- Bernard Smith, Australian Painting (Melbourne: Oxford University Press, 1991), 148. Of course, Smith's position with regard to the relationship between the national and the international is more nuanced than this. However, in the end, Smith's position is, for us, that of an advocate for the ‘Australian’ in our art. We will be taking up the problem of the relationship between the national and the international in Smith's work in a forthcoming essay ‘For and Against Bernard Smith’.
- Robert Hughes, The Art of Australia (Harmondsworth: Penguin, 1970), 24.
- Andrew Sayers, Australian Art (Melbourne: Oxford University Press, 2001), 5–6.
- For the classic statement of Australian social and cultural isolation during this period, see Manning Clark, A History of Australia VI: The Old Dead Tree and the Young Tree Green, 1916–35 (Melbourne: Melbourne University Press, 1987). It is an assumption that is still to be found in many accounts of Australian art. See, for example, Christopher Heathcote, ‘The Cactus Years’, in A Quiet Revolution: The Rise of Australian Art 1946–1968 (Melbourne: Text Publishing, 1995), 1–21.
- See Terry Smith, ‘Adopt, Adapt, Transform! Modernist Strategies in Margaret Preston's Still Life, 1929’, in Transformations in Australian Art, vol. 2 (Roseville: Craftsman House, 2002), 47–73.
- For a general account of this project and how our consideration of the period 1920–40 fits within a wider history, see 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).
- Lloyd Rees, The Small Treasures of a Lifetime (Sydney: Collins Australia Publishing, 1988), 113.
- Grace Cossington Smith cited in Jean Campbell, Cav. Antonio Dattilo-Rubbo: Painter and Teacher and Some Prominent Pupils (Sydney: Manly Art Gallery, 1980), 22.
- Rees, 110.
- Ibid., 112–13.
- A version of de Maistre and Wakelin's show was recently mounted, entitled Colour in Art: Revisiting 1919, curated by Annabel Pegus and Nick Waterlow, at the Ivan Dougherty Gallery from August-September 2008, although, it must be said, with some unresolved crucial issues involving the dates of certain works and whether they were in the original exhibition.
- Roland Wakelin, ‘The Modern Movement’, Art and Australia 3, no. 26 (December 1928). This text, along with a number of others we refer to here, has been reprinted in Modernism and Australia: Art, Design and Architecture, 1917–1967, ed. Ann Stephen, Andrew McNamara, and Philip Goad (Melbourne: Melbourne University Press, 2007).
- Anne Dangar, letter to Dom Angelico Surchamp, 10 October 1949, cited in Bruce Adams, Rustic Cubism: Anne Dangar and the Art Colony at Moly-Sabata (Chicago: University of Chicago Press, 2004), 15.
- See the chapter ‘Leviticus’ in Australian Painting, 167–204.
- This is not to say that other artists—Margaret Preston, for example—were not exposed to similar internationalist influences during their own trips to Europe and yet, nevertheless, returned to make a consciously nationalist art.
- Anne Dangar, ‘To-day’, Undergrowth (Sydney), January-February 1929. Dangar also goes on to say in this text that ‘There is no such thing as Australian art or English art. Art is universal.’
- See Smith's footnote in Australian Painting, 166. See also Proctor's exchange with Art and Australia in response to Donald Finley's ‘John Peter Russell and His Friends’, Art and Australia 3, no. 1 (June 1965), 106; ‘Letters’, Art and Australia 3, no. 2 (September 1965), 148; and ‘Letters’, Art and Australia 3, no. 3 (December 1965), 209, 227.
- Lloyd Rees, ‘The Macquarie Galleries—Some Personal Memories’, Art and Australia 13, no. 1 (July- September 1975), 41.
- For an account of this exhibition, see Heather Johnson, ‘Modern Rooms’, in Modern Times, ed. Ann Stephen, Philip Goad, and Andrew McNamara (Melbourne: Melbourne University Press, 2008).
- The political conflict apparent at the opening of the Sydney Harbour Bridge reflected aesthetic tensions in the art world. The bridge was at once a potent symbol of national pride and an empty motif, allowing artists to exercise a number of international styles. For modern artists, the bridge was as much French post-cubist (Dorrit Black) as it was futurist (Frank Weitzel). It was as much pictorialist (Harold Cazneaux) as it was Japoniste (Jesse Traill). But equally it was also the bridge of the biscuit tin and the travel poster. These alternatives resist being encompassed under any unified category of either the national or the international.
- The Home 12, no. 4 (April 1931), 31, cited in Nancy Underhill, Making Australian Art 1916–49: Sydney Ure Smith—Patron and Publisher (Oxford: Oxford University Press, 1991), 207.
- Sydney Ure Smith, editorial to Art in Australia 3, no. 29 (September 1929), cited in Mary Eagle, ‘Modernism in Sydney in the 1920s’, in Studies in Australian Art, ed. Ann Galbally and Margaret Plant (Melbourne: Department of Fine Arts, University of Melbourne, 1978), 84.
- Eagle, 89.
- Lionel Lindsay cited in ‘Art Abroad: “A Return to Sanity”’, West Australian, 14 November 1934. Accessed from the Art Gallery of New South Wales library's clippings folder.
- Adams, 25.
- Dorrit Black, ‘Miss Black's Speech at the Opening of the Modern Gallery (Opening of Modern Art Centre's First Exhibition)’, in The Art of Dorrit Black, Ian North (Melbourne: Macmillan, 1979), 143–44.
- Mary Alice Evatt, ‘The Crowley Fizelle Art School’, Quarterly (Sydney) (October 1966), 314.
- New South Wales Government House, ‘Government House Garden Fete Souvenir Program’ (Sydney: New South Wales Government House, 1932), 8.
- Thea Proctor, foreword to Women Artists of Australia (Sydney: Sydney Education Department Gallery, 1934).
- Alleyne Zander, foreword to Exhibition of British Contemporary Art (Melbourne: Arbuckle, Waddell, 1933).
- Richard Haese, Rebels and Precursors: The Revolutionary Years of Australian Art (Ringwood: Penguin, 1988), especially 29–30.
- Margel Hinder, ‘A Personal View—1930-1940’, in Australian Women Artists: One Hundred Years 1840–1940, ed. Janine Burke (Melbourne: George Patton Gallery, 1975), 19.
- Smith, 210.
- Jennifer Phipps, Atyeo (Melbourne: Heide Park and Art Gallery, 1982), 9.
- Ibid., 30.
- Robert Menzies, Argus (Melbourne), 23 April 1937.
- Allan Henderson, ‘Contemporary Art Advances’, Art in Australia (15 August 1939), 13.
- ‘Art Trustees Criticised’, Sydney Morning Herald, 25 September 1940; ‘150 Want Locked Art Hung’, Daily Telegraph (Sydney), 25 September 1940.
- ‘A Special Reporter’, ‘Art Trustees Show Own Pictures First’, Daily Telegraph (Sydney), 2 August 1940.
- See Eileen Chanin and Steven Miller, Degenerates and Perverts: The 1939 Herald Exhibition of French and British Contemporary Art (Melbourne: Miegunyah Press, 2005).
- See J. F. Williams, The Quarantined Culture: Australian Reactions to Modernism 1913–1939 (Cambridge: Cambridge University Press, 1995), especially the chapter ‘The “Lost” Generation’.
- See Australian Painting, 199. It is worth noting that Caroline Ambrus, in the chapter ‘Australian Women Artists Between the Wars: The Unacknowledged Generation’ in her book The Ladies Picture Show: Sources on a Century of Australian Women Artists (Sydney: Hale & Iremonger, 1984), refutes this claim through a comparative analysis of the statistical makeup of art schools, art societies, and art exhibitions before and after the war.
- Lloyd Rees, ‘Lionel Lindsay, Syd Ure Smith, and their Circle’, Australian Art Available 1 (December 1985- February 1986), 43.
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