Читать книгу Selected Writings - Margaret Preston - Margaret Preston - Страница 10

Sydney, New South Wales, has built for itself some of the finest specimens of Meccano art in the world. One, a great towering structure that sends everything around it out of perspective; it is the adored of three parts of the community - it is ‘Our Bridge’. In an odd way, it seems to be the culmination of the worship of ironbound realism that has ruled the art of Australia generally. Repetition and diligence is the order of the Meccano. Number two specimen is a new fountain which has been placed in Sydney’s principal public reserve - Hyde Park. It is a veritable repetition of all the public fountains in the world. All the laws of fountains have been obeyed in its figures: they lean, they stride, they invite criticism as to what gods they represent. They follow in perfect order in the repetition of an idea born about the time of the fig-leaf era. It is a perfect specimen of Meccano art.

The third erection is the cenotaph. This was once a distinguished-looking mausoleum of marble, simple in line, stern in its simplicity. These qualities gave offence, and now two useless-looking soldier figures have been added - a pair, one at each end of the slab. Every rag, button, etc. true to a soldier’s kit; all in order, realism without offering conviction of grief or anything else but tailors’ dummies. The cenotaph has joined the great union of Meccano.

This god, Meccano, rules this country with a rod. It demands all landscape paintings to be on a set pattern, or no Wynne or other prize - all portraits to be after set laws and rules, or no Archibald prize - a National Art out of a box, easy to do, to understand, and - to ignore!

‘Who wants Art’, says the man in the street. Here, in a country geographically and climatically different to any other country, and with its own national characteristics, an imported toy is its ideal.

While the Meccano god rules, Australian art can have no hope, as an artist may work with a knowledge of science, but he seldom works scientifically, by laws and rules. He works through his artistic vision and conception.

Art is personal, and of the spirit - both of these are anathema to the god Meccano. Let young Australia rise and smash this footling god, and demand that work showing their national characteristics can be exhibited without jeers from press reporters and aged committee men. Let young Australia have growing pains, remembering that all the outraged bellowings of the god Meccano can never stop growth. Have courage, before it is too late, before this country is poisoned by internationalism, making its art bastard forever.

Manuscripts No 2 June 1932

The Spit Bridge, woodblock 1927