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      <title>Key terms by </title>
      <link>https://padlet.com/svhenty/je4p9bfag2wliih2</link>
      <description>Online resource of exhibitions, key terms and additional readings for Australian Art. </description>
      <language>en-us</language>
      <pubDate>2021-09-10 10:30:17 UTC</pubDate>
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      <item>
         <title>Settlement</title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730600015</link>
         <description><![CDATA[<div>Captain Arthur Phillip led the First Fleet which established the first colony in 1788.&nbsp;</div>]]></description>
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         <pubDate>2021-09-10 10:50:35 UTC</pubDate>
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         <title>Terra Nullius </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730600183</link>
         <description><![CDATA[<div>“Central to the traditional law was the notion of territory unoccupied and unacquired—terra nullius... Such territory could be acquired merely by an occupation sufficiently effective, accompanied by an intention to acquire sovereignty. On the other hand where territory was already occupied or acquired, cession, conquest (and possibly prescription) were the appropriate modes. But the category terra nullius was not self-defining nor did practice bear out the positivist assumption that territory was either terra nullius or part of an existing State. The category terra nullius was a residual one. Thus it is first necessary to determine in what cases territory was regarded as occupied whether by indigenous States or other entities with a degree of political organization...”<br><br>Excerpt From: James R. Crawford, <em>The Creation of States in International Law</em>, p. 760. <br><br>"Before Cook set off on the first Journey, the British Admiralty<br>gave him secret instructions. These were both written and verbal. He was not allowed to read the written instructions until he had reached Tahiti and finished observing an important planetary event, the transit of Venus... The instructions then said, ‘You are also with<br>the Consent of the Natives to take Possession of<br>Convenient Situations in the Country in the Name of<br>the King of Great Britain: Or: if you find the Country<br>uninhabited take Possession for his Majesty by setting<br>up Proper Marks and Inscriptions, as first discoverers<br>and possessors.’ Cook was clearly unable to gain ‘the consent of the natives’ in his visits to the east coast of Australia.<br>Quite the opposite: he was unable to establish any<br>kind of understanding or engagement with the<br>Neunonne or Gweagal peoples. This is because Cook’s<br>behaviour – entering Country without consent – was<br>not appropriate." <br><br>Excerpt from: Clare Land, Paula Bala and Kate Golding, <em>Blak Cook Book</em>, p. 18.&nbsp;</div>]]></description>
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         <pubDate>2021-09-10 10:50:44 UTC</pubDate>
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         <title>The Black Wars </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730601970</link>
         <description><![CDATA[<h1>The National Picture: The Art of Tasmania's Black War, National Gallery of Australia, 12 May – 29 July 2018</h1><div><em><br>The National Picture</em> will shine a light on two enthralling yet under-examined figures in Australian history: colonial artist Benjamin Duterrau and the ‘Conciliator’ George Augustus Robinson. Drawing key loans from national and international collections, including five of the seven known ‘proclamation boards’, <em>The National Picture</em> will examine the work of colonial artists from the declaration of martial law in Van Diemen’s Land in 1828 and the beginnings of George Augustus Robinson’s ill-fated ‘Friendly Mission’ through to Duterrau’s death in 1851.</div><div><br>The exhibition will also include a group of works dating from the 1920s to the present day that reference and respond to the many confronting issues that continue to arise from Tasmania’s complex past<br><br></div><div>https://nga.gov.au/nationalpicture/</div>]]></description>
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         <pubDate>2021-09-10 10:52:06 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730601970</guid>
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         <title>Settlerism</title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730606557</link>
         <description><![CDATA[<div>James Belich, Review of Replenishing the Earth: The Settler Revolution and the Rise of the Anglo-World, 1783-1939</div>]]></description>
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         <pubDate>2021-09-10 10:55:54 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730606557</guid>
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      <item>
         <title>History Painting</title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730607178</link>
         <description><![CDATA[<div>The term ‘history painting’ was introduced by the French Royal Academy in the seventeenth century. It was seen as the most important type (or ‘genre’), of painting above portraiture, the depiction of scenes from daily life (called genre painting), landscape and still life painting.</div>]]></description>
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         <pubDate>2021-09-10 10:56:24 UTC</pubDate>
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         <title>Allegory</title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730607707</link>
         <description><![CDATA[<div>An allegory is the description of a subject in the guise of another subject. An allegorical painting might include figures emblematic of different emotional states of mind – for example envy or love – or personifying other abstract concepts, such as sight, glory, beauty... </div>]]></description>
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         <pubDate>2021-09-10 10:56:57 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730607707</guid>
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      <item>
         <title>Settler-Colonialism </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730608409</link>
         <description><![CDATA[<div>Patrick Wolfe, 'Settler colonialism and the elimination of the native', <em>Journal of Genocide Research</em> 8, no. 4, (2006): pp. 387-409, DOI: 10.1080/14623520601056240.</div>]]></description>
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         <pubDate>2021-09-10 10:57:33 UTC</pubDate>
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      <item>
         <title>Staffage</title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730657572</link>
         <description><![CDATA[<div>‘Staffage’ refers to the human and animal figures that populate pictures, either with subtle anonymity or with symbolic, historical, biblical significance.</div>]]></description>
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         <pubDate>2021-09-10 11:38:42 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730657572</guid>
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      <item>
         <title>Modernism </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730724234</link>
         <description><![CDATA[<div>A cultural movement across the arts in the late nineteenth and early twentieth centuries that departed from classical or inherited ideas about art and strove to replace them with new aesthetics that expressed the contemporary.<br><br>Robin Walz, <em>Modernism</em> (Harlow: Pearson, 2013), xxv.&nbsp;</div>]]></description>
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         <pubDate>2021-09-10 12:21:16 UTC</pubDate>
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      <item>
         <title>Anti-Modernism</title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730724381</link>
         <description><![CDATA[<div>The anti-modernists in Australian art saw modern art as "corrupt" and connected modernist art with eugenics. Many anti-Modernists including Lionel Lindsay and members of the Jindyworobak Movement held racist beliefs. &nbsp;<br><br>See: Lionel Lindsay, <em>Addled Art</em>. London: Hollis and Carter, 1946.&nbsp;</div>]]></description>
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         <pubDate>2021-09-10 12:21:21 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730724381</guid>
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      <item>
         <title>Appropriation </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730733469</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-09-10 12:26:15 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1730733469</guid>
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      <item>
         <title>The 1939 Herald Exhibition of French and British Contemporary Art</title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1734359217</link>
         <description><![CDATA[<div><br>Exhibition of French and British contemporary art / [exhibition held Town Hall, Melbourne, opened October 16th, 1939] ; organizer of exhibition, Basil Burdett ; [exhibition brought to Melbourne by the Herald]<br><br></div>]]></description>
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         <pubDate>2021-09-13 00:11:03 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1734359217</guid>
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      <item>
         <title>Vitalism </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1734373667</link>
         <description><![CDATA[<div>https://www.anzacmemorial.nsw.gov.au/our-stories/sculpture-hoff</div>]]></description>
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         <pubDate>2021-09-13 00:18:53 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1734373667</guid>
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      <item>
         <title>George Bell School </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1734401002</link>
         <description><![CDATA[<div>In 1932 Arnold Shore and George Bell opened the Bell-Shore school of painting, then the only Melbourne school purporting to teach modernist principles.</div>]]></description>
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         <pubDate>2021-09-13 00:32:17 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1734401002</guid>
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         <title>Heide Museum of Modern Art</title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1734401250</link>
         <description><![CDATA[<div>Began in 1934 as the home of John and Sunday Reed<br>Became the home to a circle of artists and a private library<br><br>https://www.heide.com.au/about/heide-story</div>]]></description>
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         <pubDate>2021-09-13 00:32:26 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1734401250</guid>
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         <title>Contemporary Art Society </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1734403133</link>
         <description><![CDATA[<div>Formed in Victoria 1938<br>Key figures that were associated with the CAS: Arthur Boyd, John Perceval, Harry de Hartog, Albert Tucker, Sidney Nolan<br>Their Aim: To protest at the perceived conservatism of the dominant Australian Academy of Art, with primary and paramount objective being the fostering and promotion of contemporary art, to further the understanding of it, and to encourage and stimulate artists.</div>]]></description>
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         <pubDate>2021-09-13 00:33:13 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1734403133</guid>
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      <item>
         <title>National Gallery School </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1734404525</link>
         <description><![CDATA[<div>National Gallery Art School opened in 1867 on Swanston Street&nbsp; (today's State Library of Victoria). Some of Australia’s most well-known artists attended the school, ranging from Hugh Ramsay to Margaret Preston and Joy Hester. Up until around 1910, it was considered to offer the best art training in Australia. Its heads of school and teachers of painting included Eugene von Gerard, George Frederick Folingsby, Frederick McCubbin and Bernard Hall.</div>]]></description>
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         <pubDate>2021-09-13 00:33:55 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1734404525</guid>
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         <title>Automatism</title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1735472639</link>
         <description><![CDATA[<div>During the late 1930s, Albert Tucker became intrigued with Surrealist techniques such as <strong>automatism</strong> (the relaxation of conscious thought to release unconscious ideas and feelings for artistic expression). Surrealism gave Tucker a way into an exploration of the inner self and his feelings about life during wartime.&nbsp;</div>]]></description>
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         <pubDate>2021-09-13 08:50:09 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1735472639</guid>
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      <item>
         <title>Social Realism </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1735472900</link>
         <description><![CDATA[<div>— Depicts reality in a way that moves away from the romanticised ideas of Australia demonstrated in artwork produced in previous years&nbsp;<br><br>— Focuses on social relations and conditions of different classes of people in Australian society&nbsp;<br><br>— A critique on social structures&nbsp;<br><br>— Raw and austere representation of trauma&nbsp; &nbsp; &nbsp; &nbsp;</div>]]></description>
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         <pubDate>2021-09-13 08:50:17 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1735472900</guid>
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         <title>En plein air </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1742470406</link>
         <description><![CDATA[<div>The French term plein air means out of doors and refers to the practice of painting entire finished pictures out of doors.<br><br>"In the summer of 1886–87, McCubbin, Roberts and<br>Abrahams rented a cottage at Mentone, a beachside<br>suburb of Melbourne. Here and at nearby Beaumaris<br>they again painted en plein air. They met the younger,<br>less experienced artist Arthur Streeton sketching<br>on the beach at Ricketts Point and he subsequently<br>joined them in their painting expeditions,<br>later recalling:</div><blockquote>The first open-air picture I had seen of McCubbin’s<br>was painted on these shores. A full expanse of pale<br>blue lapping water, and the beach and fossil rocks for a<br>foreground, and shed over the surface of everything was<br>the warm air of December noon." </blockquote><div><br>https://nga.gov.au/Exhibition/MCCUBBIN/pdf/MCCUBBIN_ESSAY.pdf</div>]]></description>
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         <pubDate>2021-09-15 11:57:40 UTC</pubDate>
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         <title>She-Oak and Sunlight: Australian Impressionism, 2 Apr 21 – 22 Aug 21, National Gallery of Victoria</title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1742486610</link>
         <description><![CDATA[<div><em>She-Oak and Sunlight: Australian Impressionism</em> is a large-scale exhibition of more than 250 artworks drawn from major public and private collections around Australia, including the NGV Collection. Featuring some of the most widely recognisable and celebrated works by Tom Roberts, Frederick McCubbin, Jane Sutherland, Arthur Streeton, Charles Conder, Clara Southern, John Russell and E. Phillips Fox, the exhibition also brings to light lesser-known paintings by Iso Rae, May Vale, Jane Price and Ina Gregory. <em>She-Oak and Sunlight</em> presents these works in new and surprising contexts, exploring the impact of personal relationships, international influences and the importance of place on the trajectory of the movement.</div>]]></description>
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         <pubDate>2021-09-15 12:06:01 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1742486610</guid>
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         <title>9 x 5 Exhibition </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1744163846</link>
         <description><![CDATA[<div><br>Roberts, Conder and Streeton decided to hold an exhibition of their work and named it the <em>9 by 5 Impression Exhibition.</em> The majority of the works were painted on nine-by-five-inch wooden boards (many of which were cigar box lids). It was the first major exhibition of Impressionist paintings in Australia.&nbsp;</div><div><br>The exhibition took place at Buxton Galleries on Swanston Street. It was a larger space located in Melbourne’s most popular gallery and artistic supply store.</div><div><br></div><div><strong>Tom Roberts, Arthur Streeton and Charles Conder, Manifesto, June 1889:</strong></div><blockquote>Any effect of nature which moves us strongly by its beauty, whether strong or vague in its drawing, defined or indefinite in its light, rare or ordinary in colour, is worthy of our best efforts and of the love of those who love our art. Through and over all this we say we will do our best to put only the truth down, and only as much as we feel sure of seeing.</blockquote>]]></description>
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         <pubDate>2021-09-15 23:23:59 UTC</pubDate>
         <guid>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1744163846</guid>
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         <title>Cosmopolitanism </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1744191344</link>
         <description><![CDATA[<h1>Nikos Papastergiadis, <em>Cosmopolitanism and Culture</em>, (Cambridge: Polity Press, 2012): 81.&nbsp;</h1><div><br></div><blockquote>The term ‘cosmopolitanism’ is both the product of an idea of the world and an ideal form of global citizenship. Everyone who is committed to it recalls the phrase first used by Socrates and then adopted as a motif by the Cynics and the Stoics: ‘I am a citizen of the world’. Indeed the etymology of the word and its theory appear to be in wondrous symmetry. There are no records that demonstrate the existence of a cosmopolitan society and yet, throughout history, the concept of cosmopolitanism has continually surfaced as a term to express the basic idea of human unity and a harmonious form of universal governance.</blockquote><div><br></div><div><br></div>]]></description>
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         <pubDate>2021-09-15 23:44:40 UTC</pubDate>
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         <title>Orientalism </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1744198677</link>
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         <pubDate>2021-09-15 23:49:53 UTC</pubDate>
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         <title></title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1744199851</link>
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         <pubDate>2021-09-15 23:50:48 UTC</pubDate>
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         <title>Albert Tucker&#39;s women </title>
         <author>svhenty</author>
         <link>https://padlet.com/svhenty/je4p9bfag2wliih2/wish/1762286901</link>
         <description><![CDATA[<div>https://www.afr.com/politics/albert-tucker-the-first-of-the-living-greats-revisited-19900823-k40vr</div>]]></description>
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         <pubDate>2021-09-23 07:36:29 UTC</pubDate>
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