastern Australia: a Critique of Ryan, D. G., J. R. and Starr, B.J. (1995) The Australian Landscape—Observations of Explorers and Early Settlers”, Cunninghamia 5.2, (1997) 285328. See also replies to this article in 5.4.