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University of Cape Town (UCT) in Terms of the Non-Exclusive License Granted to UCT by the Author The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town "The Advancement of Art" Policy and Practice at the South African National Gallery 1940-1962 Qanita Lilla LLLQANOOI A dissertation submitted in fulfillment of the requirements for the award of the degree of Master of Arts in Art History UniversityFaculty of the of Humanities Cape Town University of Cape Town 2004 This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: 3 May 2004 Contents Abstract Acknowledgements ii List of Illustrations iii Introduction 1 Chapter One 11 The South African National Gallery: the establishment of a colonial museum 187 1- 1940 Chapter Two 26 Edward Roworth's Directorship: Art and rhetoric at the South African National Gallery 1940-1947 Chapter Three 49 Debate and Debacle at the South African National Gallery 1947 Chapter Four 77 Painting a nation: the emerging discourse of South African art in 1948 Chapter Five 101 Innovation and intervention at the South African National Gallery: John Paris' Directorship 1949-1962 Conclusion Town 121 Bibliography 125 Figures Cape 1-22 Appendices Appendix A: Letter from the South Africanof National Gallery denying access to archives Appendix B: List of works sold from the South African National Gallery, from the 1947 Stratford Report University Abstract This thesis is an enquiry into the policies and practices that shaped the South African National Gallery in the 1940s and 1950s. Drawing on newspaper reports, the South African National Gallery's exhibition catalogues, pamphlets and annual reports, records of parliamentary debate and the crucial report of the Stratford Commission of 1948 the study has reconstructed a detailed history of the South African National Gallery. Established in 1871 as a colonial museum catering for a small part of the settler population of British descent, the museum came under pressure to accommodate the Afrikaner community after 1948. This did not mean that the liberal ethos at the museum disappeared, however. The South African National Gallery was strongly influenced by public pressure in this period. Public outrage over controversial art sales in 1947 led to the appointment of a commission of enquiry into the workings of the museum. At the same time, the head of the Board of Trustees, Cecil Sibbett, engaged the public on matters of Modern art. The museum's conservative and controversial Director, Edward Roworth wasTown replaced in 1949 by John Paris who ushered in a new phase of development and management, encouraged the reconceptualization of South African art and reorganized the permanent collection. This initiative took place despite decreasedCape autonomy for the Director and increased government imposition of Afrikanerof Nationalist ideology. Nevertheless, the South African National Gallery avoided becoming a political instrument of the Apartheid regime. University Acknowledgements There are certain individuals I wish to thank. Firstly, to my supervisor Prof. Anne Mager for her guidance, unwavering support and tireless enthusiasm. The completion of this project would have truly been impossible without her dedication and understanding. I also wish to thank Prof. Richard Mendelsohn as Head of Department for his support, and those involved in the Institutions of Public Culture program at Emory University who enabled me to spend a year in an academically stimulating environment. My thanks are also due to Prof. Ivan Karp for reading my work, commenting with enthusiasm and providing insight and inspiration and Prof. Cory Kratz whose energy and rigor made me push forward. Lastly, to Ross Campbell whose love, encouragement and support sustained me through periods of difficulty and joy. I acknowledge the financial support I received from the National Research Foundation, the National Arts Council and the African Studies DepartmentTown at UCT. Cape of University ii List of Illustrations Frontispiece: James Eddie. Early Autumn. Constantia. 1948. Oil on canvas on board. South African National Gallery. Izlko Museums of Cape Town. Exhibition poster for "The advancement of art": The South African Society of Artists and its exhibitors (I 0 Dec 2002 27 Apr 2003). Fig.l. Kevin Brand. Detail of 19 Boys running. 1988. Wood, polystyrene, paper, paint. height: 160cm. Sue Williamson, Resislance art in South Africa (Cape Town: David Philip, 1989), 125. Fig.2. Jane Alexander. Detail of The Butcher Boys. 1985-1986. Plaster, paint, bone, horns, wooden bench. Life size. Sue Williamson. Resislance aN in SOlllh Africa (Cape Town: David Philip. 1989).43. Fig.3. Edward Roworth: Director of the South African National Gallery 1940-1949 Edward Roworth, "Student days in England," The l'v/anitol'. (8 Nov 1946). 12. FigA. Cecil James Sibbett: Head of the Board of Trustees 1947 Author unknown. "Cecil.lames Sibbett." The Afonitor. (17 Jan 1947). 18. Fig.5. John Paris: Director of the South African National Gallery 1949-1962 Author unknown, "John Paris," Cape Times, (12 May 1960). Fig.6. The South African National Gallery 1930. Cape Town Archives AC 3690-2. Fig.7. The South African National Gallery interior detail of a door leading into the Atrium 1930. Cape Town Archives AC 1400-8. Fig.8. George Henry. The blue gown. Oil on canvas. Town Edward Roworth. "The South African Art Gallery." Cape Times Annual (1910): 8. Fig.9. Public Auction by Mr. Krook of Works from the South African National Gallery. 6 May 1947. South African Library SCI21. Cape Fig.IO. George Stubbs. (1724-1806). Firetail with his trainer outside the rubbing down house on Newmarket Heath. 1773. Oilof on panel. 83 x 102 cm. Anna Tietze, The Sir Abe Bailey Bequest: A reappraisal. Exhibition catalogue (Cape Town: Iziko Museums of Cape Town. 200 I). II. Fig.11. John Nott Sartorius. (I759-c.1828) The kill. 1797. Oil on canvas. 88 x 114.5 cm. Anna Tietze. The Sir Abe Bailey Bequest.' A reappraisal. Exhibition catalogue (Cape Town: Iziko Museums of Cape Town. 2001), 15. Fig.12. Dean Wolstenholme SNR. (1757-1837). Partridge shooting. c. 1832. Oil on canvas. 53.5 x 73.5University cm. Anna Tietze. The Sir Abe Bailey Bequest.' A reappraisal. Exhibition catalogue (Cape Town: lziko Museums of Cape Town. 200 I). 18. iii Fig.13. Sir Henry Raeburn. (1756-1823). William Ferguson and his son. Oil on canvas. 126 x 105 cm. Anna Tietze, The Sir Abe Bailey Bequest." A reappraisal. Exhibition catalogue (Cape Town: Iziko Museums of Cape Town, 200]),9. Fig.14. Jacob Hendrik Pierneef. (1886-1957). Kremetartbome (Baobab trees). 1933. Oil on canvas. 138 x 110 cm. R.K. Cope. "South African Contemporary Painting and Sculpture:' The Studio. (Nov 1948): 133. Fig.15. Le Raux Smith Le Raux. (b.1914). Verlate Karooplaas (Deserted Karoo farm). Oil on canvas. 75 x 48 cm. Author unknown. Exhibition of contemporary South African paintings. drawings and sculplUre. Exhibition catalogue (Cape Town, The Cape Times Ltd .. 1948),24. Skrywer onbekend. Tentoonste/ling van Hedendaagse Suid-Afrikaanse Skilderye. Tekenings en BeeldhoUll'erk met 'n inleiding van geskiedkundige skilderye. Yertooning Katalogus (Kaapstad: The Cape Times Ltd .. 1948).24. Fig.16. Maggie Laubser. (b.1886). Landskap met skape (Landscape with sheep). Oil on canvas. 50 x 40 cm. Author unknown. Exhibition of contemporary South .~fi'ican paintings. drClll'ings and sculpture. Exhibition catalogue (Cape Town, The Cape Times Ltd., 1948).21. Skrywer onbekend. Tenloonstelling van Hedendaagse SlIid-Afrikaanse Skilderye, Tekenings en Bee/dhou1l'erk met 'n inleiding van geskiedkundige skilderye. Yertooning Katalogus (Kaapstad: The Cape Times Ltd .. 1948). 21. Fig.17. Gerard Sekoto. (1913-1993). Sikspens Toegangsge/d (Sixpence a door). Oil on canvas. 1946-1947. 70 x 50 cm. Author unknown. Exhibition of contemporary SOllth African paintings. drawings and sculpture. Exhibition catalogue (Cape Town, The Cape Times Ltd .. J948). 25. Skrywer onbekend. Tentoonstelling van Hedendaagse Suid-Afrikaanse Skilde/ye. Tekenings en Beeldhouwerk mel 'n inleiding van geskiedkundige skilde/:re. Yertooning Katalogus (Kaapstad: The Cape Times Ltd .. 1948).25. Town Fig.18. Alexis Preller. (b.1911). Basoeto-Legende (Basotho Allegory). 1947. Oil on canvas. 90 x 75 cm. Author unknown. Exhibition of contemporary South African painlings. drawings and sculpture, Exhibition catalogue (Cape Town, The Cape Times Ltd .. 1948},28. Skrywer onbekend. Tenloonslelling van HedendaagseCape SUid-Afrikaanse Skilderye. Tekenings en Beeldhoul1'erk mel 'n inleiding van geskiedkundige skilde/ye. Yertooning Katalogus (Kaapstad: The Cape Times Ltd .. 1948). 28. of Fig.19. Neville Lewis. (b.1895). BUnde Maleier (Blind Malay). Oil on canvas. 50 x 60 cm. Author unknown. Exhibition of conlemporary South African paintings. drawings and sculpture, Exhibition catalogue (Cape Town, The Cape Times Ltd., 1948). 23. Skrywer onbekend. Tentoonslelling van Hedendaagse Suid-Alrikaanse Skilderye. Tekenings en Beeldhouwerk mel 'n inleiding van geskiedkundige skilderye. Vertooning Katalogus (Kaapstad: The Cape Times Ltd .. 1948). 23.
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