土著殖民地:紫罗兰梅斯的澳大利亚土著启发的陶器设计

IF 0.6 3区历史学 Q1 HISTORY

AUSTRALIAN HISTORICAL STUDIES Pub Date : 2023-10-02 DOI:10.1080/1031461x.2023.2251989

Peter Hughes

{"title":"土著殖民地:紫罗兰梅斯的澳大利亚土著启发的陶器设计","authors":"Peter Hughes","doi":"10.1080/1031461x.2023.2251989","DOIUrl":null,"url":null,"abstract":"AbstractIn the first half of the twentieth century, many Australian artists, such as the Tasmanian ceramicist Violet Mace (1883–1968), sought to find a distinctly Australian visual expression. Although Modernist aesthetics challenged Mace and her contemporaries to explore abstraction, in order to convey Australia’s specificity she turned to Australian history. Initially, her imagery touched on frontier conflict and the motifs of nineteenth-century Aboriginal artists such as Tommy McCrae. After tracing the sources of Mace’s imagery, this article asks to what extent her representations de-historicised the frontier past and enabled contemporary viewers a comfortable distance from what many Australians now see as a story of violent conquest. Perhaps Mace’s imagery can be read as an episode in a national history of slowly growing appreciation of Australian Aboriginal culture, increasing discomfort with the story of racial and cultural inferiority, and willingness to acknowledge that Australia is the product of invasion. Notes1 This paper builds on a short article by the author on Mace’s work published in Art Monthly 307 (May 2018): 28–33. In the same year, Mace was the subject of an appendix to a catalogue published for an exhibition of Maude Poynter’s work, though neither the exhibition nor the catalogue included any of Mace’s work: Glenda King, Maude Poynter: Painter and Potter (Hobart: Australiana Society, 2018). The earlier literature on Mace is not extensive and mostly consists of brief historical accounts. These contain some valuable information but also factual errors, most frequently Mace’s birth year, usually cited as 1890 rather than 1883. These are: J. Bartram et al., Early Tasmanian Pottery 1920–1950, exhibition catalogue (Hobart: Tasmanian School of Art, TCAE, 1979); C. Ackland and C. Campbell, ‘Pioneer Craftswomen from the Bothwell Area’, Tasmanian Historical Research Association Papers and Proceedings, Hobart, June 1994, 85–8; G. King, ‘Violet Mace’ and ‘Studio Pottery in Tasmania’, in Australian Art Pottery 1900–1950, eds K. Fahey, J. Freeland, K. Free and A. Simpson (Sydney: Casuarina Press, 2004). Penny Edmonds differs in offering a close examination of Mace’s work and its sources in an account of Mace’s use of the Proclamation Board image, in P. Edmonds, ‘The Proclamation Cup: Tasmanian Potter Violet Mace and Colonial Quotations’, reCollections 5, no. 2 (October 2010).2 Nicolas Thomas, Possessions; Indigenous Art/Colonial Culture (New York: Thames and Hudson, 1999), 111–14.3 Margaret Preston’s work and writing on Australian Aboriginal art, modernity, modernism and the need for an Australian national culture has been the subject of enquiries by a number of authors, most extensively in H. McQueen, The Black Swan of Trespass: The Emergence of Modernist Painting in Australia to 1944 (Sydney: Alternative Publishing Cooperative Limited, 1979), and more recently in David Macarthur, ‘The Experience of Aboriginality in the Creation of the Radically New’, in The Modernist World, eds Stephen Ross and Allana C. Lindgren (London: Routledge, 2015), 227–34; Ann Stephens, ‘Blackfellows and Modernists: Not Just Black and White’, in Pacific Rim Modernisms, eds Mary Ann Gillies, Helen Sword and Steven Yao (Toronto: University of Toronto Press, 2009), 151–70.4 Margaret Preston, ‘Art for Crafts: Aboriginal Art Artfully Applied’, The Home 5, no. 5 (1 December 1924): 30–1.5 Violet Mace to Graeme Lloyd Pretty, Curator of Anthropology, 10 June 1968, AA199, South Australian Museum Archives.6 Mace and Poynter shared a great-grandfather in George Meredith (1777–1856). Poynter was a descendant through his first wife Sarah Westall Hicks (1782–1820) and Mace through his second wife Mary Anne Evans (1795–1842).7 Preston, ‘Art for Crafts’, 31.8 McQueen, 151–2.9 Mitchell Rolls, ‘Painting the Dreaming White’, in The Real Thing, Australian Cultural History 24 (2006): 3–28.10 ‘Society of Arts and Crafts’, The Sydney Morning Herald, 25 July 1929, 5, http://nla.gov.au/nla.news-article28049374 (accessed 9 October 2017).11 Preston, ‘Art for Crafts’, 31.12 ‘Woman’s Interests’, The Daily News (Perth), 1 February 1933, 9 (Home Edition), http://nla.gov.au/nla.news-article83916304 (accessed 6 October 2017).13 ‘The Society of Arts and Crafts’, Sydney Mail, 26 October 1927, 29, http://nla.gov.au/nla.news-article158297780 (accessed 17 October 2017).14 The whereabouts of this earlier jug are unknown, and the five cups included in the 2016 TMAG donation the earliest known extant examples of Mace’s ‘Australian Aboriginal’-themed works.15 ‘Aboriginal Drawings’, The Australasian, 2 July 1927, 69, http://nla.gov.au/nla.news-article140798226 (accessed 13 April 2018).16 For example: ‘Local and General News’, The Ararat Advertiser, 20 May 1926, 2, http://nla.gov.au/nla.news-article75030153 (accessed 11 November 2019); ‘An Aboriginal’s Funeral’, Albury Banner and Wodonga Express, 8 November 1901, 29, http://nla.gov.au/nla.news-article128568125 (accessed 11 November 2019).17 Violet Mace to Graeme Lloyd Pretty, 10 June 1968.18 Andrew Sayers, Aboriginal Artists of the Nineteenth Century (Melbourne: Oxford University Press, 1996), 38–41.19 Sylvia Kleinert, ‘Deconstructing “the Decorative”: The Impact of Euro-American Artistic Traditions on the Reception of Aboriginal Art and Craft’, in Craft in Society: An Anthology of Perspectives, ed. Norris Ioannou (Fremantle: Fremantle Arts Centre Press, 1992), 121–2.20 Sayers, 46–8.21 Violet Mace to Graeme Lloyd Pretty, 10 June 1968. Mace mentions that she had a large collection of books and other material on the Australian Aboriginal people and their art: ‘in my search for suitable material I became interested in the aboriginals [sic] themselves & have a number of books & pamphlets on these very interesting people’.22 Ian Harmstorf, ‘Basedow, Herbert (1881–1933)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, published first in hardcopy 1979, http://adb.anu.edu.au/biography/basedow-herbert-5151/text8633 (accessed 8 January 2018).23 ‘The Book World Reviews’, The Mercury (Hobart), 21 March 1925, 15, http://nla.gov.au/nla.news-article23805346 (accessed 8 January 2018).24 Herbert Basedow, The Australian Aboriginal (Adelaide: Preece and Sons, 1925), 330.25 Ibid., 172.26 Ibid., 320.27 Preston may have been confused in her recollection, as Stead was a naturalist who is not listed as publishing on this subject. She may have had in mind G. Horne and G. Aiston, Savage Life in Central Australia (London: Macmillan, 1924). Margaret Preston to Violet Mace, 4 August 1934, State Library of Tasmania, Letters to and from various persons, notes and associated papers, mainly relating to Meredith family history, 17 January 1819–31 July 1959, NS123/1/93.28 Maurice Schild, ‘Albrecht, Friedrich Wilhelm (1894–1984)’. Australian Dictionary of Biography, National Centre of Biography, Australian National University, published first in hardcopy 2007, https://adb.anu.edu.au/biography/albrecht-friedrich-wilhelm-12126/text21725 (accessed 5 August 2022).29 ‘Current Events’, The Age, 16 January 1934, 6, http://nla.gov.au/nla.news-article203375392 (accessed 5 August 2022).30 Friedrich Wilhelm Albrecht to Violet Mace, 8 August 1934, AA199, South Australian Museum Archives.31 Sayers, 37.32 Margaret Preston, ‘The Application of Aboriginal Designs’, Art in Australia, third series, 31 (March 1930): 23–4.33 Trustees of the Public Library, Museums and National Gallery of Victoria, Australian Aboriginal Art, July 1929, 21.34 Ibid., 20.35 Violet Mace to The Anthropological Society of NSW, 26 May 1956, AITSIS collection (Mandraby.F01.CS).36 ‘For Women’, The Sydney Morning Herald, 27 October 1937, 7, http://nla.gov.au/nla.news-article17414763 (accessed 17 October 2017).37 ‘Some Fine Creative Work by Women’, The Sydney Morning Herald, 2 November 1937, 18 (Women’s Supplement), http://nla.gov.au/nla.news-article17418681 (accessed 8 November 2016).38 ‘A Woman’s Notebook’, Truth (Sydney), 21 August 1938, 34, http://nla.gov.au/nla.news-article169088510 (accessed 17 October 2017).39 Violet Mace to Graeme Lloyd Pretty, 10 June 1968.40 Ibid.41 Margaret Preston, ‘Away with Poker Worked Kookaburras and Gum Leaves’, Sunday Pictorial, 6 April 1930, 22.42 Rolls, 9.43 ‘Aboriginal Art’, The Sydney Morning Herald, 12 August 1941, 7, http://nla.gov.au/nla.news-article17755882 (viewed 9 October 2017).44 Preston, ‘Away with Poker Worked Kookaburras and Gum Leaves’, 22.45 Margaret Preston, ‘The Indigenous Art of Australia’, Art in Australia, third series, 11 (March 1925).46 Rolls, 3–28.47 ‘Aboriginal Art’, The Sydney Morning Herald, 12 August 1941, 7, http://nla.gov.au/nla.news-article17755882 (accessed 9 October 2017).48 Ian McLean, ‘Aboriginalism: White Aboriginals and Australian Nationalism’, http://australianhumanitiesreview.org/archive/Issue-May_1998/mclean.html49 Liz Conor, ‘Friday Essay: The Politics of Aboriginal Kitsch’, 3 March 2017, https://theconversation.com/friday-essay-the-politics-of-aboriginal-kitsch-73683 (accessed 14 July 2022).50 Kleinert, 123.51 A.S. Kenyon, ‘The Art of the Australian Aboriginal’, in Australian Aboriginal Art (Melbourne: National Museum of Victoria, 1929), 15.","PeriodicalId":45582,"journal":{"name":"AUSTRALIAN HISTORICAL STUDIES","volume":"18 1","pages":"0"},"PeriodicalIF":0.6000,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Native Colonials: Violet Mace’s Australian Aboriginal-Inspired Pottery Designs\",\"authors\":\"Peter Hughes\",\"doi\":\"10.1080/1031461x.2023.2251989\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"AbstractIn the first half of the twentieth century, many Australian artists, such as the Tasmanian ceramicist Violet Mace (1883–1968), sought to find a distinctly Australian visual expression. Although Modernist aesthetics challenged Mace and her contemporaries to explore abstraction, in order to convey Australia’s specificity she turned to Australian history. Initially, her imagery touched on frontier conflict and the motifs of nineteenth-century Aboriginal artists such as Tommy McCrae. After tracing the sources of Mace’s imagery, this article asks to what extent her representations de-historicised the frontier past and enabled contemporary viewers a comfortable distance from what many Australians now see as a story of violent conquest. Perhaps Mace’s imagery can be read as an episode in a national history of slowly growing appreciation of Australian Aboriginal culture, increasing discomfort with the story of racial and cultural inferiority, and willingness to acknowledge that Australia is the product of invasion. Notes1 This paper builds on a short article by the author on Mace’s work published in Art Monthly 307 (May 2018): 28–33. In the same year, Mace was the subject of an appendix to a catalogue published for an exhibition of Maude Poynter’s work, though neither the exhibition nor the catalogue included any of Mace’s work: Glenda King, Maude Poynter: Painter and Potter (Hobart: Australiana Society, 2018). The earlier literature on Mace is not extensive and mostly consists of brief historical accounts. These contain some valuable information but also factual errors, most frequently Mace’s birth year, usually cited as 1890 rather than 1883. These are: J. Bartram et al., Early Tasmanian Pottery 1920–1950, exhibition catalogue (Hobart: Tasmanian School of Art, TCAE, 1979); C. Ackland and C. Campbell, ‘Pioneer Craftswomen from the Bothwell Area’, Tasmanian Historical Research Association Papers and Proceedings, Hobart, June 1994, 85–8; G. King, ‘Violet Mace’ and ‘Studio Pottery in Tasmania’, in Australian Art Pottery 1900–1950, eds K. Fahey, J. Freeland, K. Free and A. Simpson (Sydney: Casuarina Press, 2004). Penny Edmonds differs in offering a close examination of Mace’s work and its sources in an account of Mace’s use of the Proclamation Board image, in P. Edmonds, ‘The Proclamation Cup: Tasmanian Potter Violet Mace and Colonial Quotations’, reCollections 5, no. 2 (October 2010).2 Nicolas Thomas, Possessions; Indigenous Art/Colonial Culture (New York: Thames and Hudson, 1999), 111–14.3 Margaret Preston’s work and writing on Australian Aboriginal art, modernity, modernism and the need for an Australian national culture has been the subject of enquiries by a number of authors, most extensively in H. McQueen, The Black Swan of Trespass: The Emergence of Modernist Painting in Australia to 1944 (Sydney: Alternative Publishing Cooperative Limited, 1979), and more recently in David Macarthur, ‘The Experience of Aboriginality in the Creation of the Radically New’, in The Modernist World, eds Stephen Ross and Allana C. Lindgren (London: Routledge, 2015), 227–34; Ann Stephens, ‘Blackfellows and Modernists: Not Just Black and White’, in Pacific Rim Modernisms, eds Mary Ann Gillies, Helen Sword and Steven Yao (Toronto: University of Toronto Press, 2009), 151–70.4 Margaret Preston, ‘Art for Crafts: Aboriginal Art Artfully Applied’, The Home 5, no. 5 (1 December 1924): 30–1.5 Violet Mace to Graeme Lloyd Pretty, Curator of Anthropology, 10 June 1968, AA199, South Australian Museum Archives.6 Mace and Poynter shared a great-grandfather in George Meredith (1777–1856). Poynter was a descendant through his first wife Sarah Westall Hicks (1782–1820) and Mace through his second wife Mary Anne Evans (1795–1842).7 Preston, ‘Art for Crafts’, 31.8 McQueen, 151–2.9 Mitchell Rolls, ‘Painting the Dreaming White’, in The Real Thing, Australian Cultural History 24 (2006): 3–28.10 ‘Society of Arts and Crafts’, The Sydney Morning Herald, 25 July 1929, 5, http://nla.gov.au/nla.news-article28049374 (accessed 9 October 2017).11 Preston, ‘Art for Crafts’, 31.12 ‘Woman’s Interests’, The Daily News (Perth), 1 February 1933, 9 (Home Edition), http://nla.gov.au/nla.news-article83916304 (accessed 6 October 2017).13 ‘The Society of Arts and Crafts’, Sydney Mail, 26 October 1927, 29, http://nla.gov.au/nla.news-article158297780 (accessed 17 October 2017).14 The whereabouts of this earlier jug are unknown, and the five cups included in the 2016 TMAG donation the earliest known extant examples of Mace’s ‘Australian Aboriginal’-themed works.15 ‘Aboriginal Drawings’, The Australasian, 2 July 1927, 69, http://nla.gov.au/nla.news-article140798226 (accessed 13 April 2018).16 For example: ‘Local and General News’, The Ararat Advertiser, 20 May 1926, 2, http://nla.gov.au/nla.news-article75030153 (accessed 11 November 2019); ‘An Aboriginal’s Funeral’, Albury Banner and Wodonga Express, 8 November 1901, 29, http://nla.gov.au/nla.news-article128568125 (accessed 11 November 2019).17 Violet Mace to Graeme Lloyd Pretty, 10 June 1968.18 Andrew Sayers, Aboriginal Artists of the Nineteenth Century (Melbourne: Oxford University Press, 1996), 38–41.19 Sylvia Kleinert, ‘Deconstructing “the Decorative”: The Impact of Euro-American Artistic Traditions on the Reception of Aboriginal Art and Craft’, in Craft in Society: An Anthology of Perspectives, ed. Norris Ioannou (Fremantle: Fremantle Arts Centre Press, 1992), 121–2.20 Sayers, 46–8.21 Violet Mace to Graeme Lloyd Pretty, 10 June 1968. Mace mentions that she had a large collection of books and other material on the Australian Aboriginal people and their art: ‘in my search for suitable material I became interested in the aboriginals [sic] themselves & have a number of books & pamphlets on these very interesting people’.22 Ian Harmstorf, ‘Basedow, Herbert (1881–1933)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, published first in hardcopy 1979, http://adb.anu.edu.au/biography/basedow-herbert-5151/text8633 (accessed 8 January 2018).23 ‘The Book World Reviews’, The Mercury (Hobart), 21 March 1925, 15, http://nla.gov.au/nla.news-article23805346 (accessed 8 January 2018).24 Herbert Basedow, The Australian Aboriginal (Adelaide: Preece and Sons, 1925), 330.25 Ibid., 172.26 Ibid., 320.27 Preston may have been confused in her recollection, as Stead was a naturalist who is not listed as publishing on this subject. She may have had in mind G. Horne and G. Aiston, Savage Life in Central Australia (London: Macmillan, 1924). Margaret Preston to Violet Mace, 4 August 1934, State Library of Tasmania, Letters to and from various persons, notes and associated papers, mainly relating to Meredith family history, 17 January 1819–31 July 1959, NS123/1/93.28 Maurice Schild, ‘Albrecht, Friedrich Wilhelm (1894–1984)’. Australian Dictionary of Biography, National Centre of Biography, Australian National University, published first in hardcopy 2007, https://adb.anu.edu.au/biography/albrecht-friedrich-wilhelm-12126/text21725 (accessed 5 August 2022).29 ‘Current Events’, The Age, 16 January 1934, 6, http://nla.gov.au/nla.news-article203375392 (accessed 5 August 2022).30 Friedrich Wilhelm Albrecht to Violet Mace, 8 August 1934, AA199, South Australian Museum Archives.31 Sayers, 37.32 Margaret Preston, ‘The Application of Aboriginal Designs’, Art in Australia, third series, 31 (March 1930): 23–4.33 Trustees of the Public Library, Museums and National Gallery of Victoria, Australian Aboriginal Art, July 1929, 21.34 Ibid., 20.35 Violet Mace to The Anthropological Society of NSW, 26 May 1956, AITSIS collection (Mandraby.F01.CS).36 ‘For Women’, The Sydney Morning Herald, 27 October 1937, 7, http://nla.gov.au/nla.news-article17414763 (accessed 17 October 2017).37 ‘Some Fine Creative Work by Women’, The Sydney Morning Herald, 2 November 1937, 18 (Women’s Supplement), http://nla.gov.au/nla.news-article17418681 (accessed 8 November 2016).38 ‘A Woman’s Notebook’, Truth (Sydney), 21 August 1938, 34, http://nla.gov.au/nla.news-article169088510 (accessed 17 October 2017).39 Violet Mace to Graeme Lloyd Pretty, 10 June 1968.40 Ibid.41 Margaret Preston, ‘Away with Poker Worked Kookaburras and Gum Leaves’, Sunday Pictorial, 6 April 1930, 22.42 Rolls, 9.43 ‘Aboriginal Art’, The Sydney Morning Herald, 12 August 1941, 7, http://nla.gov.au/nla.news-article17755882 (viewed 9 October 2017).44 Preston, ‘Away with Poker Worked Kookaburras and Gum Leaves’, 22.45 Margaret Preston, ‘The Indigenous Art of Australia’, Art in Australia, third series, 11 (March 1925).46 Rolls, 3–28.47 ‘Aboriginal Art’, The Sydney Morning Herald, 12 August 1941, 7, http://nla.gov.au/nla.news-article17755882 (accessed 9 October 2017).48 Ian McLean, ‘Aboriginalism: White Aboriginals and Australian Nationalism’, http://australianhumanitiesreview.org/archive/Issue-May_1998/mclean.html49 Liz Conor, ‘Friday Essay: The Politics of Aboriginal Kitsch’, 3 March 2017, https://theconversation.com/friday-essay-the-politics-of-aboriginal-kitsch-73683 (accessed 14 July 2022).50 Kleinert, 123.51 A.S. 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摘要

在20世纪上半叶，许多澳大利亚艺术家，如塔斯马尼亚陶艺家维奥莱特·梅斯(1883-1968)，试图找到一种独特的澳大利亚视觉表达。尽管现代主义美学要求梅斯和她的同时代人探索抽象，但为了传达澳大利亚的特殊性，她转向了澳大利亚的历史。最初，她的图像触及边境冲突和19世纪土著艺术家的主题，如汤米麦克雷。在追溯了梅斯的图像来源之后，本文提出了一个问题:她的表现在多大程度上去历史化了过去的边疆，使当代观众与许多澳大利亚人现在认为的暴力征服故事保持了舒适的距离。或许梅斯的形象可以被解读为澳大利亚民族历史上的一段插曲:人们对澳大利亚土著文化的欣赏在缓慢增长，对种族和文化自卑的故事越来越感到不安，并愿意承认澳大利亚是入侵的产物。注1本文基于作者在《艺术月刊》(2018年5月)第307期28-33页发表的一篇关于梅斯作品的短文。同年，梅斯成为莫德·波因特作品展览目录附录的主题，尽管展览和目录都没有包括梅斯的任何作品:格伦达·金，莫德·波因特:画家和波特(霍巴特:澳大利亚协会，2018)。关于梅斯的早期文献并不广泛，大多由简短的历史叙述组成。其中包含一些有价值的信息，但也有事实错误，最常见的是梅斯的出生年份，通常被引用为1890年而不是1883年。这些是:J.巴特拉姆等人，早期塔斯马尼亚陶器1920-1950，展览目录(霍巴特:塔斯马尼亚艺术学院，TCAE, 1979);C. Ackland和C. Campbell，“来自Bothwell地区的先锋工匠”，塔斯马尼亚历史研究协会论文和会议记录，霍巴特，1994年6月，85-8;G. King，“紫罗兰梅斯”和“塔斯马尼亚的工作室陶器”，《澳大利亚艺术陶器1900-1950》，编辑K. Fahey, J. Freeland, K. Free和A. Simpson(悉尼:木麻黄出版社，2004)。彭妮·埃德蒙兹(Penny Edmonds)在P.埃德蒙兹的《公告杯:塔斯马尼亚波特·紫罗兰·梅斯和殖民地语录》(回忆录5,no. 5)中，对梅斯的作品及其来源进行了细致的研究，并描述了梅斯对公告板图像的使用。2 .(2010年10月尼古拉斯·托马斯《财产》;玛格丽特·普雷斯顿(Margaret Preston)关于澳大利亚土著艺术、现代性、现代主义和澳大利亚民族文化需求的作品和写作一直是许多作者研究的主题，其中最广泛的是H.麦昆(H. McQueen)的《非法侵入的黑天鹅:到1944年澳大利亚现代主义绘画的出现》(悉尼:另类出版合作有限公司，1979年)，最近在大卫·麦克阿瑟，“在激进的新创造的原住民的经验”，在现代主义世界，编辑斯蒂芬·罗斯和Allana C.林格伦(伦敦:劳特利奇，2015年)，227-34;安·斯蒂芬斯，《黑人与现代主义者:不只是黑与白》，载于《环太平洋现代主义》，玛丽·安·吉利斯、海伦·斯剑和史蒂文·姚编(多伦多:多伦多大学出版社，2009年)，151-70.4玛格丽特·普雷斯顿，《工艺美术:土著艺术的巧妙应用》，《家园》5号，第151-70.4页。5(1924年12月1日):30-1.5维奥莱特·梅斯写给人类学馆长格雷姆·劳埃德·普雷蒂，1968年6月10日，AA199，南澳大利亚博物馆档案馆。梅斯和波因特有一个共同的曾祖父乔治·梅雷迪斯(1777-1856)。波因特是他的第一任妻子莎拉·韦斯特尔·希克斯(1782-1820)和梅斯的第二任妻子玛丽·安妮·埃文斯(1795-1842)的后裔Preston，“工艺美术”，31.8 McQueen, 151-2.9 Mitchell Rolls，“绘画的梦想白色”，在真实的东西，澳大利亚文化史24(2006):3-28.10“工艺美术协会”，悉尼先驱晨报，1929年7月25日，5,http://nla.gov.au/nla.news-article28049374(访问2017年10月9日)Preston，“工艺美术”，31.12“女性的兴趣”，The Daily News (Perth)， 1933年2月1日，9(家庭版)，http://nla.gov.au/nla.news-article83916304(2017年10月6日访问)。13“The Society of Arts and Crafts”，悉尼邮报，1927年10月26日，29,http://nla.gov.au/nla.news-article158297780(2017年10月17日访问)这个早期壶的下落不明，2016年TMAG捐赠的五个杯子是梅斯“澳大利亚土著”主题作品中已知最早的现存例子。15“土著绘画”，澳大利亚，1927年7月2日，69,http://nla.gov.au/nla.news-article140798226(2018年4月13日访问)例如:1926年5月20日《亚拉腊广告人报》的“地方和一般新闻”，第2版http://nla.gov.au/nla.news-article75030153(2019年11月11日访问);“一个土著的葬礼”，Albury Banner and Wodonga Express, 1901年11月8日，29,http://nla.gov.au/nla。 17 . news-article128568125(2019年11月11日访问)18安德鲁·塞耶斯，19世纪的土著艺术家(墨尔本:牛津大学出版社，1996年)，38-41.19西尔维亚·克莱纳特，“解构“装饰”:欧洲-美国艺术传统对土著艺术和工艺接受的影响”，在社会工艺:观点选集，编辑诺里斯·约阿努(Fremantle:弗里曼特尔艺术中心出版社，1992)，121-2.20塞耶斯，46-8.21紫罗兰梅斯到格雷姆劳埃德漂亮，1968年6月10日。梅斯提到，她收集了大量关于澳大利亚土著人及其艺术的书籍和其他材料:“在寻找合适的材料时，我对土著人本身产生了兴趣，并有许多关于这些非常有趣的人的书籍和小册子。Ian Harmstorf，《Basedow, Herbert(1881-1933)》，澳大利亚传记词典，澳大利亚国立大学国家传记中心，1979年首次出版，http://adb.anu.edu.au/biography/basedow-herbert-5151/text8633(2018年1月8日访问)。23“世界书评”，《水星报》(霍巴特)，1925年3月21日，15,http://nla.gov.au/nla.news-article23805346(2018年1月8日访问)赫伯特·巴塞多，《澳大利亚土著》(阿德莱德:普利斯和儿子们，1925年)，330.25同上，172.26同上，320.27普雷斯顿可能在她的回忆中感到困惑，因为斯泰德是一位博物学家，在这个主题上没有被列为出版人。她可能想到的是G.霍恩和G.艾斯顿的《澳大利亚中部的野蛮生活》(伦敦:麦克米伦出版社，1924年)。玛格丽特·普雷斯顿写给维奥莱特·梅斯的信，1934年8月4日，塔斯马尼亚州立图书馆，写给和来自不同人士的信件，笔记和相关文件，主要与梅雷迪思家族的历史有关，1819年1月17日至1959年7月31日，NS123/1/93.28莫里斯·希尔德，“阿尔布雷希特，弗里德里希·威廉(1894-1984)”。澳大利亚传记词典，澳大利亚国立大学国家传记中心，2007年首次出版纸质版，https://adb.anu.edu.au/biography/albrecht-friedrich-wilhelm-12126/text21725(2022年8月5日访问)。29“时事”，《时代》杂志，1934年1月16日，第6期，http://nla.gov.au/nla.news-article203375392(访问日期为2022年8月5日)31塞耶斯，37.32玛格丽特·普雷斯顿，“土著设计的应用”，澳大利亚艺术，第三系列，31(1930年3月):23-4.33维多利亚公共图书馆、博物馆和国家美术馆的受托人，澳大利亚土著艺术，1929年7月，21.34同上，20.35维奥莱特·梅斯给新南威尔士州人类学学会，1956年5月26日，AITSIS收藏(Mandraby.F01.CS)。36《致妇女》，《悉尼先驱晨报》1937年10月27日，7,http://nla.gov.au/nla.news-article17414763(2017年10月17日访问)。37“女性的一些优秀创作”，《悉尼先驱晨报》1937年11月2日，18(妇女副刊)，http://nla.gov.au/nla.news-article17418681(2016年11月8日访问)。38“一个女人的笔记本”，Truth (Sydney)， 1938年8月21日，34,http://nla.gov.au/nla.news-article169088510(2017年10月17日访问)44 . Violet Mace致Graeme Lloyd Pretty, 1968年6月10日同上41 Margaret Preston，“用扑克制作的笑翠鸟和树叶子”，1930年4月6日星期日画报，22.42 Rolls, 9.43“土著艺术”，悉尼先驱晨报，1941年8月12日，7,http://nla.gov.au/nla.news-article17755882(2017年10月9日浏览)玛格丽特·普雷斯顿，“澳大利亚的土著艺术”，澳大利亚艺术，第三系列，11(1925年3月)。46“土著艺术”，《悉尼先驱晨报》，1941年8月12日，第7期http://nla.gov.au/nla.news-article17755882(2017年10月9日访问)伊恩·麦克莱恩，“土著主义:白人土著和澳大利亚民族主义”，http://australianhumanitiesreview.org/archive/Issue-May_1998/mclean.html49利兹·康纳，“周五论文:土著庸俗的政治”，2017年3月3日，https://theconversation.com/friday-essay-the-politics-of-aboriginal-kitsch-73683(访问日期为2022年7月14日)克莱纳特，123.51 A.S.凯尼恩，《澳大利亚土著艺术》，《澳大利亚土著艺术》(墨尔本:维多利亚国家博物馆，1929)，第15页。

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Native Colonials: Violet Mace’s Australian Aboriginal-Inspired Pottery Designs

AbstractIn the first half of the twentieth century, many Australian artists, such as the Tasmanian ceramicist Violet Mace (1883–1968), sought to find a distinctly Australian visual expression. Although Modernist aesthetics challenged Mace and her contemporaries to explore abstraction, in order to convey Australia’s specificity she turned to Australian history. Initially, her imagery touched on frontier conflict and the motifs of nineteenth-century Aboriginal artists such as Tommy McCrae. After tracing the sources of Mace’s imagery, this article asks to what extent her representations de-historicised the frontier past and enabled contemporary viewers a comfortable distance from what many Australians now see as a story of violent conquest. Perhaps Mace’s imagery can be read as an episode in a national history of slowly growing appreciation of Australian Aboriginal culture, increasing discomfort with the story of racial and cultural inferiority, and willingness to acknowledge that Australia is the product of invasion. Notes1 This paper builds on a short article by the author on Mace’s work published in Art Monthly 307 (May 2018): 28–33. In the same year, Mace was the subject of an appendix to a catalogue published for an exhibition of Maude Poynter’s work, though neither the exhibition nor the catalogue included any of Mace’s work: Glenda King, Maude Poynter: Painter and Potter (Hobart: Australiana Society, 2018). The earlier literature on Mace is not extensive and mostly consists of brief historical accounts. These contain some valuable information but also factual errors, most frequently Mace’s birth year, usually cited as 1890 rather than 1883. These are: J. Bartram et al., Early Tasmanian Pottery 1920–1950, exhibition catalogue (Hobart: Tasmanian School of Art, TCAE, 1979); C. Ackland and C. Campbell, ‘Pioneer Craftswomen from the Bothwell Area’, Tasmanian Historical Research Association Papers and Proceedings, Hobart, June 1994, 85–8; G. King, ‘Violet Mace’ and ‘Studio Pottery in Tasmania’, in Australian Art Pottery 1900–1950, eds K. Fahey, J. Freeland, K. Free and A. Simpson (Sydney: Casuarina Press, 2004). Penny Edmonds differs in offering a close examination of Mace’s work and its sources in an account of Mace’s use of the Proclamation Board image, in P. Edmonds, ‘The Proclamation Cup: Tasmanian Potter Violet Mace and Colonial Quotations’, reCollections 5, no. 2 (October 2010).2 Nicolas Thomas, Possessions; Indigenous Art/Colonial Culture (New York: Thames and Hudson, 1999), 111–14.3 Margaret Preston’s work and writing on Australian Aboriginal art, modernity, modernism and the need for an Australian national culture has been the subject of enquiries by a number of authors, most extensively in H. McQueen, The Black Swan of Trespass: The Emergence of Modernist Painting in Australia to 1944 (Sydney: Alternative Publishing Cooperative Limited, 1979), and more recently in David Macarthur, ‘The Experience of Aboriginality in the Creation of the Radically New’, in The Modernist World, eds Stephen Ross and Allana C. Lindgren (London: Routledge, 2015), 227–34; Ann Stephens, ‘Blackfellows and Modernists: Not Just Black and White’, in Pacific Rim Modernisms, eds Mary Ann Gillies, Helen Sword and Steven Yao (Toronto: University of Toronto Press, 2009), 151–70.4 Margaret Preston, ‘Art for Crafts: Aboriginal Art Artfully Applied’, The Home 5, no. 5 (1 December 1924): 30–1.5 Violet Mace to Graeme Lloyd Pretty, Curator of Anthropology, 10 June 1968, AA199, South Australian Museum Archives.6 Mace and Poynter shared a great-grandfather in George Meredith (1777–1856). Poynter was a descendant through his first wife Sarah Westall Hicks (1782–1820) and Mace through his second wife Mary Anne Evans (1795–1842).7 Preston, ‘Art for Crafts’, 31.8 McQueen, 151–2.9 Mitchell Rolls, ‘Painting the Dreaming White’, in The Real Thing, Australian Cultural History 24 (2006): 3–28.10 ‘Society of Arts and Crafts’, The Sydney Morning Herald, 25 July 1929, 5, http://nla.gov.au/nla.news-article28049374 (accessed 9 October 2017).11 Preston, ‘Art for Crafts’, 31.12 ‘Woman’s Interests’, The Daily News (Perth), 1 February 1933, 9 (Home Edition), http://nla.gov.au/nla.news-article83916304 (accessed 6 October 2017).13 ‘The Society of Arts and Crafts’, Sydney Mail, 26 October 1927, 29, http://nla.gov.au/nla.news-article158297780 (accessed 17 October 2017).14 The whereabouts of this earlier jug are unknown, and the five cups included in the 2016 TMAG donation the earliest known extant examples of Mace’s ‘Australian Aboriginal’-themed works.15 ‘Aboriginal Drawings’, The Australasian, 2 July 1927, 69, http://nla.gov.au/nla.news-article140798226 (accessed 13 April 2018).16 For example: ‘Local and General News’, The Ararat Advertiser, 20 May 1926, 2, http://nla.gov.au/nla.news-article75030153 (accessed 11 November 2019); ‘An Aboriginal’s Funeral’, Albury Banner and Wodonga Express, 8 November 1901, 29, http://nla.gov.au/nla.news-article128568125 (accessed 11 November 2019).17 Violet Mace to Graeme Lloyd Pretty, 10 June 1968.18 Andrew Sayers, Aboriginal Artists of the Nineteenth Century (Melbourne: Oxford University Press, 1996), 38–41.19 Sylvia Kleinert, ‘Deconstructing “the Decorative”: The Impact of Euro-American Artistic Traditions on the Reception of Aboriginal Art and Craft’, in Craft in Society: An Anthology of Perspectives, ed. Norris Ioannou (Fremantle: Fremantle Arts Centre Press, 1992), 121–2.20 Sayers, 46–8.21 Violet Mace to Graeme Lloyd Pretty, 10 June 1968. Mace mentions that she had a large collection of books and other material on the Australian Aboriginal people and their art: ‘in my search for suitable material I became interested in the aboriginals [sic] themselves & have a number of books & pamphlets on these very interesting people’.22 Ian Harmstorf, ‘Basedow, Herbert (1881–1933)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, published first in hardcopy 1979, http://adb.anu.edu.au/biography/basedow-herbert-5151/text8633 (accessed 8 January 2018).23 ‘The Book World Reviews’, The Mercury (Hobart), 21 March 1925, 15, http://nla.gov.au/nla.news-article23805346 (accessed 8 January 2018).24 Herbert Basedow, The Australian Aboriginal (Adelaide: Preece and Sons, 1925), 330.25 Ibid., 172.26 Ibid., 320.27 Preston may have been confused in her recollection, as Stead was a naturalist who is not listed as publishing on this subject. She may have had in mind G. Horne and G. Aiston, Savage Life in Central Australia (London: Macmillan, 1924). Margaret Preston to Violet Mace, 4 August 1934, State Library of Tasmania, Letters to and from various persons, notes and associated papers, mainly relating to Meredith family history, 17 January 1819–31 July 1959, NS123/1/93.28 Maurice Schild, ‘Albrecht, Friedrich Wilhelm (1894–1984)’. Australian Dictionary of Biography, National Centre of Biography, Australian National University, published first in hardcopy 2007, https://adb.anu.edu.au/biography/albrecht-friedrich-wilhelm-12126/text21725 (accessed 5 August 2022).29 ‘Current Events’, The Age, 16 January 1934, 6, http://nla.gov.au/nla.news-article203375392 (accessed 5 August 2022).30 Friedrich Wilhelm Albrecht to Violet Mace, 8 August 1934, AA199, South Australian Museum Archives.31 Sayers, 37.32 Margaret Preston, ‘The Application of Aboriginal Designs’, Art in Australia, third series, 31 (March 1930): 23–4.33 Trustees of the Public Library, Museums and National Gallery of Victoria, Australian Aboriginal Art, July 1929, 21.34 Ibid., 20.35 Violet Mace to The Anthropological Society of NSW, 26 May 1956, AITSIS collection (Mandraby.F01.CS).36 ‘For Women’, The Sydney Morning Herald, 27 October 1937, 7, http://nla.gov.au/nla.news-article17414763 (accessed 17 October 2017).37 ‘Some Fine Creative Work by Women’, The Sydney Morning Herald, 2 November 1937, 18 (Women’s Supplement), http://nla.gov.au/nla.news-article17418681 (accessed 8 November 2016).38 ‘A Woman’s Notebook’, Truth (Sydney), 21 August 1938, 34, http://nla.gov.au/nla.news-article169088510 (accessed 17 October 2017).39 Violet Mace to Graeme Lloyd Pretty, 10 June 1968.40 Ibid.41 Margaret Preston, ‘Away with Poker Worked Kookaburras and Gum Leaves’, Sunday Pictorial, 6 April 1930, 22.42 Rolls, 9.43 ‘Aboriginal Art’, The Sydney Morning Herald, 12 August 1941, 7, http://nla.gov.au/nla.news-article17755882 (viewed 9 October 2017).44 Preston, ‘Away with Poker Worked Kookaburras and Gum Leaves’, 22.45 Margaret Preston, ‘The Indigenous Art of Australia’, Art in Australia, third series, 11 (March 1925).46 Rolls, 3–28.47 ‘Aboriginal Art’, The Sydney Morning Herald, 12 August 1941, 7, http://nla.gov.au/nla.news-article17755882 (accessed 9 October 2017).48 Ian McLean, ‘Aboriginalism: White Aboriginals and Australian Nationalism’, http://australianhumanitiesreview.org/archive/Issue-May_1998/mclean.html49 Liz Conor, ‘Friday Essay: The Politics of Aboriginal Kitsch’, 3 March 2017, https://theconversation.com/friday-essay-the-politics-of-aboriginal-kitsch-73683 (accessed 14 July 2022).50 Kleinert, 123.51 A.S. Kenyon, ‘The Art of the Australian Aboriginal’, in Australian Aboriginal Art (Melbourne: National Museum of Victoria, 1929), 15.

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来源期刊

AUSTRALIAN HISTORICAL STUDIES HISTORY-

CiteScore

0.70

自引率

16.70%

发文量

期刊介绍： Australian Historical Studies is a refereed journal dealing with Australian, New Zealand and Pacific regional issues. The journal is concerned with aspects of the Australian past in all its forms: heritage and conservation, archaeology, visual display in museums and galleries, oral history, family history, and histories of place. It is published in March, June and September each year.