- Bernard Smith, ‘Exodus’, in Australian Painting 1788–1990 (Melbourne: Oxford University Press, 1991), 126–66.
- Bernard Smith, Place, Taste and Tradition: A Study of Australian Art since 1788 (Melbourne: Oxford University Press, 1979), 30.
- Ibid.
- Bernard Smith, Australian Painting Today (St Lucia: University of Queensland Press, 1962); Australian Painting 1788–1970 (Melbourne: Oxford University Press, 1971); Ian McLean, ‘The Necessity of an (un) Australian Art History’, Artlink 26, no. 1 (2006), 51.
- Smith, 1971, 165.
- Bernard Smith, 1962, cited in Ian Burn, Nigel Lendon, Charles Merewether, and Ann Stephen, The Necessity of Australian Art (Sydney: Power Publications, 1988), 70.
- Melba Cuddy-Keane, ‘Modernism, Geopolitics, Globalisation’, Modernism/Modernity 10, no. 3 (2003), 539–40.
- David Held, Anthony McGrew, David Goldblatt, and Jonathan Perraton, Global Transformations: Politics, Economics and Culture (Cambridge: Polity Press, 1999), cited in Cuddy-Keane, 544.
- This quote comes from a ‘scathing attack’ on Australian parochialism in the arts by art historian, writer, and curator of the 2006 Biennale of Sydney, Dr. Charles Merewether. His remarks were made on his departure from Australia in 2007 to take up an art consultancy in the United Arab Emirates. They were reported by Sebastian Smee in ‘A Nation “Too Parochial” to Engage Meaningfully with Culture’, The Australian, 5 November 2007. Mereweather's remarks fit seamlessly-with the kinds of comments Australian artists have been making since the 1880s about why they needed to leave the country. For historical forms of the same sentiments from the 1880s to the 1930s see William Moore, The Story of Australian Art (Sydney: Angus and Robertson, 1934), especially his ‘Expatriates’ chapter; and for post-World-War-II commentaries see Geoffrey de Groen's Some Other Dream: The Artist, the Art World, and the Expatriate (Sydney: Hale and Iremonger, 1984).
- Caren Kaplan, Questions of Travel: Postmodern Discourses of Displacement (Durham and London: Duke University Press, 1996), 30.
- Iwona Blazwick, Century City: Art and Culture in the Modern Metropolis (London: Tate Publishing, 2001), 8.
- Cecilia Beaux and William Merritt Chase, cited in Kathleen Adler, ‘We'll Always Have Paris’, in Americans in Paris 1860–1900, Kathleen Adler, Erica Hirshler, and H. Barbara Weinberg (London: National Gallery, 2006), 14.
- For instance, John Russell worked closely with Monet in Brittany.
- Sarah Wilson, Paris: Capital of the Arts 1900–1968 (London: Royal Academy of the Arts, 2002), 51.
- Ibid., 44–45.
- Ibid., 51.
- Craig Calhoun, ‘Cosmopolitanism and Nationalism’, Nations and Nationalism 14, no. 3 (2008), 442.
- Blazwick, 9.
- Kwame Anthony Appiah cited in Calhoun, 442.
- Smith, 1979, 30. On British Australian-ness see Catherine Speck, ‘A Not So Genteel Pen: Grace Cossington Smith's British-Australian Cartoons’, in Projections of Britain, ed. L. Warner and H. Kerr (Adelaide: Lythrum Press, 2008), 36–51.
- Daniel Thomas, ‘Rupert Bunny Revived’, Sunday Telegraph (Sydney), 18 October 1968, 27; Mary Eagle, The Art of Rupert Bunny in the Australian National Gallery (Canberra: National Gallery of Australia, 1991), 17; Rex Butler and A. D. S. Donaldson, ‘A Short History of UnAustralian Art’, in Visual Animals: Crossovers, Evolution and New Aesthetics, ed. Ian North (Adelaide: Contemporary Art Centre of South Australia, 2007), 107–21.
- For travel taken in its widest sense—as movements, exile, migration, expatriation—see Geoffrey Robertson, Traveller's Tales: Narratives of Home and Displacement (London: Routledge, 1994). For sociologies of travel as a meaningful activity in the twentieth century, see works by Dean MacCannell, John Urry, and Sara Mills. For questions of travel writing and transculturation, see works by James Buzzard, Mary Louise Pratt, and Ray Bradbury. For the metropolis as platform for modernism see the work of Raymond Williams. For gendered viewpoints and travel as transformative for women, see works by Ros Pesman, Linda Nochlin, and Janet Wolff. Modernism in its cosmopolitan guise has been addressed by James Clifford, Susan Stanford Friedman, Rebecca Walkowitz, Amanda Anderson, Dipesh Chakrabarty, Bruce Robbins, and Walter Mignolo, among others.
- Humphrey McQueen, ‘Gods and Nymphs for Neighbors’, Time, 8 September 1986, 55.
- See Catherine Speck, ‘Adelaide's Federal Exhibitions: 1898–1923’, in Seize the Day: Exhibitions, Australia and the World, ed. K. Darian-Smith, R. Gillespie, C. Jordan, and E. Willis (Melbourne: Monash ePress, 2008), 17.1–17.16.
- ‘The Art of Mr Rupert Bunny: An Eminent Australian’, The Southern Sphere, 1 July 1911.
- ‘Personal’, The Australasian, 3 June 1911.
- McQueen, 55.
- Eagle, 16.
- Burne-Jones cited in Barbara Kane, Sanctity and Mystery: The Symbolist Art of Rupert Bunny (Melbourne: Ian Potter Museum of Art, 2001), 5.
- The exhibition Days and Nights in August, by Rupert Bunny, was shown between 22 April and 12 May 1911.
- Bunny was a talented pianist and composer.
- Eagle, 74.
- Norman Carter, ‘Rupert Bunny's Paintings’, Lilley's Magazine 1, no. 5 (14 October 1911), 198.
- Bunny entered two landscapes and removed all French references, even though he was painting landscapes in the north of France. He titled each work Landscape for this Australian exhibition.
- Speck, 2008.
- Minutes of meetings held on 28 July 1911, 25 August 1911, 27 July 1928, 24 August 1928, taken from the Art Gallery of New South Wales trustees’ minutes books held at the Art Gallery of New South Wales Research Library.
- Eagle, 16.
- Gustave Geffroy, ‘Rupert Bunny’, in Exposition Rupert CW Bunny (Paris: Galerie Georges Petit, 1917), 3.
- ‘Rupert Bunny: Painter of International reputation’, Table Talk, 9 August 1928.
- Clive Turnball, Rupert Bunny: An Appreciation (Melbourne: National Gallery of Victoria, 1946).
- John McDonald, ‘Style with Distinction’, The National Times, 11–17 July 1986, 37.
- Cited in Penelope Little, A Studio in Montparnasse. Bessie Davidson: An Australian Artist in Paris (Melbourne: Craftsman House / Thames & Hudson, 2003), 36.
- Prinet cited in Little, 36–37.
- Little, 97.
- Cited in Little, 90.
- Davidson also painted in Scotland.
- Little, 57.
- Ibid., 56
- Lisette Kohlhagen, Kalori 3, no. 3 (April 1965), 19.
- Geffroy, 4–5.
- Edouard Sarradin, Journal des Debat (1937), cited in Little, 108.
- After the death of Black's father, her allowance came from his estate.
- Stephen Coppel, Linocuts of the Machine Age (Aldershot: Scolar Press / National Gallery of Australia, 1995), 66.
- Dorrit Black, ‘Account of Travel and Work 1927–9’ (private collection).
- Andre Lhote, ‘Cubism’, Undergrowth (March-April 1928), np.
- Grace Crowley cited in Ian North's Dorrit Black (South Melbourne: Macmillan/Art Gallery of South Australia, 1979), 32.
- M. Frienens, Journal des Debuts (8 February 1929), cited in North, 43.
- Sarah Thomas, ‘A Wider Vision: Dorrit Black's Modern Art Centre’, Art and Australia 44, no. 1 (2006), 99.
- Dorrit Black, ‘Miss Black's Speech at the Opening of the Modern Group’, cited in North, 143–44.
- Ibid., 144.
- Jeffrey Smart, Not Quite Straight: A Memoir (Port Melbourne: William Heinemann, 1996), 53.
- See Ann Stephen, Philip Goad, and Andrew McNamara, eds., ‘Introduction’, and Andrew McNamara, ‘The Bauhaus in Australia’, in Modern Times: The Untold Story of Modernism in Australia (Carlton/Sydney: Miegunyah Press/Powerhouse Publishing, 2008), xviii–xxxiii and 2–15 respectively. See also Art and Australia: The Emigré Issue 30, no. 4 (1993) and Roger Butler, ed., The Europeans: Emigré Artists in Australia 1930–1960 (Canberra: National Gallery of Australia, 1997).
- Dorrit Black cited in North, 97.
- Jane Hylton, Modern Australian Women (Adelaide: Art Gallery of South Australia, 2001), 44.
- See Stephen, Goad, and McNamara, xxi.
- Benedict Anderson, Imagined Communities: Reflections on the Origins and Spread of Nationalism (London: Verso, 1983), 3–4.
- Terry Smith, ‘Modernism and Australia: Documents on Art, Design and Architecture 1917–1967 (Review)’, Modernism/Modernity 15, no. 2 (2008), 394.
- Cuddy-Keane, 553.
- Calhoun, 445.
- Cited in Little, 11.
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