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Vom Bergbau Und Mentalität: Die Künstlerische Und ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Berichte der Geologischen Bundesanstalt Jahr/Year: 1997 Band/Volume: 41 Autor(en)/Author(s): MacLeod Roy Artikel/Article: Vom Bergbau und Mentalität: die künstlerische und geologische Darstellung der australischen Landschaft im 19.Jahrhundert 139-146 Berichte der Geologischen Bundesanstalt, ISSN 1017-8880. Band 41, Wien 1997 MACLEOD will capture and make sense of unfamiliar land- forms. Their attempts to draw and later to photo­ Vom Bergbau und Mentalität: Die graph the bush, with its aboriginal inhabitants and its evanescent moods were commonly seen as at­ künstlerische und geologische tempts to create and impose a moral sense of civili­ Darstellung der australischen zation and order, whereby an unruly continent would be transformed into an orderly pastoral vi­ Landschaft im 19. Jahrhundert sion, comprehensibile to European eyes. By the end of the 19th century, artists, geologists and of course miners themselves become participants in trans­ Of Mines and Mentalities: Artistic forming the physiography of Australia from a haunting landscape, into a useful physical environ­ and Geological Representations of the ment valued by Europeans less for its spiritual Australian Landscape in the beauty than for its material benefits. In so doing ar­ th tistic models drawn from European culture become 19 Century agencies of European political economy. Горная промышленность и склад: This paper will consider the role of art, and the work of selected artists and naturalists in the художественное и геологическое European construction of beauty and utility in the Australian historical landscape. It will pay particu­ изображение ландшафта Австралии lar attention to the interest of art and geology in representing the continent equally as an early para­ в 19 веке dise and as a vast treasure of mineral wealth in ei­ ther case, an inimitable site for Europeans, to Von/by borrow Geoffrey BLAINEY'S phrase to begin a "rush that never ended". Roy MACLEOD no Introduction Schlüsselworte Australia is a huge continent with a vast compass. From Australien the tropical north, through the arid 'dead heart' land, to Bergbau the temperate south, a diverse landscape as large as conti­ Geologie nental Europe defies any definition of geographical ho- Landschaft mogenity. Nor does its landscape imply a unity among its Landschaftsmalerei indigenous peoples who, in their diverse languages and customs, not only reflect a mythic past, but also ways of knowing that remain deeply foreign to Europeans "2. In Abstract the early years of colonial settlement, the alien strange­ ness attaching to this 'land of contrarieties,' in the fash­ The history of mining takes place within a cultural, ш as well as a geological landscape. From European ionable phrase , both inspired and confounded settlement as the end of the 18'b century, artists in explorers who came looking for inland seas and river Australia have struggeled to find a sensibility that systems comparable to those known in Europe, Asia, the 110 Anschrift des Verfassers: MACLEOD, Prof. Roy M., The University of Sydney, Dept. of History, Sydney, AUS - 2006 NSW, Australien 111 This paper was prepared for presentation to the Second Erbe - Symposium: Cultural Heritage in Geosciences, Mining and Metallurgy, held al Leoben, Austria, 18 - 21. September 1995. I am grateful to the organising committee, and especially to Dr. Liselotte JONTES, for both inviting and enabling me to participate. For assistance in obtaining slides, I am grateful to Assoc. Prof. David BRANAGAN and Ms Geesche JACOBSEN. For a stimulating discussion on the nexus between art and illustraton in the cultural history of the Australian landscape, I am indebted to Assec. Prof. David CARMENT of the Northern Territoty University, Darwin 112 David LOWENTHAL, The Past is a Foreign Country (Cambridge: Cambridge University Press, 1985) opens a vista upon this past, which is now settled increasingly by practitioners of literary theory, postcolonial discourse, environmental history, geography, anthropology and the history of science. For a valuable introduction to the crosscultural synthesis of science, cartography, and language, and and cross-referebces to art, see Helen WATSON-VERRAN and David TURNBULL, 'Science and Other Indigenous Knowledge Systems', in Sheila JASANOFF et al. (eds), Handbook of Science und Technology Studies (London: Sage, 1995), 115-139. 1 am grateful for many insights to David TURNBULL, and especially to his Maps are Territories (Chicago: University of Chicago Press, 1993) 113 F.G. CLARKE, The Land of Contrarieties. British Attitudes to the Australian Colonies, 1828 1855 (Melbourne: Melbourne University Press, 1977) Das kulturelle Erbe in den Montan- und Geowissenschaften: Bibliotheken - Archive - Museen - 139 - internationales Symposium, 18. - 20. September 1995, Leoben/Steiermark, Österreich> Berichte der Geologischen Bundesanstalt, ISSN 1017-8880. Band 41, Wien 1997 MACLEOD Americas, and Africa-- and who left, or died, in the at­ becomes, to an imperial power, vital to the expansion of tempt to undestand their differences U4. The same sense European influence overseas 12\ So landscape art, com­ of wonder equally touched artists, writers, and naturalists missioned by government or private enterprise, becomes who, arriving with the baggage of European methods and economic and cultural intelligence. From the middle of models, sought to make sense of and settle the Australian the nineteenth century, survey art and systematic descrip­ continent115. tion begin to document new 'knowledge spaces' — hetero­ topias, in the language of FOUCAULT that Europeans It is difficult to see past landscape in the present. At best, define infamiliar, geopolitical terms m. Sites of symbolic we can attempt to preserve some of the present for the fu­ significance to aborigines are renamed and given new л ture. But from the late 17 century, we have written meanings. Physiographers and geomorphologists gradu­ memories of Europeans who first saw the land; and from ally occupy and describe a land that remains 'half the 18* of men who surveyed and studied it, and left vis­ known'™. Nature retreats, as geologists, mineralogists, ual memories of their discoveries. Australia was a land of and practital men — including lucky miners and their travellers and visitors and, once a British colony had companies — begin to transform the landscape into indus­ been assured, Matthew FLINDERS advisod Sir Joseph trial environments of modern mining, aided by satellite BANKS in 1800 that 'the interests of geography and natu­ precision and massive technology. Eventually, it be­ ral history in general, and to the British nation in par­ comes a challenge to recover the ways in which Euro­ ticular, seem to require, that this only remaining pean artists and naturalists set out to understand their considerable part of the globe should be thoroughly 'historical' landscape and who, in the process, inscribed ni explored...' and, we may add, drawn and quartered. themselves upon it. Just as the early artist-naturalists aboard His Majesty's ships showed how Europeans, in Bernard SMITH'S phrase, Historical geographers have argued that, by peeling way found art useful as information so the study of landforms successive layers of human residues, it is possible to re­ assumed a place in both literary and artistic narratives, construct histories that underlie them. Undoubtedly, as with explorers symbolizing sites, giving them names, and D.N. JEANS has argued, landscapes must be viewed as the describing their recognizable features"7. Art, like sci­ products of identifable historical agencies 124. Among ence, is an act of appropriation m. Eventually, art gives such agencies, artists (including photographers) and way to science, landscape to mapping, and theories of the naturalists were highly significant. I should like to indi­ earth to systematic stratigraphy, in a trajectory that traces cate some of the more important ~ first, those who tried European perspectives from the aesthetic to the to reconcile the Australian 'other', the unfamiliar, with economic "9. what was familiar at 'home'; second, those who grasped and promoted a particalar identity for the Australian en­ Along the way, these discourses are redefined. Cartogra­ vironment; and third, those who created new 'spaces' en­ phy, Brian HARLEY reminds us, is 'primarly a form of po­ dowed with political and economic significance. Their litical discourse, concerned with the acquisition and maps, paintings, and sketches — today, found among col­ maintenance of power120. Understanding the earth lections, museums, libraries and galleries — helped to 114 George SEDDON, 'Eurocentrism and Australian Science: Some Examples,'Search, 12, ( 1981-2), 446-450, and Robert STAFFORD, 'Roderick MURCHISON and the Structure of Africa: A Geological Prediction and its Consequences for British Expansion', Annals of Science, 45, (1988), 1-40 115 Barbara Maria STAFFORD, Voyage into Substance. Art, Science, Nature, and the illustrated Travel Account, 1760-1840 (Cambridge, Mass.: MIT Press, 1984). 116 Stephen MARTIN, A New Land: European Perceptions of Australia, 1788-1850 (Sydney: Allen and Unwin, 1993), 35 117 See Bernard SMITH, 'Art as Information: Reflections on the Art from Captain COOK'S Voyages', Proceedings of the Australian Academy of the Humanities, 10 ( 1979), 81-128 118 Anne-Marie WILLIS, Picturing Australia: A History
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