Читать книгу A Companion to Australian Art - Группа авторов - Страница 30

What, then, was happening in the other Australian colonies from the mid-century? The first phase, with Mechanics’ Institutes and learned societies assuming responsibility for making fine art available to the public, as an expression of civic progress and pride, though with little or no curatorial discipline or thesis, was passing. In Melbourne, a government-funded art collection (and school of art, which, interestingly, became formally linked some years later to the new Working Men’s College, situated on an adjacent site in a Gothic Revival building, the whole program displaying true Ruskinian principles) was bringing focus to a colonial British society’s cultural ambition; furthermore, the two international exhibitions in the 1880s brought to Melbourne thousands of contemporary artworks from around the world (all academic), with several national fine art courts having their own curators and staff.

In many ways, the process of creating significant public art museums in Melbourne, Hobart and elsewhere reflected earlier experience in the United States where, for example, the Boston Athenæum, founded in 1807 in imitation of the Liverpool Athenæum in England, constructed an art gallery in 1827, which organized regular exhibitions of European and American art. When the larger and more ambitious Museum of Fine Arts was established in 1870, most of the Boston Athenæum collection was transferred to the new institution. The process played out in Philadelphia was similar, but with different outcomes.

Given the museological and art education activity in Melbourne in the 1860s and 1870s, it is not surprising that Sydney moved to respond, though without anything like the civic and governmental impetus experienced in Melbourne. In 1871 a meeting of interested people took place in Sydney to discuss establishing an “Academy of Art”, to promote the fine arts through lectures and discussions, exhibitions and art classes, and the Academy’s first exhibition took place the following year.

The formal creation of the Art Gallery of NSW took some time, however. In 1874 the government of NSW granted the Academy £500 for the purchase of art works, and the following year William Piguenit’s Mt Olympus, Lake St. Claire, Tasmania was gifted by 50 subscribers. The 1879 International Exhibition in Sydney required a local response in relation to the public collections of NSW, and an annexe to the main exhibition hall was constructed. After the International Exhibition moved on to Melbourne the following year, the annexe was made available, officially opening in September 1880 as the Art Gallery of New South Wales. In emulation of Melbourne – and of course, London, which was the principal exemplar – it was renamed the “National Art Gallery of New South Wales” in 1883, though it was not formally incorporated by Act of Parliament until 1899. After several false starts, a handsome, classicizing sandstone building was completed and opened in 1906. The National Art Gallery of NSW acquired a group of major, mainly British, pictures in these early years – ranging from Ford Madox Brown’s monumental and highly important Chaucer at the Court of Edward III, 1847–1851, purchased for £500 in 1876, to several major works by Leighton, such as Wedded 1882, purchased in the same year after being first exhibited in London. Overall, in the post-Federation period, the Australian content expanded rapidly, and became a major feature of the visitor experience, supported by annual events such as the Wynne Prize, for “the best landscape painting of Australian scenery,” inaugurated in 1897 and continuing to this day.

A not dissimilar sequence of events occurred in Adelaide, leading to the founding of the National Art Gallery of South Australia. In the colony’s first decades a series of attempts were made to provide cultural and educational activities. By an act of parliament in 1856, the facilities and assets of the first library, and the Mechanics’ Institute, were absorbed into a new South Australian Institute, with the Institute presenting a substantial fine art loan exhibition the following year.¹² As early as 1875 gifts were made by individual citizens of Adelaide with a view to forming a public collection, and the International Exhibitions in Sydney and Melbourne in 1879–1881 clearly focused attention on what might be done, and the opportunities available. In 1879 the South Australian parliament agreed an annual sum of £2000 for the purchase of art works for a new public gallery, and 21 pictures were acquired from the international fine art collections available in Melbourne the following year. Two rooms to exhibit these and other works were set up in the Public Library, and the new “National Art Gallery of South Australia” was declared open in June 1881. In 1889 the fine art collection was removed to the former Exhibition Building, in the full knowledge this was an unsuitable venue, of considerable concern to the Melbourne and Sydney public galleries which had placed works on loan. Then, in 1897, the single largest philanthropic donation yet made in Australia occurred with the bequest of £25 000 by the wealthy businessman and pastoralist Sir Thomas Elder, for the purchase of pictures. This had a transformative impact, putting Adelaide on the museological map, giving Adelaide’s nascent fine art gallery the ability to purchase major British, European and especially Australian works. The government felt obliged to provide a suitable building, and the bequest inevitably provided an inspiration to the rest of the nation. To this day, the relatively small, but wealthy, city of Adelaide remains a major center of national arts philanthropy.

The Honorary Curator Harry P. Gill – concurrently the director of Technical Art at the South Australian School of Arts and Crafts – traveled to London in 1899 and enlisted the help of a London advisory committee of experts, led by Sir Edward Poynter, and key works by Burne-Jones, Leighton and Poynter himself were acquired in the next few years. As always, the prevailing taste was British and academic, though Bouguereau’s magisterial Madonna and Child of 1888 was acquired through the Elder Bequest, followed by Burne-Jones’ Perseus and Andromeda, 1876, in 1902.

The debate on the potential – indeed, necessity – for the six British colonies in Australia to form a national Federation inevitably drew attention to the importance of public institutions building strong collections of Australian art reflecting the Australian experience, and a key response of the Adelaide gallery, once the income of the Elder Bequest became available, was to ringfence a third of the available funds to support the creation of notable national collections, both historic and contemporary. The Adelaide gallery embarked on a series of nine “Federation Exhibitions”, from 1898 to 1909, seeking the best available works by members of the Australian Impressionist/plein-airist/realist and tonal realist groups, beginning with Streeton, McCubbin and Roberts, and the acquisition of Tom Roberts’ early masterpiece The Breakaway in 1898, immediately following its return from the exhibition of Australian art at the Grafton Gallery in London, put Adelaide on the map. Further possibilities were opened up with the funds which became available from a second generous gift, the Morgan Thomas Bequest of 1903.

The creation of the Queensland Art Gallery in Brisbane was slower, and took time to mature. In 1895, the “Queensland National Art Gallery” was opened in temporary premises, and for almost a century the new institution occupied a series of different locations until a dedicated building was finally opened in 1982, as part of a cluster of related “concrete brutalist” cultural institutions on the south bank of the Brisbane River – in emulation, perhaps, of Denys Lasdun’s 1960s concrete brutalist South Bank cultural complex in London. It is worth noting that the new Queensland Art Gallery (QAG) opened to the public in the same year as the new Australian National Gallery in Canberra, also (inevitably) a significant concrete brutalist building of real distinction by Colin Madigan. The early collection of the QAG reflected what had become a kind of standard for general taste in the Australian colonies. A surprising early donation – made in 1892 in anticipation of a public art gallery for Brisbane – was a group of mostly seventeenth century Dutch and Flemish pictures, from the well-known pastoralist and Member of Parliament Thomas Lodge Murray-Prior. Over the years, some good historic and contemporary British pictures were acquired but again, in the spirit of the debate on Federation and a new nationalist spirit – and, to a certain extent, determined by available budgets – preference was increasingly given to contemporary Australian art. It was only in the period after WWII that a broader, more outward-looking collecting policy emerged, with an openness to modernity and the avant-garde. It is worth noting that the 1959 gift of artworks by locally-based collector and connoisseur Major Harold de Vahl Rubin, included three works by Picasso, as well as works by Degas, Renoir, Lautrec and others.

In Perth, the history of the Art Gallery of Western Australia was fairly similar. It too was founded on the crest of the wave of the Federation debate, and a new growing sense of national pride, achievement and future possibilities. Having said that, its origins were modest, and from 1911 it was managed by government as part of a trio of related cultural entities, linked to the (far better funded) Public Library and the Museum of WA. In 1897, perhaps hopeful of a brighter future, external advisers were appointed: Sir Edward Poynter PRA and the painter George Clausen, in London (the latter had previously acted briefly as adviser to the NGV in Melbourne) and the Melbourne-based art impresario Joshua Lake, who had had responsibility for the fine art collections of the Centennial Exhibition in 1888. The first acquisitions, predictably, were predominantly contemporary British, largely, though not entirely, academic, with Clausen commissioned to produce a significant work, The End of a Long Day. There was a substantial collection of plaster casts of antiquities (mostly acquired from the British Museum and reflecting its collections) some European old masters, and some Australian works, though an early concentration on local art production was perhaps not as emphatic as elsewhere.

The English geologist Bernard Woodward, whose father worked in the geology department of the British Museum, was appointed to run the Museum in 1889, and was assigned responsibility for the fine art collection from 1895; in 1892 the government of Western Australia purchased the collections of the Swan River Mechanics’ Institute for incorporation into the government institution. Woodward was formally appointed joint director in 1901, when the King’s son the Duke of York, en route back to London from presiding at the opening of the first federal parliament in Melbourne, laid the foundation stone for a new building, which finally opened in 1908. The Art Gallery of Western Australia (AGWA) Council’s former chaiman, J. Winthrop Hachett, left a bequest of £3000 in 1926, used to acquire a group of late 19th and early twentieth century artworks, including a masterpiece of modern British plein-airism, Philip Wilson Steer’s Yachts Racing on the Solent. On his appointment as adviser in 1896 Joshua Lake was allocated £7000 to spend, and recommended that it should be dedicated to modern pictures, and Clausen received the same amount in 1897. Joseph Pennell, the London-based expert on drawings and “black and white” had £300, which stretched to include three major avant-garde drawings by Beardsley.

It has to be admitted that the fortunes of the AGWA ebbed and flowed through the first half of the twentieth century with lacklustre government commitment, and it was left with no director in post in the period 1916–1947. It was not until a new building was conceived and delivered in the late 1970s that the AGWA as we know it today really achieved a national standing. Inevitably, the collections developed slowly, with an increasing emphasis on local Australian content in the post WWII period, although global contemporary art, as well as Indigenous Australian, began to be acquired as budgets permitted from the early 1980s, after the opening of the new building.