CROSSING CULTURES CONFLICT, MIGRATION and CONVERGENCE

The Proceedings of the 32nd International Congress of the History of Art

Edited by PROFESSOR JAYNIE ANDERSON Contents Crossing Cultures: Conflict, Migration and Convergence The Proceedings of the 32nd International Congress of the History of Art Professor Jaynie Anderson (ed.)

Crossing Cultures: Conflict, Migration and Convergence is a compilation of the conference papers from the 32nd International Congress in the History of Art organised by the International Committee of the History of Art (CIHA), edited by conference convenor Professor Jaynie Anderson. Crossing Preface 3 Art Histories in an Interconnected World: Cultures is an in-depth examination of the effect of globalism on art and art history. Covering all Jaynie Anderson, Convenor of the 32nd Synergies and New Directions aspects of art—including traditional media, painting, sculpture, architecture and the crafts, as well International Congress in the History of Art xvii 10 Beyond the National, inside the Global: as design, film, visual performance and new media—it explores the themes of conflict, migration New Identity Strategies in Asian Art in 1 A Conversation at the Town the Twenty-First Century and convergence in the visual, symbolic and artistic exchanges between cultures throughout history. Hall on Art, Migration and Indigeneity: John Clark, University of 58 What Happens when Cultures Meet? 11 Not Just Images but Art: Pragmatic 1 An Introduction to the Conversation Issues in the Movement towards a More Published June 2009 by The Miegunyah Press Gerard Vaughan, Director of the National Inclusive Art History 1,128 pages, fully illustrated throughout Gallery of Victoria, Melbourne 2 Howard Morphy, Australian National 2 Playing between the Lines: The Melbourne University, Canberra 60 Experience of Crossing Cultures 12 The World at Stake: CIHA after Melbourne Jaynie Anderson, University of Jaynie Anderson, University of Melbourne 4 Melbourne 63 3 Art in Transit: Give and Take in Dutch Art 13 Global Collections for Global Cities Ronald de Leeuw, Director of the Neil McGregor, Director of the British An imprint of Melbourne University Publishing Rijksmuseum, Amsterdam 10 Museum, 65 4 Found in Translation Howard Morphy, Australian National 4 The Idea of World Art History Purchase online at the Melbourne University Publishing E-store University, Canberra 18 14 Introduction 1 5 Home and Away: Works of Art as Thomas DaCosta Kaufmann, Citizens and Migrants Princeton University 72 Michael Brand, Director of the John Paul 15 Introduction 2 Getty Museum, Los Angeles 21 Peter J Schneemann, Institut für 6 The Travels of a Mi’kmaq Coat: Kunstgeschichte, Bern 75 A Nineteenth-Century World Art History and Twenty-First-Century Cultural Politics Methodological and Ideological Perspectives Ruth B Phillips, Carleton University, 16 Neuroarthistory as World Art History: Ottawa 26 Why Do Humans Make Art and Why Do They Make It Differently in 2 Creating Perspectives on Different Times and Places? Global Art History John Onians, University of East Anglia, Available for purchase as: 7 Joe Burke’s Legacy: The History of Art Norwich 78 History in Melbourne 17 Towards Horizontal Art History Andrew Grimwade, Chairman of the Piotr Piotrowski, Adam Mickiewicz Paperback – AUD $200 Felton Bequest and Life Member of the University, Pozna´n 82 http://web.mup.unimelb.edu.au/e-store/product_info.php?cPath=49&products_id=198 Miegunyah Fund 32 18 Global Aspects on Johnny Roosval’s 8 The Art of Being Aboriginal Concept of the Artedominium E-book – AUD $150 Marcia Langton, University of Jan von Bonsdorff, Uppsala University 86 Melbourne 35 19 Putting the World in a Book: How http://web.mup.unimelb.edu.au/e-store/product_info.php?cPath=49&products_id=209 9 On Global Memory: Refl ections on Global Can Art History Be Today? Barbaric Transmission Parul D Mukherji, Jawaharlal Nehru Individual e-book chapters – AUD $4.99 each Homi K Bhabha, Harvard University 46 University, New Delhi 91 http://web.mup.unimelb.edu.au/e-store/product_info.php?cPath=49&products_id=209

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Preface 3 Art Histories in an Interconnected World: Jaynie Anderson, Convenor of the 32nd Synergies and New Directions International Congress in the History of Art xvii 10 Beyond the National, inside the Global: New Identity Strategies in Asian Art in 1 A Melbourne Conversation at the Town the Twenty-First Century Hall on Art, Migration and Indigeneity: John Clark, University of Sydney 58 What Happens when Cultures Meet? 11 Not Just Images but Art: Pragmatic 1 An Introduction to the Conversation Issues in the Movement towards a More Gerard Vaughan, Director of the National Inclusive Art History Gallery of Victoria, Melbourne 2 Howard Morphy, Australian National 2 Playing between the Lines: The Melbourne University, Canberra 60 Experience of Crossing Cultures 12 The World at Stake: CIHA after Melbourne Jaynie Anderson, University of Jaynie Anderson, University of Melbourne 4 Melbourne 63 3 Art in Transit: Give and Take in Dutch Art 13 Global Collections for Global Cities Ronald de Leeuw, Director of the Neil McGregor, Director of the British Rijksmuseum, Amsterdam 10 Museum, London 65 4 Found in Translation Howard Morphy, Australian National 4 The Idea of World Art History University, Canberra 18 14 Introduction 1 5 Home and Away: Works of Art as Thomas DaCosta Kaufmann, Citizens and Migrants Princeton University 72 Michael Brand, Director of the John Paul 15 Introduction 2 Getty Museum, Los Angeles 21 Peter J Schneemann, Institut für 6 The Travels of a Mi’kmaq Coat: Kunstgeschichte, Bern 75 A Nineteenth-Century World Art History and Twenty-First-Century Cultural Politics Methodological and Ideological Perspectives Ruth B Phillips, Carleton University, 16 Neuroarthistory as World Art History: Ottawa 26 Why Do Humans Make Art and Why Do They Make It Differently in 2 Creating Perspectives on Different Times and Places? Global Art History John Onians, University of East Anglia, 7 Joe Burke’s Legacy: The History of Art Norwich 78 History in Melbourne 17 Towards Horizontal Art History Andrew Grimwade, Chairman of the Piotr Piotrowski, Adam Mickiewicz Felton Bequest and Life Member of the University, Pozna´n 82 Miegunyah Fund 32 18 Global Aspects on Johnny Roosval’s 8 The Art of Being Aboriginal Concept of the Artedominium Marcia Langton, University of Jan von Bonsdorff, Uppsala University 86 Melbourne 35 19 Putting the World in a Book: How 9 On Global Memory: Refl ections on Global Can Art History Be Today? Barbaric Transmission Parul D Mukherji, Jawaharlal Nehru Homi K Bhabha, Harvard University 46 University, New Delhi 91

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Empirical Perspectives Avinoam Shalem, University of 20 From Ideology to Universal Principles: and Kunsthistorisches Institut, Florence 154 Art History and the Visual Culture of the 32 Fluid Picture-Making across Borders, Balkans in the Ottoman Empire Genres, Media: Botanical Illustration Nenad Makuljevi´c, University of from Byzantium to Baghdad, Ninth to Belgrade 98 Thirteenth Centuries 21 From Nation via Immigration to World Alain Touwaide, National Museum of Art: Concepts and Methods of Brazilian Natural History, Smithsonian Institution, Art Theory Washington, DC 159 Jens Baumgarten, Universidade 33 Greek Painters Working for Latin and Federal de São Paulo 104 Non-Orthodox Patrons in the Late 22 Universalism and Utopia: Joseph Beuys Medieval Mediterranean: Some and Alighiero Boetti as Case Studies for Preliminary Remarks a World Art History Michele Bacci, University of Siena 164 Nicola Müllerschön, Institut für 34 Sailing through Time and Space: How Kunstgeschichte, Bern 111 Cyriacus of Ancona Rediscovered the 23 Genius Loci: The Revenge of the Good Classical Past Savage? Marina Belozerskaya, independent Carmen Popescu, André Chastel Research scholar, Los Angeles 169 Centre, , and New Europe College, 35 Multi-Ethnic Rome and the Global Bucharest 116 Renaissance: Ethiopia, Armenia and 24 A Survey of the Current State of Art Cultural Exchange with Rome during History in China the Fifteenth Century Shao Dazhen, Central Academy of Christiane Esche-Ramshorn, Fine Arts, Beijing 121 University of Cambridge 173 25 Recent Study in Ancient Chinese Art History in China 6 Hybrid Renaissances in Europe and Beyond Yan Zheng, Central Academy of Fine Arts, Beijing 124 36 Introduction 26 Objects without Borders: Cultural Eco - Luke Morgan, Monash University, nomy and the World of Artefacts Melbourne, and Philippe Sénéchal, Jennifer Purtle, University of Toronto 127 University of Picardy, Amiens 180 37 Hybrid Renaissance in Burgundy 5 Fluid Borders: Mediterranean Art Histories Frédéric Elsig, University of Geneva 182 38 Heterotopia in the Renaissance: Modern 27 Fluid Borders, Hybrid Objects: Mediter- Hybrids as Antiques in Bramante and ranean Art Histories 500–1500, Questions of Method and Terminology Cima da Conegliano Gerhard Wolf, Kunsthistorisches Lorenzo Pericolo, Université Institut, Florence 134 de Montréal 186 28 Building Identities: Fluid Borders and 39 ‘Gran Cosa è Roma’: The Noble an ‘International Style’ of Monumental Patronage of Architecture in Early Architecture in the Bronze Age Sixteenth-Century Portugal Louise A Hitchcock, University of Luísa França Luzio, Institute of Art Melbourne 138 History, UNL-FCSH, Lisbon 192 29 Byzantine Art in Italy: Sixth-Century 40 A Bastard Renaissance? Benedikt Ried, Ravenna as a Matrix of Confl uence? Master IP and the Question of Renais - Felicity Harley McGowan, sance in Central Europe University of Melbourne 144 Pavel Kalina, Czech Technical University, 30 ‘Image-Paradigms’ as a Category of Prague 199 Mediterranean Visual Culture: A Hiero - 41 Difference, Repetition and Utopia: topic Approach to Art History Early Modern Print’s New Worlds Alexei Lidov, Research Centre for Christopher P Heuer, Princeton Eastern Christian Culture, 148 University 203 31 The ‘Golden Age’ in Al-Andalus as 42 The Carnivalesque Renaissance Remembered, or How Nostalgia John Gregory, Monash University, Forged History Melbourne 209

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43 ‘Opinione Contraria’: The Anatomy Dagmar Eichberger, University of of Pathos in an Early Drawing by Heidelberg 279 Rosso Fiorentino 56 Dressing Up like the Cannibals? Vivien Gaston, University of Adriaen Hanneman’s Portrait of Melbourne 216 Princess Mary Stuart in a Tupi 44 The Hermaphrodite in the Garden Feather Cape Luke Morgan, Monash University, Rebecca Parker Brienen, University Melbourne 222 of Miami 285 45 Reframing the Renaissance Problem 57 Tupi Featherwork and the Dynamics Today: Developing a Pluralistic of Inter cultural Exchange in Early Historical Vision Modern Brazil Claire Farago, University of Colorado, Amy J Buono, Southern Methodist Boulder 227 University, Dallas 291 46 Do We Still Need a Renaissance? 58 The Visual Subplot: Local Art, Keith Moxey, Barnard College, Global Trade and the Socio-Ethics Columbia University, New York 233 of Exchange, Amsterdam 1580–1680 Elisabeth de Bièvre, independent 7 Cultural and Artistic Exchange in the scholar, UK 296 Making of the Modern World, 1500–1900 59 Visual Elaborations: Fausto Zonaro’s 47 Introduction ‘Ottoman’ Self-Portraits Larry Silver, University of Pennsylvania, Mary Roberts, University of Sydney 300 Philadelphia, and Charles Zika, 60 The Brush and the Burin: Mogul University of Melbourne 240 Encounters with European Engravings 48 Cultures and Curiosity Yael Rice, University of Pennsylvania, Larry Silver, University of Pennsylvania, Philadelphia 305 Philadelphia 242 61 Imperial Exchanges of Goods and 49 Human Sacrifi ce as Symbolic Capital: National Identities: Victorian and Images of the Violated Aztec Body Swadeshi Views of Crafts under the Raj for a Changing World, 1500 –1900 Julie Codell, Arizona State University, and Beyond Tempe 311 Cecilia F Klein, University of California, 62 ‘A Glance into a New World’: Three Los Angeles 247 Approaches to Japan, by Christopher 50 Public Identity and Material Culture in Dresser, Siegfried Bing and Justus Dutch Batavia Brinckmann Dawn Odell, Lewis and Clark College, Rüdiger Joppien, Museum für Kunst Portland 253 und Gewerbe, Hamburg 316 51 ‘Exposure to Your Ways’: China, 63 George French Angas: Colonial Artist the Dutch and Early Modern Vision at Large Julie Hochstrasser, University of Iowa 258 Philip Jones, South Australian Museum, 52 The Global Rembrandt Adelaide 322 Catherine B Scallen, Case Western 64 The Wanderer, the Slave and the Reserve University, Cleveland 263 Aboriginal: Augustus Earle in Rio 53 Images of Bathing Women in Early de Janeiro and Sydney in the 1820s Modern Europe and Turkey Sarah Thomas, University of Sydney 328 Patricia Simons, University of 65 Exchange, Gifting, Identity and Writing Michigan 267 History in Fin-de-Siècle Tahiti 54 Global Encounters: Conventions and Elizabeth C Childs, Washington Invention in Hans Burgkmair’s Images University, St Louis 334 of Natives of Africa, India and the New World 8 Representations of Nature across Cultures Ashley West, University of Pennsylvania, before the Twentieth Century Philadelphia 272 66 Introduction 55 Patterns of Domestication: Exotic Frederick Asher, University of Minnesota, Animals, Plants and People in Australian and Hidemichi Tanaka, International and European Decorative Arts University, Akita 340

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67 Capturing Nature’s Inner Truth: 79 Sacred Country: Ancient Footprints, The ‘True-View’ Concept in China, New Pathways Korea and Japan Donna Leslie, Monash University, Khanh Trinh, Art Gallery of New South Melbourne 398 Wales, Sydney 342 80 A New Conceptualisation of Australian 68 Beauty and Truth in Nature: Japan Religious Iconography: The Case of and the West David Wright Gary Hickey, University of Melbourne Peter French, University of Melbourne 403 and University of , Brisbane 347 81 From Silence to Multiple Incorporation: 69 Landscape as Placeness in the Art Art and Afro-Brazilian Religions of India Roberto Conduru, State University Frederick Asher, University of of Rio de Janeiro 408 Minnesota 352 82 Trees Growing in the Wilderness and 70 Exoticism at Home: The Artist as Statues of Miracle-Working Madonnas Explorer in Nineteenth-Century Sweden Zirka Z Filipczak, Williams College, Bengt Lärkner, Linköping University 357 Williamstown, MA 413 83 A Case of Spiritual Colonisation? The 9 The Sacred across Cultures Production and Reception History of a 71 Introduction Contentious Altarpiece in Jukkasjärvi Robert Gaston, La Trobe University, Church in Lapland, Sweden Melbourne 362 Britt-Inger Johansson, Uppsala University 72 Plato’s Dilemma: Art, Religion and the National Museum of Sweden, and Amnesia Stockholm 419 Donald Preziosi, University of Oxford 84 Chartres, Chichester and Ajanta: and University of California, The Neo-Medievalism of Eric Gill Los Angeles 364 Irena Kossowska, Polish Academy of 73 ‘Strangers in a Strange New Land’: Sciences, Warsaw, and Copernicus How the Immigrant, the Coloniser and University, Torun 424 the Conqueror Used Sacred Architecture 85 A Pantheon Rediscovered? to Establish Identity Naman P Ahuja, Jawaharlal Nehru Ann Thomas Wilkins, Duquesne University, New Delhi 429 University, Pittsburgh, and David 86 Sanctity at the Interstices of Fine Art G Wilkins, University of Pittsburgh 370 and Popular Culture: The Case of Ester 74 Holy Topographies: Aboriginal Art from Helenius the Desert Regions and Its Spiritual Tutta Palin, University of Helsinki 438 Relation to Western Perceptual Painting 87 Intersections of Time and Place in Robert Nelson, Monash University, Books of Hours Melbourne 375 Bronwyn Stocks, Monash University, 75 Visualising Ancestor Spirits: Name Melbourne 442 Tablets or Portraits? 88 A Form of Succession Insoo Cho, Korean National University of the Arts, Seoul 380 Junko Ninagawa, Kansai University, 76 Houses of God, Gates of Heaven, Suita-Shi 448 Doors of Grace: Changes in Perception 89 A New Plague Saint for Renaissance of Lutheran Church Interiors as Italy: Suffering and Sanctity in Narra - ‘Holy Places’ tive Cycles of Saint Roch Marcin Wisłocki, University of Louise Marshall, University of Sydney 453 Wrocław 384 90 Sites of Convergence and Divergence: 77 Secular Florentines and Sacred Images Private Devotional Sites in Seventeenth- Dale Kent, University of California, Century Rome Riverside 389 Glenys L Adams, University of 78 ‘God Is Love’: Representations of Melbourne 459 Christianity in Indigenous Art from Ngukurr, South-East Arnhem Land 10 Materiality across Cultures Cath Bowdler, Australian National 91 Introduction University, Canberra 393 David Bomford, John Paul Getty Museum,

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Los Angeles, and Alison Inglis, Francine Giese-Vögeli, University University of Melbourne 466 of Bern 529 92 Lapis Lazuli: Moving Stones at the 104 Curzon, Kedelston and Government Heart of Power House, Calcutta Spike Bucklow, Hamilton Kerr Institute, Sten Åke Nilsson, Lund University 532 University of Cambridge 468 105 Remembering the Middle Ages: 93 Materials, Origins and the Nature of Responses to the Gothic Revival in Early Italian Painting Colonial New Zealand Anne Dunlop, Yale University, Ian Lochhead, University of Canterbury, New Haven 472 Christchurch 536 94 Routes and Meaning: The Use of Red 106 Travelling within Memory: Vicarious Marble in Medieval Central Europe Travel and Imagined Voyages Pál L˝ovei, National Offi ce for the Pro - Nicole Sully, University of Queensland, tection of Cultural Heritage, Budapest 477 Brisbane 541 95 Alabastrum Effoditur Pulcherrimum and 107 Moving Finnish Houses: The Knowl - Candissimum: The Infl uence of Imported edge of Objects in Former Finnish Southern Netherlandish Sculpture on the Karelia Reception of Alabaster in Central Europe Renja Suominen-Kokkonen, in the Sixteenth Century University of Helsinki 545 Aleksandra Lipińska, University 108 Nation, Style, Memory: The Cracow of Wrocław 482 Experience 96 Mosaic Dreaming: Materiality, Jacek Purchla, International Migration and Memory Cultural Centre, Cracow 550 Joan Barclay Lloyd, La Trobe University, 109 Komar and Melamid: The Future Melbourne, and Alison Inglis, University Memory of International Modernism of Melbourne 487 Joe A Thomas, Kennesaw State 97 Outsiders’ and Arnhem Landers’ University 556 Material Exchanges 110 Traces of Utopia: On the Archi- Louise Hamby, Australian National tectural Renderings Published in Kunst- University, Canberra 493 wissenschaftliche Forschungen, c. 1933 98 Painting Practice in the Philippines: Justine Price, Canisius College, Buffalo 562 Two Institutionalised Practices and 111 Marks and Rembrancers: Alison and Their Materials and Techniques Peter Smithson’s Architectural Memory Nicole Tse, Ana Maria Theresa Labrador Ryan Johnston, University of and Robyn Sloggett, University of Melbourne 567 Melbourne 498 112 A Strange Case of Cultural Borrowing: 99 A Convergence of Cultures: Max The at Expo ’70, Meldrum’s Art Theory and Practice Osaka Alexandra Ellem, University of Carolyn Barnes and Simon Jackson, Melbourne 507 Swinburne University of Technology, 100 The Gamelan: Melding Conservation Melbourne 574 Issues with Javanese Spiritual Beliefs 113 Analogous Landscapes Holly Jones-Amin, University of Hannah Lewi, University of Melbourne 514 Melbourne 580

11 Memory and Architecture 12 Art and Migration 101 Introduction 114 Introduction Deborah Howard, University of Joan Barclay Lloyd, La Trobe University, Cambridge, and Philip Goad, Uni - Melbourne, and Stephen Bann, versity of Melbourne 520 University of Bristol 586 102 Multiple Memories: Lives of the 115 Migration of Elements of Islamic Art into Taj Mahal Italy from Spain and the Balearic Islands Catherine B Asher, University of in the Fourteenth Century Minnesota 522 Gottfried Kerscher, University of Trier 588 103 The Alhambra in Granada and the 116 Mahmud al-Kurdi and His Italian Memory of Its Islamic Past Customer

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Stefano Carboni, Metropolitan Museum 129 Vasily Vereshchagin’s Campaign: of Art, New York 592 Colonial War and Representations of 117 The Gypsies and Their Impact on Russia’s Others Fifteenth-Century Western European Natasha Medvedev, University of Iconography California, Los Angeles 654 Erwin Pokorny, University of 597 130 Feature Films and the Shock of the 118 The École de Paris, Inside and Out: Real: Regarding Wartime Documents Reconsidering the Experience of the in Art-House Cinema and Beyond Foreign Artist in Interwar France Wolfgang Brückle, University Kate Kangaslahti, Nanyang Techno - of Essex 659 logical University, Singapore 602 131 Surviving War: Uniting the Nation in 119 Polish Artists in France 1918–39: The Postwar Finnish Mural Paintings Discussion Concerning National Art Johanna Ruohonen, University of Anna Wierzbicka, Polish Insitute of Art, Turku 665 Academy of Sciences, Warsaw 607 132 Complicities: Abu Ghraib, Contempo - 120 Koji Kamoji: A Bridge between Haiku rary Art and the Currency of Images and Christian Mysticism Morgan Thomas, University of Lukasz Kossowski, Museum of Litera - Canterbury, Christchurch 669 ture, Warsaw 613 133 Pyrotechnics: From War to Art and Back 121 The Role of International Exhibitions Thierry Dufrêne, Institut National in the Diffusion of a Global Memory d’Histoire de l’Art, Paris 673 Martine Bouchier, Paris-Val de Seine, 134 Beauty and Horror: Identity and Con- National Advanced School of Architec - fl ict in the War Carpets of Afghanistan ture, LOUEST-CNRS No. 7145 617 Nigel Lendon, Australian National 122 Displaced Objects, Objects in Exile? University, Canberra 678 Changing Virtues of Cameroon Objects 135 Media/ting Confl ict: Iranian Posters in the West of the Iran–Iraq War Alexandra Loumpet-Galitzine, Christiane J Gruber, Indiana University, University of Yaounde I, Cameroon 621 Bloomington 684 123 Landscapes of Imagination: Migration 136 Art in the Face of ‘the Project for the and Place in Contemporary Iranian Art New American Century’: A Postmodern Alisa Eimen, Minnesota State University, Rake’s Progress Mankato 625 Dick Averns, Alberta College of Art 124 Moving Pictures: Art, Ireland and and Design, Calgary 690 Migration Yvonne Scott, Trinity College, Dublin 630 14 Art and Clashing Urban Cultures 125 Multiplicity of Artistic Migration in the 137 Introduction Representation of Return: The Odyssey, Peter Krieger, Instituto de Investi - Hebdomeros and Postmodernity in the gaciones Estéticas, Universidad Nacional Art of Giorgio de Chirico Autónoma de México, Mexico City 698 Mayumi Abe, National Art Center, 138 Manet’s Le Déjeuner sur l’herbe: Tokyo 635 Resisting the Parisian ‘Non-Place’ during Haussmannisation 13 Art and War Bradley Fratello, St Louis Community 126 Introduction College, Meramec 700 Nigel Lendon, Australian National 139 Air Travel and Omnipresent Disaster University, Canberra, and Thierry Melissa Laing, University of Sydney 705 Dufrêne, Institut National d’Histoire 140 Changing Politics, Changing City scapes: de l’Art, Paris 642 Redesigning, Redefi ning and Contesting 127 Bartholomäus Strobel the Younger Public Space in Post-Communist Central and the Thirty Years War Europe Jan Harasimowicz, University of Arnold Bartetzky, University of Wrocław 643 Leipzig 709 128 Landscape and the Memory of War 141 Redfern Resistance Catherine Speck, University of Catherine de Lorenzo, University of Adelaide 649 New South Wales, Sydney 713

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142 Urban Bush Bashing? Some Indigenous 16 Indigeneity/Aboriginality, Art/Culture and Artists’ Responses to the Australian Institutions Government’s Emergency Intervention 154 Introduction in the Northern Territory Jonathan Mane-Wheoki, Museum of New Susan Lowish, University of Zealand Te Papa Tongarewa, Wellington 770 Melbourne 718 155 Belonging and Homelands: Negotiating Identity in Aotearoa, New Zealand 15 Global Modern Art: The World Inside Out Caroline Vercoe, University of and Upside Down Auckland 773 143 Introduction 156 Between the Indigenous and the Exotic: Andrea Giunta, University of Texas, Landscapes of Hokkaido and the Russian Austin, and Anthony White, University Far East of Melbourne 724 Hisashi Yakou, Hokkaido University, 144 Art and Nation: To Rome and Back Sapparo 777 Laura Malosetti Costa, University of 157 The Reclamation of South-East Buenos Aires 726 Australian Aboriginal Arts Practices 145 ‘That Arid Feeling for the Burnt Bush’: Vicki Couzens, Kaawirn Kuunawarn Giorgio de Chirico’s Wandering Jew, Hissing Swan Arts, Port Fairy, and Fran Metaphysical Painting and ‘Semitic Edmonds, University of Melbourne 781 Atavism’ 158 Indigenous Material Culture in the Ara H Merjian, Stanford University 730 Digital Age 146 Wounded: Lucio Fontana’s Wartime Lyndon Ormond-Parker, University Sculpture in Italy and Argentina of Melbourne 786 Anthony White, University of 159 ‘My Art Talks about Link’: The Per egrinations of Yolngu Art Melbourne 734 in a Globalised World 147 Surrealism in the Antipodes: On Jessica de Largy Healy, University of James Gleeson’s Exile Melbourne and École des Hautes David Lomas, University of Études en Sciences Sociales, Paris 791 Manchester 739 160 Performing Landscape and Memory: 148 From Constructivism to Pop: Avant- Gija Local and Global Art Circulation Garde Practices in Brazil, Britain and Arnaud Morvan, University of Melbourne North America between the 1950s and École des Hautes Études en Sciences and 1960s Sociales, Paris 797 Michael Asbury, Camberwell College 161 Postcolonial Pasts and Post-Indigenous of Art, London 743 Futures? A Critical Genealogy of 149 Picasso’s Guernica in Latin America Museums and ‘Maori Art’ Andrea Giunta, University of Texas, Conal McCarthy, Victoria University, Austin 747 Wellington 803 150 ‘Much More than Parrots and Banana 162 Indigeneity and the Museum Paradigm: Trees’: The Art of Hélio Oiticica in the Contexts and Debates Surrounding the 1960s Opening Ceremonies and Exhibitions Maria de Fátima Morethy Couto, at the National Museum of the American University of Campinas (UNICAMP) 751 Indian in Washington, DC, September 2004 151 ‘From Río del Plata to the Seine’ and Stephanie Pratt, University of Back: Pierre Restany and Damián Bayón Plymouth 809 Isabel Plante, University of 163 A Crisis of Identity: Australian Indigenous Buenos Aires 755 Culture, Primitivism and Modernism 152 Our Old Koroua Picasso: Maori in ‘Recent Australian Painting’ at the Modernist Art in Aotearoa New Zealand Whitechapel Art Gallery, 1961 Damian Skinner, Gisborne 760 Sarah Scott, Charles Darwin University, 153 Pilgrimage and Periphery: Robert Darwin 814 Smithson’s Spiral Jetty and the Discourse 164 Circuit Breaking? Indigenous of Tourism and Critical Discourse Chris McAuliffe, University of Julie Gough and Stephen Naylor, Melbourne 765 James Cook University, Queensland 820

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165 Aboriginalities and Nationalities: Shaping ‘Shina Rekiyū Dan’: An Account of Art History in the Postcolonial Museum Making Art History in the 1920s Anne Whitelaw, University of Alberta, Olivier Krischer, Tsukuba University 875 Edmonton 825 177 Why Realism? From Social Realism to Neo-Realism in Modern Chinese Art 17 Parallel Conversions: Asian Art Histories in Yiyang Shao, Academy of Fine Arts, the Twentieth and Twenty-First Centuries Beijing 881 166 Introduction 178 Interconnectedness of Performance Toshiharu Omuka, University of Art Festivals across and beyond Asia Tsukuba, Tokyo, and John Clark, Silvia Fok Siu Har, University of University of Sydney 830 Hong Kong 886 167 The Concept of ‘Art’ in Japan and 179 Shanghai Dream-Theatre: (Re-)Imagining International Expositions of the Meiji the City, the Conditions of Existence Period and the New Shanghai Surreal Shimura Shôko, Tokyo Zokei Thomas J Berghuis, College of Fine University 832 Arts, University of New South Wales, 168 Takeuchi Seihō, Chigusa Sōun, and John Sydney 890 Ruskin’s Modern Painters: Reconciling 180 The Artist as Image Decoder: Ni Haifeng’s Realism with Japanese Painting, 1900–1910 Agency between Europe and China John D Szostak, University of Hawaii, Kitty Zijlmans, Leiden University 895 Mãnoa 837 181 Art Histories at the Crossroads: ‘Asian’ 169 Amrita Sher-Gil: Transformation of the Art in Pre-Modern to the Modern in Early Francis Maravillas, University of Twentieth-Century Indian Art Technology, Sydney 900 Yashodara Dalmia, independent scholar, 182 A Kiss to Matisse: Strategies for New Delhi 842 Histories of Modernism in Central 170 Global Consciousness in Yōga Self- Asia. in the 1920s, Kazakhstan Portraiture in the 1980s–1990s Bert Winther-Tamaki, University of Jane A Sharp, Rutgers, State University California, Irvine 847 of New Jersey, Newark 905 171 Realism as a Tool of National Moderni- 183 Constructing Transnational Identities: sation in the Reformist Discourse of Late Paik Nam June and Lee Ufan Nineteenth- and Early Twentieth- Youngna Kim, Seoul National Century China University 910 Francesca dal Lago, Leiden University 852 18 Contemporaneity in Art and Its History 172 New Categories, New History: ‘The 184 Introduction Preliminary Exhibition of Chinese Art’ Terry Smith, University of Pittsburgh, in Shanghai, 1935 and Charles Green, University of Hui Guo, Leiden University 857 Melbourne 916 173 Alternative Fashion Histories: Sartorial 185 Writing the History of Contemporary Modernity in East Asia Art: A Distinction, Three Propositions Toby Slade, University of Sydney 861 and Six Lines of Inquiry 174 The Impact of Censorship, Confl ict and Terry Smith, University of Pittsburgh 918 the Diaspora on Vietnamese Art History 186 Historicity and Aboriginal Art: How Annette van den Bosch, Deakin University, Long Will It Take for Aboriginal Art Melbourne, and Boitran Huynh-Beattie, to Become Modern? Curator, Casula Powerhouse Art Centre, Ian Maclean, University of Western Sydney 866 Australia, Perth 922 175 Contending with Present Pasts: On 187 Contemporaneity in Inuit Art through Developing South-East Asian Art Histories the Twentieth and Early Twenty-First Michelle Antoinette, Research School Centuries of Pacifi c and Asian Studies, Australian Cécile Pelaudeix, University of National University, Canberra 870 Paris X, Nanterre 926 176 Picturing Early Twentieth-Century Sino- 188 Topographies of Chance: Tracing the Japanese Art Relations in Ōmura Seigai’s ‘Contemporary’ in 1960s France

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Jill Carrick, Carleton University, 201 A Fine Romance: White Money, Ottawa 931 Black Art 189 Periodising Contemporary Art Philip Batty, Melbourne Museum 991 Alexander Alberro, Barnard College, 202 The Paradox of Collecting the ‘Other’: New York 935 Percy Grainger’s Collecting of Non- 190 Global Visions, Local Contemporaneity: Western Cultures Video Art in Australia Belinda Nemec, University of Daniel Palmer, Monash University, Melbourne 995 Melbourne 940 203 Art Dealing as Medium of Cultural 191 The Atlas Effect: Constraint, Freedom Transfer and the Circulation of Images Michael North, University of Charles Green, University of Greifswald 1001 Melbourne 945 204 Crossing Thresholds: The Hybrid 192 On the ‘Evental’ Installation: Identities of Late Nineteenth-Century Contemporary Art and Politics of Art Dealers Presence Christian Huemer, City University Anthony Gardner, University of of New York and Getty Research Melbourne 951 Institute, Los Angeles 1007 205 Small Mirrors to Large Empires: 19 New Media across Cultures Towards a Theory of Meta-Museums 193 Introduction in Contemporary Art Ross Gibson, University of Khadija Z Carroll, Harvard University 1012 Technology, Sydney 958 206 Framing Fusion: Varieties of Collecting 194 Old Traces on a New Body and Display at the Museo Poldi Pezzoli, Dirk de Bruyn, Deakin University, Milan Melbourne 959 Christopher R Marshall, University of 195 Transience: Indigenous, Settler and Melbourne 1017 Migrant Media 207 On Art Collecting in Argentina, or Sean Cubitt, University of Melbourne 963 How the Pre-Columbian Past Became 196 Imagining the Future: Issues in Writing an Object of Desire and Researching Art’s Histories in a María Isabel Baldassare, University Digital Age with the DAAO of Buenos Aires 1022 Vivien Johnson and Joanna Mendels sohn, University of New South Wales, Sydney 968 21 New Museums across Cultures 197 Painting as New Medium: The 208 Introduction Reversed Canvas in Colonial Art Jonathan Sweet, Deakin University, Richard Read, University of Western Melbourne 1028 Australia, Perth 972 209 The Modern Museum in China 198 The Fiction of Art History: Imaginary Zhang Gan, Tsinghua University, Provenances for Media Arts in South Asia Beijing 1032 Shuddhabrata Sengupta, Raqs Media 210 The Uncanny Space of Daniel Collective, New Delhi 977 Libeskind’s Jewish Museum Julia Walker, University of 20 Economies of Desire: Art Collecting and Pennsylvania, Philadelphia 1036 Dealing across Cultures 211 New Museums: Institutionalisation of 199 Introduction Contemporary Art in Central Europe. Christopher R Marshall, University of Crossing Inspirations Melbourne 984 Katarzyna Jagodzińska, International 200 The Impact of Unscrupulous Dealers Cultural Centre, Cracow 1040 on Sustainability in the Australian 212 Problematics of Postcolonial Dislo- Aboriginal Desert Paintings Market: cation in the Case of the National A View from the High End Museum of Contemporary Art in Meaghan Wilson-Anastasios, University Bucharest of Melbourne, and Neil De Marchi, Cristina Albu, University of Duke University, Durham 986 Pittsburgh 1045

0531 CIHA_00_PRLIMS_4.indd xv 23/6/09 11:41:30 AM xvi Contents

213 Out of Context: Towards Presentation 220 Repatriating Sanctity, or How the of Japanese Art in Western Museums Dukes of Bavaria Rescued Saints Chiaki Ajioka, University of Sydney 1051 during the Reformation 214 Constructing Tribal Architectures and Jeffrey Chipps Smith, University Identities in Native American Museums of Texas, Austin 1084 and Cultural Centres 221 Alexander Neumann (Bielitz 1861 – Anne L Marshall, University of Idaho, Wellington 1947): Portfolio in Exile Moscow, ID 1055 Andrew Leach, University of 215 Creating Cultural Citizenship out of Queensland, Brisbane 1090 Contemporary Art at the National 222 Repatriation Ante Patria: Repatriating Museum of the American Indian? for Tibet Kylie Message, Australian National Kavita Singh, Jawaharlal Nehru University, Canberra 1061 University, New Delhi 1094 216 The Cosmopolitan Museum (of Art) 223 Returning Veronese’s The Wedding Milan Kreuzzieger, Centre of Global at Cana to Venice: Some Issues Con - Studies, Prague 1067 cerning Originality and Repatriation Adam Lowe, artist, United Kingdom 1100 22 Repatriation 224 Arbitration and Mediation as 217 Introduction Alternative Resolution Mechanisms in Dario Gamboni, University of Geneva 1072 Disputes Relating to the Restitution of 218 Art History and Repatriation: A Case Cultural Property of Mutual Illumination? Marc-André Renold, University of Dario Gamboni, University of Geneva 1074 Geneva Law School 1104 219 Shrewd Calculations Kenneth Lapatin, John Paul Getty Index of Authors 1107 Museum, Los Angeles 1079

0531 CIHA_00_PRLIMS_4.indd xvi 23/6/09 11:41:30 AM 2 Playing between the Lines The Melbourne Experience of Crossing Cultures Jaynie Anderson, University of Melbourne

Whoever invented the CIHA conference appearance in the company of ‘an ancient Greek’ system intended that the art historians who have as a person who would not understand the signifi - the honour to be the convenors of an international cance of a European gesture such as ‘lifting a hat’.2 art history congress such as we are holding in ‘Our Australian Bushman’, Panofsky wrote, ‘would Melbourne have a unique opportunity to assess be equally unable to recognise the subject of a Last the practice of art history throughout the world Supper; to him, it would only convey the idea of an at a particular moment in time. This singular excited dinner party’.3 Anyone who saw the fi lm privilege is not refl ected in the literature on the Crocodile Dundee would know that the Australian subject of global art history. The concept for the bushman Paul Hogan does raise his Akubra hat, to congress was intended to elicit a global response, take over New York with the traditional greeting and as the size of the audience present at the ‘G’day’. Town Hall (1200 people) has revealed, it has been What could the average Australian bush man spectacularly successful. There are contributions have known about art, whether he was Indigenous from participants from fi fty countries, despite the or non-Indigenous? He would almost certainly fact that we in the Antipodes live so far away from have had privileged contact with the imagery the rest of the world. To date only thirty-three of ancient rock art, dated in this example some countries belong to the international art historical 38 000 years ago, that is to be found throughout organisation—I hope that under my presidency Australia but conspicuously at the Top End (see of the CIHA those colleagues from new countries fi gure 2). Australia has the largest continuous who came to Melbourne will become members. record of any country in the world of human The extraordinarily popular map of Australia artistic expression in history, but this has never devised by David Horton in 1996 as an illustration been realised in international writing. Well before for the Encyclopaedia of Aboriginal Australia charts Europe experienced antiquity, the fi rst Australians more than 300 Indigenous languages, clans and invented lively traditions of painting in ochre on dialects in our country (see fi gure 1). It is a striking rocks in these galleries. These images, in remote visual demonstration of how the concept of the cross settings diffi cult to access, are to some degree cultural is deeply rooted in the very landscape of protected from tourism by their inaccessibility. our populations. It shows the remarkable linguistic Some Australian burial sites date to about 43 000 diversity of Indigenous Australian populations and years ago—the oldest in the world. We have often represents Aboriginals as many different interacting thought of the Greeks as being fi rst in all matters, groups with different languages, some being as or perhaps the Chinese, but a case could be made different as, say, Hungarian from Russian. Perhaps for the fi rst Australians. what makes the map so popular is the sophistication Another bushman, Bony in the television of the myriad cross-cultural interactions. series Bush, set at Lake Mungo, in western New In accounts of world art history such as James South Wales, inhabits one of the most extraordi- Elkins’s often-quoted volume Is Art History Global? nary landscapes in the world, known colloquially Australia is mentioned only once, in an inaccurate as the Walls of China. A dry lake, a stark landscape statistic.1 When an Australian does make an appear- of sand, Lake Mungo contains unique archaeo- ance in art history, he inevitably stands for a ‘primi- logical evidence about hunter-gatherer society. tive’, one who knows nothing of Europe. Take the Burials at Lake Mungo are possibly the oldest in case of Erwin Panofsky’s Studies in Iconology, in the world, dated to 43 000 years ago, according which ‘an Australian bushman’ makes a surprising to carbon dating. These burials involved different 4

0531 CIHA_01_MELB_5.indd 4 23/6/09 11:48:16 AM Playing between the Lines 5

but elaborate behaviour that we should prob- Figure 1 David R Horton ably call ritual, for one of the bodies is covered in Aboriginal Australia, 1996 © Aboriginal Studies Press, AIATSIS and Auslig/Sinclair, red ochre. Another provides the fi rst evidence of Knight, Merz cremation. Our bushmen were privileged in the This map is just one representation of many other map ancient culture they encountered. Their poten- sources that are available for Aboriginal Australia. Using tial for iconological analysis could have gone well published resources available between 1988–1994, this map beyond what Panofsky ever imagined. attempts to represent all the language or tribal or nation groups of the Indigenous people of Australia. It indicates The historiography of the concept of this con- only the general location of larger groupings of people gress is an ancient one, and applicable to many dif- which may include smaller groups such as clans, dialects ferent contexts. Recent cross-cultural exhibitions or individual languages in a group. Boundaries are not chose to privilege Venice. One recent exhibition, intended to be exact. This map is NOT SUITABLE FOR USE IN NATIVE TITLE AND OTHER LAND CLAIMS. The views expressed in ‘Bellini and the East’, devised for the National this publication are those of the author and not those Gallery, London, with the Isabella Stewart of AIATSIS. Gardner Museum, Boston, explored the impact of the East on the work of a fi fteenth-century Venetian painter, Gentile Bellini (1460–1507). The and multicultural Venetian. Simultaneously, the exhibition focused on a highly signifi cant period Metropolitan Museum conceived an exhibition in the millennium-long interaction between three with a similar subject, ‘Venice and the Islamic cultures—Venetian, Byzantine and Turkish—as World 828 to 1797’, from the foundation of Venice well as three religions—Catholicism, Eastern to the so-called Fall of Venice, when Orthodox and Islam. Gentile Bellini was one of a overthrew the longest living and most stable re- few European artists to be invited to the court of public in the world. In all this, the precedent for Sultan Mehmet II, for a few years, from 1479 to the exhibitions was Deborah Howard’s book on 1481, and his portrait of the sultan fl attered him as a Venetian architecture, Venice and the East.4 Western prince. Authors in the catalogue examined In searching for the right image to an nounce the multiple views of Bellini, the eastern, western the call for papers for the conference, I came

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Figure 2 Unknown artist (Jowalbinna, near Laura, Queensland) Love Magic, 36 000 BC life-size fi gures on immeasurable surface red ochre on rock Photograph Jaynie Anderson

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across a drawing in the archives of the University of Figure 3 Tommy McRae Melbourne by the nineteenth-century Aboriginal Corroboree or William Buckley and Dancers from the artist Tommy McRae (c. 1835–1901). He is the Wathourong People, c. 1890 20.5 × 25.5 cm author of the fi rst Australian works of art that ink and ochre on paper re present cros sing cultures, in such drawings as Archives of the University of Melbourne Corroboree or William Buckley and Dancers from the Wathourong People (see fi gure 3). Most Australian numerous humorous drawings produced for pas- art histories begin with the imagery of fi rst contact, toralists such as the Foord family from Rutherglen, and such encounters are always exceptional expe- fl our-millers who commissioned this drawing, riences. This image, a truly witty drawing, repre- could be seen as a seminal idea for this conference. sents the Irish larrikin convict William Buckley, a On 25 May 2006 we launched the website with 6-foot-tall red head, living and dancing comfortably this image. The choice signalled the importance of among Indigenous peoples in Victoria in the early Indigeneity in the conference. years of the colony, the boat that brought him, the Later generations of Australians espoused the Calcutta, in the distance. The account of Buckley’s crossing of cultures as myriad intercon nections thirty-two years with the Aboriginal people estab- of nationalities, as is shown in the cross-cultural lished his reputation, in his own words, as a ‘wild clothing invented by Percy Grainger (see fi gure 4). white man’.5 In a number of drawings, McRae rep- Grainger’s favourite outfi t was a real fruit salad of resents Buckley as a fi gure of convergence, the fi rst cultures made from Turkish towelling and incor- white man to learn Indigenous languages, whereas porating Anglo-Saxon, Irish and Scandinavian el- most European artists depicted him after he had ements. Grainger wore the clothes when he was emerged from his years with Indigenous people. composing. In Buckley’s writing he seems to have lived in har- In the 1940s, the cultural landscape of Australia mony with Aboriginal Victorians, notwithstanding was transformed by a group of intellectuals of the the violence of the society. McRae has made only a Diaspora, who came from Europe and were fasci- brief appearance in art history, in Andrew Sayers’s nated by what they found in the Antipodes, dis- exhibition catalogue, Aboriginal Artists of the covering Melbourne to be a paradise after war-torn Nineteenth Century6, but his work, consisting of Europe. Their activities constituted an important

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the Courtauld Institute, found employment at 10 Downing Street during the war, as Atlee’s pri- vate secretary. Recommended by , he began the Melbourne department in 1946, one of the earliest in the English-speaking world. Burke’s early work was on the British eighteenth century, notably an edition of Hogarth’s Analysis of Beauty. We are all his pupils. Among them num- bered many professors of art history; four were women. The National Gallery of Victoria contains wonderful eighteenth-century paint ings as a result of his expertise. His fi rst book on Australian art was about Russell Drysdale, a painter who was born in Britain, and who migrated to Australia as a young man and painted subjects about immigra- tion or sympathetic portraits of Indigenous people in outback Australia.7 Burke loved Australian art and made many signifi cant introductions, includ- ing presenting to Kenneth Clark. Ursula Hoff’s formation as a scholar was prin- cipally at the University of Hamburg, during that legendary period when Aby Warburg created his institute there, which was also frequented by the young Erwin Panofsky and Fritz Saxl. Hoff’s life spanned almost a century. She was one of those fas- cinating German Jewish intellectuals, who taught early European art history with a real knowledge of her subject, a product of the Diaspora. We were en- thralled by her elegant manners, her distinguished and severe beauty, and her lectures, which were an initiation to iconography. Her legacies to the dis- cipline of art history and to Australian museums are diverse and important, but she is remembered principally for the crucial role that she played in the creation of the collection of prints and drawings at the National Gallery of Victoria, where she was employed from 1942 until 1975. Like Burke, she too became passionate about Australian pursuits. Leonard Adam’s fi rst degree was a doctor of Figure 4 Percy Grainger laws from Greifswald in 1916. His initial fascination Towel clothes outfi t, inspired by Maori and Anglo-Saxon with primitive law widened into a broad study of dress, c. 1934 h: 155 cm cultural anthropology, arch aeology and primitive machine- and hand-sewn manufactured Dri-Glo towel art inspired by Franz Boas, with whom he had a Grainger Museum, University of Melbourne long correspondence beginning in 1912. From 1930 to 1933, Adam held a chair at the University part of the critical reception of Australian art, of in ethnological jurisprudence. In 1934 he whether it was ancient rock art or paintings on fl ed to , where as a refugee he wrote a best- bark. The decade of the 1940s was a period in seller, the classic Penguin Primitive Art, published which those involved in creating the disciplines of in 1940. He was deported to Australia on the art history, anthropology and archaeology defi ned legendary boat the SS Duneera, and taught at the and collected an important part of Australia’s pat- University of Melbourne, where he also created an rimony. The approach was always towards a more extraordinary global collection of ‘primitive art’ inclusive form of art history. which included the early acquisition of Indigenous What began as German or English prac tices bark paintings. of art history slowly mutated into different forms Cross-cultural analysis has a long history in of analysis. Joe Burke, one of the fi rst graduates of Australian art history, beginning with Bernard

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Smith’s pioneering European Vision and the South pretty, delicate colouring, and their fantasies are gentle, Pacifi c.8 Smith, who is the fi rst Australian-born art whereas those of the neighbouring Papuans are ugly and historian of signifi cance, begins his narrative about violent. Altogether, a study of Melanesian culture is a the period of fi rst contact, seen exclusively through good corrective for the art historian, for each island or European eyes. district has an art-form independent and fundamentally A rather surprising fi gure in the context of different from the other. All the material is in Australia, Australian art history was Kenneth Clark—a travel- and has not been properly studied, or even exhibited … ler rather than an immigrant. After his resignation I was there at not a time to learn anything, except how as director of the National Gallery, London, Clark ignorant we are.10 was appointed adviser to the Felton Bequest for ac- quisitions of European art for the National Gallery Clark’s letter to Berenson (more than in the of Victoria9, at the suggestion of his friend and anodyne account of his travels in Australia found protégé Joseph Burke, newly appointed in 1946 in the second volume of his autobiography11) as the professor of art history in Melbourne, the succinctly describes the value of Aboriginal art, fi rst Herald Chair of Fine Arts. At the beginning couched in terms of British Modernism, accen- of Clark’s appointment he travelled to Australia tuated against Australian indifference. His ob- to spend half a year exploring the continent. After servation that Aboriginal bark paintings ‘do not his return, on 26 March 1949 Clark wrote to represent a total impression of moment, but an Bernhard Berenson to give his frank impressions analytic’ accurately characterises the X-ray style of of the Antipodes, revealing an unexpected passion western Arnheim Land bark painting. Much has for Indigenous bark painting in the Museum of changed since the 1940s, as is shown in the pages Melbourne. Clark wrote: of this book.

My dear BB, … NOTES I enjoyed Australia far more than I had expected to do. I fi nd it hard to explain why without seeming 1 James Elkins, Is Art History Global?, Routledge, patronising, but the brilliant climate seems to have London, 2005, p. 8. The statistic is the number of art had a magical effect on the Anglo Saxons, removing history departments in Australia, which is erroneous. their inhibitions and hypocrisies. However, they are 2 Erwin Panofsky, Studies in Iconology, Harper & Row, New York and London, 1972 (1939), pp. 3–17. very naïve—hardly out of the pioneering stage, but 3 ibid., p. 10. they are a gifted people, only held back by laziness. 4 Deborah Howard, Venice and the East: The Impact of It was fascinating to be in an entirely democratic the Islamic World on Venetian Architecture 1100–1500, country, without even the respect for wealth, or start Yale University Press, London, 2000. of dispossession of the USA. The landscape … is most 5 James Bonwick, The Wild White Man and the Blacks of Victoria, Fergusson & Moore, Melbourne, 1863. beautiful and I can only convey it by saying that it is like 6 Andrew Sayers, Aboriginal Artists of the Nineteenth a Piero della Francesca. The grass is white, the trunks of Century, Oxford University Press, Melbourne, 1994. the trees pinkish white, the leaves glaucous, exactly as in 7 Joseph Burke, The Paintings of Russell Drysdale, Ure the Baptism. The light comes through the leaves, so the Smith, Sydney, 1951. woods are all lilac—like the most extreme Impressionist 8 Bernard Smith, European Vision and the South Pacifi c, Oxford University Press, Oxford, 1969. Renoir’s of the late 70s. It is a country for painters, and 9 Clark acted as an adviser to the Felton Bequest for in fact they have quite good ones—at least no more two years, during which time he recommended the than anywhere else in these years of dearth. Jane has acquisition of a notable series of paintings for the told you of my enthusiasm for the aboriginal paintings. National Gallery of Victoria, including Poussin’s They are extraordinary, and totally unlike African Crossing of the Red Sea and Bonnard’s Siesta. 10 Kenneth Clark, letter to Bernard Berenson, bushman drawings or the Palaeolithic cave paintings. 26 March 1949, in Berenson’s correspondence, They do not represent a total impression of moment, Archives of the Villa I Tatti, Harvard University but an analytic. As you know the Australian aboriginal Center for Italian Renaissance Studies, Florence, always draws the inside of his subject as well as the cited in J Anderson, ‘“How Ignorant We Are”: The out, and he makes the heart, liver, intestines etc. with a Critical Reception of Indigenous Art in Australia’, Australian Book Review, no. 296, November 2007, decorative pattern. Most of the paintings are life-size, pp. 38–9. on bark lined with white clay. By some freak the Abos 11 Kenneth Clark, The Other Half: A Self-Portrait, John had what we call perfect taste—all their objects have Murray, London, 1977, pp. 148–57.

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