Māori and Portraiture
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On the Theme Science, Medicine, and Global
Submission Guidelines Collaborate with your team on your case study presentation. When it is complete, the team leader is responsible for submitting it in the Assignment Lab, or for making sure that another team member submits it. Please note that all learners should visit the assignment lab and provide feedback on at least 2 other team presentations, before the deadline. As a reminder, your presentation should: 1. Be limited to no more than 750 words 2. Engage the materials in the case studies, lectures, and text. 3. You are free to import material from outside the course, but this is not necessary and may detract you and teammates from the task. Don't go overboard! Instructions Step 1: Read the case study introduction, background information, and the primary sources below. Step 2: Work with your team to answer the challenge question for this case study. Step 3: Go to the Assignment Lab to post your response, and to read and comment on other learners' submissions. Track B, Case study 4: Charles Darwin and a new understanding of life STEP 1 Case Study Introduction Here we will focus on some of the contributions and impacts of British naturalist Charles Darwin, whose ideas profoundly shaped not only science, but every sphere of life. Darwin’s descriptions of change over time and evolution showed that life developed through increasing complexity and diversity over millions of years. This raised questions about the basis of knowledge, belief, and understanding, and challenged the idea that faith alone could lead to enlightenment. It also showed the web of interrelated life, with humans a part of the animal kingdom rather than divinely appointed. -
![Catalogue No. 3 Science, Voyages & History [1] [BLIGH] SHILLIBEER, John](https://docslib.b-cdn.net/cover/3358/catalogue-no-3-science-voyages-history-1-bligh-shillibeer-john-323358.webp)
Catalogue No. 3 Science, Voyages & History [1] [BLIGH] SHILLIBEER, John
LRP / November 2017 Catalogue no. 3 Science, Voyages & History [1] [BLIGH] SHILLIBEER, John. Ontmoetingen op eene reis met het schip Briton, naar het eiland Pitcairn… Published: Dordrecht: Blusse en Van Braam, 1819. Collation: octavo, [vii], 180 pp., in contemporary tan half calf, sprinkled paper boards, green spine label. Condition: some foxing, the spine a little chipped and evidence that a lower label has been removed at some point, but generally a very attractive copy indeed. Very rare Dutch edition: no copy in Australia or NZ First Dutch edition of Shillibeer’s swashbuckling tale of sailing in the Pacific, including his widely-read account of meeting the last of the Bounty survivors on Pitcairn Island. Even apart from it’s Bligh interest, Shillibeer’s book is an important account from an intriguing era in Pacific exploration. Shillibeer’s book was originally published in Taunton (Somerset) in 1817 and again in London later the same year. This Dutch edition is very scarce indeed, and I can find records relating to only two confirmed sales: the first a rather worn copy at Sotheby’s in 1964, at the sale of the library of Senor Alberto Dodero of Buenos Aires (US$22.40); and a second copy, noted as in fair condition, at the small Dutch auction house Bubb-Kupyer in 2004 (EUR 420). $1250 References: Borba de Moraes, p. 797; Ferguson, 767; Sabin, 80845. [2] BLUMENBACH, Johann Friedrich. Ioanni Fr. Blumenbach… Viro Illustri Germaniae Decori diem semisecularem Physiophili Germanici laete gratulantur… Published: Berolini, Litteris Starckianis, 19 September 1825. Description: octavo, engraved frontispiece, 131 pp. -
311 Sarah Thomas This Lavishly Illustrated Book by Australian
Book Reviews 311 Sarah Thomas, Witnessing Slavery: Art and Travel in the Age of Abolition. London: Paul Mellon Centre for Studies in British Art, 2019. xiii + 286 pp. (Cloth US$55.00) This lavishly illustrated book by Australian art historian Sarah Thomas consid- ers art by European visitors to the Americas between 1760 and 1840. Engag- ing and provocative, it deals mainly with British publications during the hey- day of illustrated book publishing, persuasively arguing that these artworks were deeply influenced by the politics surrounding their production. Thomas focuses throughout on European travelers who drew or painted “on the spot,” actually witnessing slavery and thereby establishing a particular kind of episte- mological authority. Acknowledging that images of the enslaved almost inevitably deny their subjectivity, she insists that such images, when created by eyewitnesses, nonetheless hold special value and a place in the history of art that helps us understand the ways Europeans confronted slavery and aboli- tion. Following an introductory chapter, she considers the eighteenth-century discourse of Sensibility, from philosophy to painting. Beginning with “the sym- pathetic eyewitness” epitomized by John Gabriel Stedman’s self-portrait, stand- ing over his slain Maroon foe (“’Twas Yours to fall—but Mine to feel the wound”), she quickly turns to two leitmotifs of the abolition struggle: the oft- reproduced Am I not a Man and a Brother?, perhaps best known in its Josiah Wedgwood form, and the countless-times reprinted cross-section of the Liver- pool slaver Brookes, tracing revealing histories of both. The bulk of the chapter deals with the ways abolitionism penetrated high art in Britain, considering such paintings as George Morland’s Execrable Human Traffick and John Simp- son’s The Captive Slave. -
Cook and the Pacific EXHIBITION CHECKLIST
Cook and the Pacific 22 September 2018 – 10 February 2019, Exhibition Gallery, National Library of Australia EXHIBITION CHECKLIST Who is Cook? John Webber (1752–1793) Portrait of Captain James Cook RN 1782 oil on canvas; frame: 140.4 x 115.8 x 9.5 cm, support: 114.3 x 89.7 cm National Portrait Gallery, Canberra, Acc. No. 2000.25. Purchased in 2000 by the Commonwealth Government with the generous assistance of Robert Oatley AO and John Schaeffer AO Michael Cook (b. 1968) Undiscovered #4 2010 inkjet print; 102.4 x 100 cm National Library of Australia, Pictures Collection, nla.cat–vn7794191 Percy Trompf (1902–1964) The Landing of Captain Cook at Botany Bay 1770 1929–30 chromolithograph; 101.5 x 63.5 cm and 101.5 x 65.0 cm Melbourne: Australian National Travel Association National Library of Australia, Pictures Collection, nla.cat–vn2072778 Michel Tuffery (b. 1966) Cookie in Te Wai Pounamu Meets Cook Strait 2011 acrylic on canvas; 40.0 x 40.0 cm Courtesy of the artist and Andrew Baker Art Dealer, Brisbane Arthur Horner (1916–1997) ‘This is the place of a cottage’ 1980 pen and ink; 24.0 x 30.0 cm National Library of Australia, Arthur Horner archive of cartoons (Pictures), nla.cat–vn4942077 Tapuvae (Stilt), Marquesas Islands (French Polynesia) 1770s wood; 40.0 x 12.0 cm Australian Museum, Sydney, H000370 Cook’s Box of Instruments c. 1750 wood, engraved brass, glass, letterpress; 44.2 x 21.0 cm (closed) National Library of Australia, Rex Nan Kivell Collection (Pictures), nla.cat–vn2640976 Thomas Luny (1759–1837) The Bark, Earl of Pembroke, later Endeavour, Leaving Whitby harbour in 1768 c. -
Revisiting Darwin's Voyage", in Darwin: for the Love of Science (Eds
240 CITE: D. Catling (2009) "Revisiting Darwin's Voyage", in Darwin: For The Love of Science (Eds. A. Kelly and M. Kelly), Bristol Cultural Development Partnership, Bristol, England, pp.240-251. Revisiting Darwin’s Voyage 241 REVISITING DARWIN’S VOYAGE by David Catling ([email protected]) The kauri (Agathis australis) in Charles Darwin’s voyage around the world from 1831 to the Bay of Islands, New Zealand, is a tree of great antiquity whose 1836 on HMS Beagle is one of the greatest journeys of all ancestors arose around 135 million years ago (all photographs in this time and arguably the most important scientific expedition chapter are by the author). ever, given how it changed our fundamental view of nature. My interest in revisiting the landfalls of this voyage was sparked by a conversation some years ago. 242 Darwin: for the love of science Revisiting Darwin’s Voyage 243 A professor of English literature was boasting how students in the arts are directly exposed surveyed South America from 1826-1830. In 1828, in the desolate Magellan Straits, the to the words of the great genius, be it Shakespeare or Dante, whereas science students Beagle’s dejected captain, Pringle Stokes, committed suicide and Fitzroy was promoted to rarely read great scientists directly. Who, after all, reads Newton’s impenetrable Latin command the ship. Later, FitzRoy wrote: tomes? I disagreed: Several notable scientists have left readable accounts of their work, and none more so than Darwin. There may be metal in many of the Fuegian mountains, and I much regret that no person in the vessel was skilled in mineralogy, or at all acquainted with geology. -
Friends Newsletter, Ticket Option) Or Events That Are Free of Charge
FRIENDS OF THE NATIONAL LIBRARY OF AUSTRALIA INC. SUMMER 2018–19 MESSAGE FROM THE CHAIR 2018 FRIENDS MEDAL: SHIRLEY GOLLINGS Dear Friends The three months since my last message have seen many successful Friends activities, some of which are described elsewhere in this newsletter. In 2018, the Friends Committee awarded the Friends Medal to Shirley Gollings, in recognition of her 20 years of service as a National Library volunteer. Shirley’s award should also be seen as recognition for the scores of other unsung Library volunteers who have given of their time since the establishment of the volunteer program in 1989. The Committee considered that it was important, in this year of the Library’s fiftieth anniversary celebrations, that we acknowledge the volunteers’ ongoing commitment and contribution to various Library programs. This is my final message as Chair of the Friends, as I’ve Shirley Gollings reached the end of my three year term. I would like to We are delighted to announce that Shirley Gollings has been thank the members of the Friends Committee with whom awarded the 2018 Friends Medal. The Friends Medal was I have served over the last three years. We have all established in 2006 to recognise a significant contribution considered it a great privilege to support the continued to the work of the National Library of Australia by Friends’ development and success of the National Library. members, Library staff or volunteers. I would also like to offer my congratulations to the newly Shirley joined the National Library volunteer program in 1998 elected members of the Committee, all of whom I know and has since engaged in 20 years of ongoing contribution, will serve the Friends well. -
4 the Artist Travels: Augustus Earle At
© Copyrighted Material 4 The Artist Travels: Augustus Earle at Sea Sarah Thomas Augustus Earle is considered to be the first independent, professionally-trained artist to have travelled to all five continents. Between his first association with London’s Royal Academy in 1806 and his premature death in 1838, the British artist spent most of his life abroad (Hackforth-Jones 1980, 1–2).1 Yet unlike the generations of artists before him whose Grand Tour itineraries led them across the Continent, Earle spent most of his life sketching and painting in the ‘New World’—the Americas, Asia, Australasia and beyond. At a time when Britain was consolidating its global reach, and a rising leisured class was becoming increasingly curious about the world beyond Europe, Earle exemplified a new type of peripatetic artist whose role was to visualize peoples and places that were largely unfamiliar at home. Given the fact that Earle spent a great deal of time enduring the harsh conditions and tedium of shipboard life, it is perhaps not so surprising to find that this was a subject to which he returned in his watercolour sketches on a number of occasions. What is perhaps more curious is the fact that this highly unusual subject—at least for an oil painting of the period—was the one he chose to work up into a pair of highly detailed canvases for exhibition at the Royal Academy in the year before he died. Earle’s two shipboard paintings, Life in the Ocean Representing the Usual Occupations of the Young Officers in the Steerage of a British Frigate at Sea (Plate 4), and Divine Service as it is Usually Performed on Board a British Frigate at Sea (Figure 4.1) (both c.1820–1837), are among the first British oils to represent life below deck, and they do so with an attention to everyday detail that is unparalleled.2 I shall argue here that they are as resolutely modern as they are unheroic, a far cry from both the exuberant history paintings and the Dutch- inspired genre scenes which continued to dominate British art into the 1830s. -
Humanities Research Journal Series
CONTENTS 1 Caroline Turner Editorial: Tomorrow’s Museums 5 Iain McCalman Museum & Heritage Management in the New Economy 17 Dawn Casey Case Study: The National Museum of Australia 25 Elaine Heumann Gurian What is the Object of This Exercise?: A Meandering Exploration of the Many Meanings of Objects in Museums 37 Howard Morphy Seeing Aboriginal Art in the Gallery 51 Paul A. Pickering Conserving the People’s History: Lessons From Manchester and Salford 59 Dorreen Mellor Arterfacts of Memory: Oral Histories in Archival Institutions 68 Future Shots: Prominent Australians Share Their Thoughts on Museums of the Future 71 Ralph Elliot Book Review: Remarkable Occurences, The National Library of Australia’s First 100 Years, 1901–2001 Vol. 8 No. 1, 2001 ISSN: 1440-0669 contents 3/3/03 5:07 PM Page 1 editorial: tomorrow’s museums CAROLINE TURNER An aerial view of the new National Museum of Australia on Canberra’s Acton Peninsula. Source: Ashton Raggatt McDougall, Robert Peck von Hartel Trethowan. Architects in Association t the beginning of the twenty-first with the future of museums as cultural heritage A century museums worldwide are coming institutions and are both involved in research under increasing scrutiny as public institu- projects and partnerships with museums and cul- tions. They are taking on new roles and using tural institutions, nationally and internationally. new means of communication with audiences. Museums in our contemporary globalised Two volumes of Humanities Research — this world are far more than repositories of the his- issue for 2001 and the first volume for 2002 — tory of “nations” or single national narratives. -
Hidden Treasures Hidden Treasures
HIDDENHIDDEN TREASURESTREASURES InsideInside the the national national library library of of australia australia withwith Betty Betty Churcher Churcher Betty Churcher presents an insider’s guide to the ‘hidden’ art treasures in the National Library of Australia. Photo by Marcus Fillinger. © Film Australia. Film © Fillinger. Marcus by Photo Premieres Tuesday 3 June 2008, 6:50pm on ABC1 Catherine Bocking ABC TV Publicitywww.filmaust.com.au/hiddentreasuresnla 02 8333 4459 [email protected] HIDDEN TREASURESInside the national library of australia with Betty Churcher Key Credits Hidden Treasures – inside the National Library of Australia is a Film Australia National Interest Program in association with Early Works. Produced in association with the Australian Broadcasting Corporation. With special thanks to the National Library of Australia. © Film Australia 2008. Producer/Writer/Presenter – Betty Churcher Producer/Director – John Hughes Producer - Philippa Campey Editor – Uri Mizrahi Line Producers - Philippa Campey, Andrea Foxworthy Cinematographer - Joel Peterson Sound Recordists – Mark Tarpey, Steve Best Composer – Paul Grabowsky Executive Producer – Anna Grieve Duration – 10 x 5 mins 30 secs An Australian Government owned company, Film Australia Is a leading producer and distributor of television documentaries and educational programs. www.filmaust.com.au Producer/Director John Hughes directs a scene of Hidden Treasures with Director of Photography Joel Peterson (right) and Betty Churcher (left) in the National Library of Australia Map Room. Photo by Marcus Fillinger. © Film Australia. 2 Catherine Bocking ABC TV Publicity 02 8333 4459 [email protected] HIDDEN TREASURESInside the national library of australia with Betty Churcher Series Synopses One line Betty Churcher presents an insider’s guide to the ‘hidden’ art treasures in the National Library of Australia. -
“It's Hard to Keep Track”
―It‘s Hard to Keep Track‖: Mapping a Shifting Nation in Dylan Horrocks‘s Hicksville Hamish Clayton A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature School of English, Film, Theatre & Media Studies Victoria University of Wellington 2009 Contents Acknowledgements 3 Note 4 Abstract 5 Introduction: Local and Special 6 Chapter One: Local Heroes 14 Chapter Two: Going Global 36 Chapter Three: Local Knowledge 58 Chapter Four: Art as Comics as Taonga 84 Chapter Five: Mapping Hicksville 105 Conclusion: Standing Upright Here 123 Works Cited 128 2 Acknowledgements I would like to offer special thanks to my primary supervisor, Mark Williams, whose enthusiasm for this project has been boundless. Without his friendship and guidance I would not have been able to write the thesis I wanted to write. Thanks also to Tina Barton, my Art History supervisor, for her support throughout. I would like to thank the staff of both English and Art History programmes at Victoria University for their extended support and friendship over the last five years, as well as that of my former colleagues at Victoria University‘s Student Learning Support Service. I gratefully acknowledge the financial support of the University, and the provision of a Scholarship for Masters study 2008-09. I am indebted to Dylan Horrocks, who very generously sent me copies of his comics no longer available for purchase in shops or online. Thanks also to the many friends and family who have supported me immeasurably. In particular, Stephen McDowall, whose professionalism and achievements have been an inspiration; Kirsten Reid, whose unconditional support and enthusiasm have been truly invaluable; and Rosie Howell, for her unwavering faith in me. -
Tristan Da Cunha New Books
Miles Apart New and secondhand books on the South Atlantic islands and the Antarctic Ian Mathieson, Callender House, 90, Callender Street, Ramsbottom, Lancs BL0 9DU, UK Tel: 01706-826467 E-Mail: [email protected] LIST No 37 June 2017 Ascension Page 2 Misc. Voyages, Islands and Ships Pages 20-26 St Helena Pages 3-8 Picairn Island Page 25 Napoleon & St H Pages 8-13 Falkland Islands Pages 27-32 Tristan da Cunha Pages 14-20 Antarctica Pages 32-40 Most of my business is by mail order from a private house. Callers welcome by appointment. If you are phoning, evenings and weekends are best. During the day, apologies, but you may often get the answerphone; I will try to phone you the same evening. Numbers marked with a square are newly published titles or new books re-offered at reduced prices. TERMS AND CONDITIONS OF SALE Postage: Prices include p&p in the UK. For other destinations please enquire by email Payment: New customers payment with order please. Visa and Mastercard accepted. I can accept payment in Sterling. CHEQUES SHOULD BE MADE PAYABLE TO IK MATHIESON. All cheques not payable in sterling or drawn on a UK bank account have an £8 service charge. Cash payments should be sent registered post. Payments can also be made by on line bank transfer. Account Name: I K Mathieson, Bank: First Direct, Sort Code 40-47-83. Account Number: 63832031. Please quote your name as a reference. All items can be returned within one week of sale if not satisfactory. Although I expect to maintain the price of items listed until I issue the next list, I reserve the right to alter prices of items without notice. -
Conrad Martens and Burragalong Cavern
Art Appreciation Lecture Series 2017 Site Specific: The power of place Conrad Martens and Burragalong Cavern Dr Kathleen Davidson 29/30 March 2017 Lecture summary: Conrad Martens’ landscape paintings represent some of the great masterpieces of Australian colonial art. Among the lesser-known works within Martens’ oeuvre are the paintings and drawings of caves he produced during the 1840s. Martens’ paintings of Burragalong Cavern were reviewed harshly by critics in the artist’s own time. This lecture explores Martens’ early connections with scientific figures, discoveries and practices of the day, and their influence on his approach to the cave paintings and the viewer’s reception of them. Slide list: 1. Nineteenth-century Australian Art Galleries, Art Gallery of NSW 2. Map showing Abercrombie Caves and Wellington Caves, NSW 3. Conrad Martens, Stalagmites, Burragalong Cavern, 1843, oil on cardboard, 40.6 x 53.3 cm. Art Gallery of NSW 4. a) Conrad Martens, Interior of the Burrangalong [Abercrombie] Cavern, c.1843-49, oil on canvas, 60.5 x 88.2 cm. State Library of NSW; b) Conrad Martens, [Northern Entrance] Burrangalong Cavern, Rockbridge Creek, c. 1849, oil on canvas, 42.1 x 58.7 cm. State Library of NSW; c) Conrad Martens, Stalagmite Columns at the Southern Entrance of the Burrangalong Cavern, 1843, oil on canvas, 42.1 x 58.7 cm. Art Gallery of South Australia 5. a) Maull and Polyblank, Charles Darwin, c.1855, albumen silver photograph, from the Literary and Scientific Portrait Club, 20.0 x 14.6 cm. National Portrait Gallery, London; b) Conrad Martens, On board HMS Beagle (self-portrait), June 1834, pencil on grey paper, 13.5 x 10.4cm.