French Painting Today

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French Painting Today , exhibition catalog, 1953.

French Painting Today - Peintres vivants de l'École de Paris , also French Painting To-day , ( German  contemporary French painting by living artists of the Paris School ) was the title of a touring exhibition of contemporary modern art of the École de arranged by the governments of France and Australia Paris , which was shown in the state galleries of six Australian states in 1953 .

123 exhibits were exhibited, mostly from the holdings of the Musée National d'Art Moderne in Paris . The objects toured the country from January to October 1953, making stops in Hobart , Sydney , Brisbane , Melbourne , Adelaide and Perth . However, an accident during the transport of the exhibits by ship prevented the exhibition from opening on schedule .

As a social event, the event caused a sensation nationwide and broke visitor records everywhere. Despite a controversial reception with often harsh criticism, it turned out to be the most influential exhibition of international art to be shown in Australia in the 1950s.

Organizers and venues

French Painting Today (Australia)
Tasmanian Museum and Art Gallery
Tasmanian Museum
and Art Gallery
Art Gallery of New South Wales
Art Gallery of
New South Wales
Queensland Art Gallery
Queensland Art Gallery
National Gallery of Victoria
National Gallery
of Victoria
Art Gallery of South Australia
Art Gallery of South Australia
Art Gallery of Western Australia
Art Gallery of Western Australia
French Painting Today 1953 exhibition locations
Claude Bonin-Pissarro (left) and Hal Missingham (right), together with the painter Moya Dyring in Sydney.
Ambassador and Patron Louis Roche (left) and New South Wales Governor John Northcott (right) discuss Le cheval rouge by Pierre Tal-Coat at the opening in Sydney.

The exhibition was a joint project of the Australian and French governments and was based on an idea by the Australian businessman and art patron Charles Lloyd Jones . The Governor General of Australia William John McKell and the French Ambassador Louis Roche acted as patrons .

It took four years to prepare for the event. France had paid a large part of the cost of the venture. Exhibition venues between January and October 1953 were national galleries in six states of Australia. The Australian capital Canberra was excluded from the traveling exhibition because it did not have an adequate venue at the time.

The organizer on the Australian side was the director of the Art Gallery of New South Wales in Sydney, Harold "Hal" Missingham ; as representative of the French government and the Association française d'action artistique (AFAA), Claude Bonin-Pissarro supervised the project (a grandson of the Impressionist painter Camille Pissarro ); for the duration of the exhibition he accompanied the works of art on site in Australia. AFAA was responsible for transporting the exhibits from France to Australia; during the exhibition the objects were in the care of the Commonwealth of Australia .

The exhibitions in Hobart and Brisbane were opened by the French Consul General Jean Strauss; In Sydney, Melbourne and Adelaide the French ambassador Louis Roche took on this task, in Perth the French consul Louis Gelle took on the ceremony.

Participating National Galleries place State Beginning The End
Tasmanian Museum and Art Gallery Hobart Tasmania January 23 31 January
Art Gallery of New South Wales Sydney New South Wales 27th of February March 29
Queensland Art Gallery Brisbane Queensland 11 April 8th of May
National Gallery of Victoria Melbourne Victoria May 26 June 28th
Art Gallery of South Australia Adelaide South Australia 20th of July August 16
Art Gallery of Western Australia Perth Western Australia September 8th 4th of October

Represented artists and exhibits

The 119 paintings and four tapestries on display came from 77 artists living at the beginning of the event, around a fifth of whom were not born in France. The works were dated between 1900 and 1952.

They represented all styles of the modern painting of the Paris School known up to then , including abstract painting , Fauvism , Cubism , Naive Art , Primitive Art and Surrealism . Its fresh, contemporary orientation stood in contrast to the works already shown in the 1939 exhibition on Classical Modernism entitled Herald Exhibition of French and British Contemporary Art , which had already been considered established in those days.

Artists whose work was featured at the French Painting Today exhibition included:

Arrival of the exhibits at the Art Gallery of New South Wales ; left Le Coursage Orange by Pablo Picasso.
Employees of the Art Gallery of South Australia at the transport boxes.
Unpack in Sydney.
Claude Bonin-Pissarro with the tapestry Toujours vit d'espoir sur terre (German Where there is life, there is hope on earth ) by Jean Lurçat.

The tapestries were by Marcel Gromaire ( La Terre ), Jean Lurçat ( Tapisserie d'une grande peur , Toujours vit d'espoir sur terre ), and Henri Matisse ( Polynesia ).

Most of the exhibits were on loan from the Musée National d'Art Moderne in Paris ; seven pieces were from private owners. Bonin-Pissarro went to great lengths to get the works of Picasso and Matisse on loan for the exhibition.

The works on display were virtually unknown in Australia at the time. Many of the artists featured in the exhibition were not on the wish list that Australia originally submitted to the French government. On the Australian side, there was dissatisfaction with the quality of the works that were now available by lesser known artists. The art critic Bernard Smith called it "the most exquisite exhibition since the 1939 Classic Modern Show", but also stated that its "quality was distributed extremely unevenly". His colleague Elizabeth Young described the event as an overall “uplifting experience” that “should not be missed”, but particularly criticized the selection of the pictures by Utrillo, Matisse, Derain, Picasso and Braque as weak and not doing justice to the artists. Elsewhere, doubts arose about the quality of Le Corbusier's work, which did not meet the standard of the exhibition as a whole.

Disaster and recovery of the exhibits

Wrecked freighter Merino in the surf off Tasmania.

The paintings arrived in Sydney in December 1952, packed in 13 boxes. Claude Bonin-Pissarro, who had traveled to Australia by plane, received the delivery. The further shipment from Sydney to Hobart took place on the freighter Merino . When the ship reached the east coast of Tasmania on Christmas Day 1952 , it ran in thick fog at Bluestone Bay on the Freycinet Peninsula on a sandbank and was no longer free on its own. Hal Missingham of the Art Gallery of New South Wales reacted with dismay and described the works as "irreplaceable"; Gordon Thomson, director of the National Gallery of Victoria in Melbourne, saw the loss of the objects as a "disaster for the art world". The four tapestries had not been part of the ship's cargo, but reached Tasmania safely by air.

The captain of the Merino radioed Bonin-Pissarro in Hobart on New Year's Eve and announced that the works of art would be “safely on board”. Salvage experts first considered using zip lines to unload the cargo, but then came to the conclusion that the exhibits would be safer for the time being in the belly of the ship. After several attempts at towing, the 549-ton ship was able to be made afloat again by first two, then three and finally four tugs on the eighth day after being stranded and arrived in Hobart on January 4th.

Claude Bonin-Pissarro taking stock of the Hobart Art Gallery .

The recovered works of art were found to be undamaged, but the Australian customs authorities initially took them into their custody and requested payment of the recovery costs of 19,120 Australian pounds (A £) before they were released .

The French government insured the works of art in the exhibition for a value of A £ 100,000, which in 2018 would have been equivalent to around 2.2 million euros. Lloyd's of London ended the dispute about the assumption of costs by paying the amount, but the exhibition at its first stop in Hobart was delayed due to the delays.

Originally the event was supposed to start in the first week of January. In order to keep to the rest of the schedule, the planned exhibition in the northern Tasmanian city of Launceston with around 50,000 inhabitants had to be canceled.

The freighter Adelong took over the transport of the exhibits back to Sydney after the event in Hobart. The exhibits were sent to the other stations of the traveling exhibition by rail. On October 18, the works of art left the country for Marseille on board the freighter Oronsay .

Visitors

  • Impressions from the opening in Sydney

  • Charles Benyon Lloyd Jones (son of the initiator) with Edwina Hordern in front of Pablo Picasso's Le Coursage Orange .

  • Fashion icon Marisa Martelli in front of Le Corbusier's Deux mains et une pomme d'or .

  • Painter Margaret Olley with her close Sam Hughes in front of Hans Hartung's T.50-50 .

  • Gallery owner and painter Treania Smith in front of Victor Brauner's Oppression de l'objet .

A total of 385,000 visitors saw the works on display, which was about 4.4 percent of the total population of 8.8 million Australians in 1953. The organizers had expected that the exhibition would generate great interest; however, the actual attendance far exceeded expectations.

Crowds of visitors in Brisbane. On April 12, 1953, 6,000 visitors streamed through the Queensland Art Gallery within 3 hours .

In Hobart, the capital of the state of Tasmania, which had a total of about 330,000 inhabitants in 1953, "hundreds of people" visited the Hobart Art Gallery . The exhibition in Perth more than 20,000 visitors came to the Art Gallery of Western Australia , the Art Gallery of South Australia was one in Adelaide more than 50,000 people (a record), the Queensland Art Gallery in Brisbane experienced a " art rush " ( art noise ) and received more visitors than ever before with 60,000 visitors, in Melbourne 80,000 came to the National Gallery of Victoria and the Art Gallery of New South Wales in Sydney could only with difficulty cope with the rush of 150,000 visitors, who also broke all existing audience records here.

The sale of 12,000 exhibition catalogs in Sydney was also a new record, the stock of catalogs was already sold out after the first week. 10,000 catalogs were sold in Melbourne, 9,000 in Brisbane (3,000 were sold out within a week), 3,000 in Adelaide and a total of 45,000 catalogs.

The event caused a sensation as a social event. A report in The Sunday Herald newspaper described the picture at the opening of the exhibition in Sydney:

“Sydney's Domain [-Park] looks like the lawn of Buckingham Palace during a garden party on Friday. Herds of elegant women in airy and graceful summer dresses scurry across the grass, special traffic police units work full-time, curious crowds watch the stream of limousines carrying hundreds of dressed up members of the diplomatic corps, the consular corps and society (of higher and lower Rank) unload; Business people (who steal from the office for an hour or two), artists (some well-known and conventionally dressed, others less well-known and extremely idiosyncratic). Because THE day had come. After a shipwreck and years of endless delays, THE FRENCH PAINTINGS had reached the city. "

Sales

In the course of the exhibition there were purchase requests for each of the 89 exhibits offered for sale, several hundred in total. The asking prices for these works of art ranged from A £ 60 to 5,000 (around € 1,300 to € 110,000 today). Two tapestries cost A £ 2,500 each (around € 55,000 today), a Picasso was valued at over £ 1,000 (around € 22,000 today).

Only after the end of the event did some of the objects change hands. The Art Gallery of New South Wales ( La flûte by Paul Berçot and Vivarium by Maurice Estève) and the Art Gallery of South Australia ( Nature morte au poulet by Francisco Bores and La ville envahie by Jean Carzou) each bought two paintings.

Hal Missingham had proposed Andre Marchand's painting Le Printemps for purchase for the gallery in Sydney, but was overruled by the Board of Trustees, whose chairman rejected the colorful picture of a goddess with two naked black maids as "indecent and indecent work".

One picture went to Canberra and five more to private collectors. Among the paintings sold was the painting 25 novembre by Pierre Soulages, which went to an art collector in South Australia for £ 292 (about € 6,500) .

reception

Consul General Jean Strauss (left) and Minister of Immigration Hand (right), opening in Hobart.

The Australian public was generally reluctant to accept more radical ideas from the European art scene, which was not ultimately due to the country's geographical isolation and the resulting lack of contact with mainstream European culture. Until then, interested parties had only had access to art literature and magazines as primary sources of information.

Modern art had found its way into Australia in the 1940s, with the reception of European modernism in the 1920s and 1930s being linked to specifically Australian cultural perspectives and a conservative view of art. The perception of modern art by Australian “art banauss” ( English philistines , “Philistines” ) left plenty of room for populist banalization.

In this environment, the director of the lending museum, Jean Cassou , invited the Australian public to “enjoy” this “spiritual adventure”, “our history of modern art”.

The French Consul General Jean Strauss said at the opening in Hobart: "The art of Paris must not only be seen as an expression of our own genius, but as a phenomenon of universal culture."

"The French are never satisfied, they are always looking for perfection - a perfection that may be beyond human comprehension," said the French consul Louis Gelle at the opening in Perth.

Critical appraisal

Director of the Art Gallery of South Australia Robert Campbell with Lady George, wife of the Governor of South Australia Robert George, opening in Adelaide.

Robert Campbell, the director of the Art Gallery of South Australia in Adelaide, “warned” before the exhibition that visitors “will probably be surprised at first and then very irritated when they […] see the French art exhibition.” It was “different than anything most people with their preconceived notions of art have ever seen ”. Robert Haines, director of the Brisbane gallery, saw the rich use of color in the artwork as "stimulating," but viewing it was "hard work for the viewer." J. Burke, Professor of Fine Arts at the University of Melbourne , found the works on display to be “stimulating and courageous”. Architect Bertrand James Waterhouse, Chairman of the Board of Trustees of the Gallery of New South Wales , predicted "many long and wide-ranging discussions" about the exhibition.

While the contemporary artist James Gleeson euphorically rated the paintings as "truly magnificent" and "of indescribable richness", some articles and letters to the editor dealt more thoughtfully with abstract art and understood that "the work shown required an active and not a passive perspective" . Others saw "these images" as "appropriate to their time". One reviewer had the impression that "modern art tells the truth about our age".

The painter Hans Heysen rated the exhibition as “certainly exciting”, but said that the color design of many works had come at the expense of the design. Esmond George, also a painter, felt that some of the paintings reflected the chaos that had reigned in France since the Franco-Prussian War .

The art critic and artist Arnold Shore believed that “French painting has been on a downward trend since Cézanne, but that does not undermine the high status of the exhibition” “which it has for the Australian public”. “We have to see such works in person in order to evaluate, reject or accept their message or form. Our art horizon has to expand. ”Color, design and the freedom of art are part of the heritage shown.

Art critic Bernard Smith was “confident that the influence of the exhibition on Australian painting will undoubtedly be evident in the foreseeable future”. However, Ivor Francis of The News (Adelaide) could not imagine that what is shown would have an impact on the style of Australian painters, nevertheless it would have an "enormous inspirational effect" and help to create appreciation among the public.

Negative reviews

Which side up? Confused Queensland Art Gallery employee unpacks La lumière et le nu by Eugène-Nestor de Kermadec.

Many of the visitors, however, felt drawn more out of curiosity than admiration for the art on display, as opinions on their appreciation divided the Australian public. In Bonin-Pissarro's opinion, around half of the Australian public had received the works shown positively. The Adelaide News reported that 90 percent of visitors to the exhibition opening in Adelaide said they "did not understand the paintings" "publicly and in private".

Many visitors felt “intellectually confused” at this “provocative event” and “unequivocally attributed the peculiarities of the exhibits to the traditional eccentricity of the French”. Bonin-Pissarro countered this by stating that the public had “previously preferred the painter with gray colors instead of the one with bright, bright colors”. The exhibition was now testing the taste of the Australian public.

In the opinion of those who could not make friends with abstraction, the artists and not the audience had failed this taste test. The Australian media often commented on the exhibits with derision and incomprehension. In a report on the exhibition in Brisbane, the author in the Brisbane Mail amused himself at the fact that a worker could not see which side should be facing up when unpacking one of the abstract works of art; There were similar reports from the exhibitions in Sydney and Adelaide. The April 1953 newspaper Truth (Brisbane) rhymed for its headline:

"Take a canvas, splash and smear it,
then stand on your head and study it."

Artist Charles W. Lander loudly protested the exhibition at the Art Gallery of New South Wales, saying it was "an insult to great Australian artists" whose work had been "passed over in favor of inferior modernist art from overseas." To the laughter of the crowd that had gathered around him, he mocked several paintings until security guards finally escorted him out of the gallery. After the incident, other artists present expressed similar opinions to reporters.

Contemporary Australian artist Norman Lindsay lamented that the country was witnessing "an art made by people who can neither draw nor paint." He saw the works on display as “malicious and dangerous nonsense”. Howard Ashton, former president of the Royal Art Society , said in his article in the newspaper The Sun (Sydney) that “French art steeped in tradition” was “lost in decadence, [...] puerility, idiocy and exhibitionism”. Others were similarly hostile and described the works as "the product of sick and deranged minds", "hideous", "obscene", "hideous" and "grotesque". Some of the artists have "obviously lost all relation to reality". A letter to the editor to The Sydney Morning Herald called the exhibits “horrific rubbish that angels laugh about but also cry a little”, the commentator called for a prayer “for the return of reason and intelligence, someday”.

An article by activist Paul Mortier in Tribune , the organ of the Communist Party of Australia , called the event "a display of decay"; "Hatred of truth and humanity" are characteristic of the entire exhibition. A sender to the Brisbane Telegraph found: "Had Hitler visited the exhibition, he would undoubtedly have rejected it as ' decadent Jewish art '".

Caricature on the challenges for Bonin-Pissarro accompanying the event. In: The Daily Telegraph (Sydney), February 22, 1953.

Art critic Alan McLeod McCulloch wrote: "The sound and anger that accompanied the event find no parallel in the annals of the Australian art world." It was "for some obscure reason that it has become fashionable, abstract art with 'devastating praise' ( faint praise ), ”remarked Ivor Francis in the Adelaide News . The Australian writer Patrick White commented on the widespread rejection of the art shown with the words: "You forget how little the average Australian has seen [of the world]."

According to reports, Claude Bonin-Pissarro is said to have received several hundred letters with sometimes excited comments on the works on display. Together with Hal Missingham, he advocated approaching the paintings with an open mind and an open mind. In Brisbane he tried to explain: "Buildings, cars, airplanes are modern - naturalistic painters are modern" and to underline this he drew an airplane and a car, then an old-fashioned horse-drawn carriage as a symbol for the old, photographic art. The Australian press considered him the “vigorous 'Guardian' of French Art” (German energetic 'protector, advocate' of French art ).

Robert Campbell from the Art Gallery of South Australia named one of the reasons for the low acceptance by the public that most people deny artists the right to “deviate from nature's guidelines” with their work. Bonin-Pissarro was able to report that the symbolist Gustave Moreau (1826–1898) had already explained to his students, the Fauvists Henri Matisse, Albert Marquet , Charles Camoin and Henri Manguin : “What does nature mean! For the artist it is only a possibility of expression. "

rating

Bonin-Pissarro examines Felix Labisses L'Abeille in the National Gallery Adelaide ; below Victor Brauner's Oppression de l'objet .

From today's perspective, French Painting Today, with its contemporary, cosmopolitan mission, turned out to be the most influential exhibition of international art shown in Australia in the 1950s, especially for the development of Australian expressionism . Under her influence, Australian artists first included the gestural forms of informal art in their stylistic repertoire. Her “optimistic spirit” showed new ways for post-war art in Australia and provided important impetus, especially for younger artists such as Tony Tuckson , William Robinson , Godfrey Miller , Ian Fairweather , John Passmore and John Olsen , who viewed the works on display with enlightened eyes.

The exhibition is seen as an impetus for the artist group Direction 1 (which, in addition to Passmore and Olsen, also included William Rose , Eric Smith and Robert Klippel ); the group showed their abstract expressionist works three years later in Sydney. In Melbourne, the group of Antipodeans formed around Bernard Smith , with artists such as Charles Blackman, Arthur Boyd, David Boyd , John Brack, Robert Dickerson, John Perceval and Clifton Pugh, who exhibited there in August 1959. When the center of Abstract Expressionism increasingly shifted from Paris to New York at the end of the 1950s, the younger Australian artists in particular increasingly oriented themselves towards the local avant-garde.

In 2006, Antony Moulis of the University of Queensland saw the traveling exhibition as "a key public experience that helped bring post-war Australians closer to modern art on an unprecedented scale." In 2004, Natalie Adamson of the National Gallery of Victoria said that According to popular opinion, the event gave Australia decisive access to the European development of modern art.

However, the art book author Richard Haese pointed out in 2012 that many of the artists whose works had been selected for the exhibition have long since been forgotten or, as he put it, "sunk into obscurity".

literature

Web links

Commons : French Painting Today  - collection of pictures, videos and audio files

Remarks

  1. ↑ Raoul Dufy died during the exhibition on March 23, 1953. Proof: Artist Raoul Dufy dies. In: The Sydney Morning Herald, March 25, 1953, p. 3.
  2. ↑ The tugs Boyer , Eagle , Rawlind and St. Giles were involved . Proof: Port of Melbourne Quarterly. October - December 1960, p. 37.
  3. ↑ Childish or childish nature (medicine, psychology), something childish (educational language). Proof: Puerility, the In: duden.de

Individual evidence

  1. ^ National Art Gallery of New South Wales : French painting today, peintres vivants de l'Ecole de Paris. An exhibition arranged between the French and Australian governments through the Boards of Trustees of National Art Galleries of Australia for exhibition in the Commonwealth, January-September 1953. 1953, 35 p.
    National Art Galleries of Australia. Board of Trustees: French painting today, an exhibition arranged between the French and Australian Governments through the Boards of Trustees of the National Art Galleries of Australia for exhibition in the Commonwealth, January - September, 1953. Edwards & Shaw, Sydney 1953, 35 pp .
  2. ↑ 119 paintings. In: The Sydney Morning Herald of December 27, 1952, p. 4.
    Paintings grouped in unique exhibition of French art. In: The Mercury (Hobart), January 23, 1953, p. 7.
    French Art Show Opens In Sydney. In: The Sun (Sydney), February 27, 1953, p. 3.
  3. ^ French Painting Today. In: Système universitaire de documentation
  4. ^ French Artist Here For Exhibition. In: The Advertiser (Adelaide) of July 13, 1953, p. 4.
    Richard Haese: Permanent Revolution: Mike Brown and the Australian Avant-garde 1953–1997 , The Miegunyah Press, 2012, ISBN 0-522-86080-X , P. 15.
  5. ↑ Paintings grouped in unique exhibition of French art. In: The Mercury (Hobart), January 23, 1953, p. 7.
    French Art Show Opens In Sydney. In: The Sun (Sydney), February 27, 1953, p. 3.
  6. ^ A b Lloyds To Free French Paintings for Tas. Exhibition. In: Examiner (Launceston) January 14, 1953, p. 3.
  7. ↑ Fine display of poster art. In: The Canberra Times, March 6, 1953, p. 4.
  8. ^ Richard Haese: Permanent Revolution: Mike Brown and the Australian Avant-garde 1953-1997. The Miegunyah Press, 2012, ISBN 0-522-86080-X , pp. 15-17.
  9. ^ French Artist Here For Exhibition. In: The Advertiser (Adelaide), July 13, 1953, p. 4.
    Lloyds To Free French Paintings for Tas. Exhibition. In: Examiner (Launceston) January 14, 1953, p. 3.
  10. ^ Salvage Claim Blocks French Art Show In Hobart. In: The Mercury (Hobart) January 8, 1953, p. 1.
  11. ↑ Bond dispute on French Art. In: The Mercury (Hobart) January 13, 1953, p. 1.
  12. ↑ For Hobart → French art on display. In: Examiner (Launceston) of January 23, 1953, p. 6.
    For Brisbane → Oriental art as help in understanding French. In: The Courier-Mail (Brisbane), April 11, 1953, p. 3.
    For Sydney → French Paintings opened. In: The Sydney Morning Herald of February 28, 1953, p. 2.
    For Melbourne → Exhibition of French Art. In: The Age (Melbourne) of May 8, 1953, p. 2.
    For Adelaide → "Sensation" In French Art Display. In: The Advertiser (Adelaide) of June 24, 1953, p. 2.
    For Perth → French Art exciting period. In: The West Australian (Perth), September 8, 1953, p. 5.
  13. ^ For Hobart → North will miss art show, says consul. In: Advocate (Burnie, Tasmania), Jan 22, 1953, p. 5.
    French Art Exhibition At Hobart. In: Examiner (Launceston), January 20, 1953, p. 5.
    For Sydney → French Art Show Opens In Sydney. In: The Sun (Sydney) of February 27, 1953, p. 3.
    For Brisbane → French art. In: The Courier-Mail (Brisbane), April 2, 1953, p. 7.
    For Melbourne → News of the day. In: The Age (Melbourne), May 8, 1953, p. 2.
    For Adelaide → French Paintings On View On Monday. In: The Advertiser (Adelaide), July 18, 1953, p. 2.
    For Perth → French Art Show. In: The West Australian (Perth), September 9, 1953, p. 10.
    Art Needs 'Horror And Beauty,' Says Director. In: The West Australian (Perth), October 3, 1953, p. 14.
  14. ↑ a b c d e f g h Valueable paintings to hang in Art Gallery. In: The Mercury (Hobart) January 28, 1953, p. 3
  15. ^ French Art Show Opens In Sydney. In: The Sun (Sydney), February 27, 1953, p. 3.
  16. ↑ a b c d e f g h i j 119 paintings. In: The Sydney Morning Herald, December 27, 1952, p. 4.
  17. ↑ French Insure Exhibition for £ 100,000. In: The West Australian (Perth), September 3, 1953, p. 13.
    Alan McCulloch, Susan McCulloch: The Encyclopedia of Australian Art . Allen & Unwin, 1994, ISBN 1-86373-315-9 , p. 25.
  18. ^ French Paintings Come To Australia. In: Le Courrier Australia of December 19, 1952, p. 5.
    "French Pointing Today" is the most important exhibition seen here for many years. In: The Daily Telegraph (Sydney), February 27, 1953, p. 9.
  19. ↑ Lesley Harding, Sue Cramer: Cubism & Australian Art. The Miegunyah Press, 2009, ISBN 0-522-85673-X , p. 156.
    Bernard Smith , Terry E. Smith, Christopher Robin Heathcote (Eds.): Australian painting, 1788-2000. Oxford University Press 2001, ISBN 0-19-551554-4 , p. 353.
    Gary Catalano: The years of hope: Australian art and criticism 1959-1968. Oxford University Press 1980, p. 19.
  20. ^ A b c John Kaplan: French Exhibition Is Study In Modern Art. In: The Sydney Morning Herald of February 26, 1953, p. 2.
  21. ↑ a b c d e f g h i j k l m Display Of French Paintings. In: The Sydney Morning Herald, February 27, 1953, p. 2.
  22. ↑ a b c Collection. Works shown in the exhibition "French Painting Today". In: Art Gallery of New South Wales
  23. ^ A b c French Paintings At Gallery. In: The Advertiser (Adelaide), October 23, 1953, p. 2.
  24. ↑ a b French paintings Unpacked. In: The Advertiser (Adelaide), July 14, 1953, p. 4.
  25. ↑ a b c d e f g h i j k "French Pointing Today" is the most important exhibition seen here for many years. In: The Daily Telegraph (Sydney), February 27, 1953, p. 9.
  26. ↑ a b c While they looked at the French art exhibition. In: The News (Adelaide), August 19, 1953, p. 25.
  27. ↑ a b c Which-Side-Up Art Show Here. In: Brisbane Mail, April 5, 1953.
  28. ^ French Painting for Sydney soon. In: The Daily Telegraph (Sydney) February 1, 1953, p. 7.
  29. ^ A b Lecture On French Art. In: The Advertiser (Adelaide), July 11, 1953, p. 4.
  30. ^ A b c d e French Pictures "Exciting". In: The Advertiser (Adelaide) of July 20, 1953, p. 2.
    Original text "... the exhibition as a whole [is] a most exhilarating experience." "... it is in any case definitely not to be missed." . "" The representation of Utrillo, Matisse, Derain Picasso and Braque is poor, and does not do justice to those artists. "
  31. ↑ Artist "Humanised Cubism". In: The West Australian (Perth), September 26, 1953, p. 22.
  32. ^ Layman's guide to French art exhibition. In: The Sun (Sydney), March 1, 1953, p. 40.
  33. ↑ Frank Doherty: So this is 'the art' - a la Français. In: The Argus (Melbourne) of May 27, 1953 p. 5.
  34. ↑ See French Art With open Mind. In: The Mail (Adelaide), July 4, 1953, p. 38.
  35. ↑ Expert commends French painting. In: Brisbane Telegraph, April 7, 1953, p. 11.
  36. ^ A b Alan McCulloch, Susan McCulloch: The Encyclopedia of Australian Art . Allen & Unwin, 1994, ISBN 1-86373-315-9 , p. 25.
  37. ↑ Mais Non… French Art Is Not What It Seems. In: The News (Adelaide), May 27, 1953, p. 17.
  38. ↑ a b Pierre Soulages 25th of November. In: The News (Adelaide) August 18, 1953, p. 9.
  39. ↑ James Gleeson: Stimulus of French Exhibition. In: The Sun (Sydney) of February 27, 1953, p. 4.
  40. ^ A French artist sees it. In: Morning Bulletin (Rockhampton), March 7, 1953, p. 1.
  41. ^ Alan McCulloch: Art Notes. 50,000 Frenchmen can't be wrong. In: The Herald (Melbourne) June 2, 1953, p. 12.
  42. ^ French Art Display Here Next Week. In: The Advertiser (Adelaide) June 30, 1953, p. 3.
  43. ↑ French Insure Exhibition for £ 100,000. In: The West Australian (Perth), September 3, 1953, p. 13.
  44. ^ Bernard Smith: The French Art Exhibition. Meanjin, 2/1953. In: Antony Moulis: A brush with the architect: On the reception of Le Corbusier's art in Australia 1953. ( Memento of February 13, 2015 in the Internet Archive ) In: Terrance McMinn, John Stephens and Steve Basson: Contested Terrains: Proceedings of the 23rd Annual Conference of the Society of Architectural Historians, Australia and New Zealand. 2006, pp. 388-390.
    Original text: "Bernard Smith [...] observes that it is 'extremely uneven in quality'".
  45. ^ Antony Moulis: A brush with the architect: On the reception of Le Corbusier's art in Australia 1953. ( Memento from February 13, 2015 in the Internet Archive )
    French Art in Sydney. In: The Daily Telegraph (Sydney) of February 27, 1953. Quoted in: Antony Moulis: Le Corbusier's influence in Australia. Polytechnic University of Valencia 2015, doi : 10.4995 / LC2015.2015.752 , p. 4.
  46. ↑ Merino. In: Flotilla-Australia.
  47. ^ French Paintings Come To Australia. In: Le Courrier Australia, December 19, 1952, p. 5.
  48. ↑ French Art in Ship Aground. In: Newcastle Morning Herald and Miners' Advocate, December 26, 1952, p. 1.
  49. ↑ Antony Moulis: A brush with the architect: On the reception of Le Corbusier's art in Australia 1953. ( Memento of February 13, 2015 in the Internet Archive )
    Original text: "... many of the works contained were 'irreplaceable'". "... the loss of the paintings 'would be a disaster for the art world'".
  50. ↑ Tapestries To Be Unpacked. In: The Mercury (Hobart) January 15, 1953, p. 5.
  51. ↑ Refloating of Merino depends on high tide. In: The Mercury (Hobart) of January 1, 1953, p. 2.
    Original text: “A message that the French paintings […] were safe on board the ship was radioed to the French Consular Agent in Hobart yesterday by the captain of the Merino."
  52. ↑ Freighter near 'deep'. In: The Daily Telegraph (Sydney) January 2, 1953, p. 2.
  53. ^ Port of Melbourne Quarterly. October - December 1960, p. 37.
    Freighter Still Aground. Request for Stronger Tug. In: Examiner (Launceston), December 27, 1952, p. 1.
    Tug's unsuccessful battle to float ship. In: Examiner (Launceston) of December 27, 1952, p. 5
    Tug racing to aid of stricken ship. In: The News (Adelaide), December 27, 1952, p. 12.
    Women's News. Talkabout. In: The News (Adelaide), March 4, 1953, p. 24.
    Grounded Freighter Reaches Port. In: The Advertiser (Adelaide) January 5, 1953, p. 2.
  54. ↑ Merino and cargo arrive in Hobart undamaged. In: Advocate (Burnie, Tasmania) January 5, 1953, p. 2.
  55. ^ Still looking for £ 19,000 to free French paintings from Customs. In: Advocate (Burnie, Tasmania) January 9, 1953, p. 4.
  56. ↑ French Insure Exhibition for £ 100,000. In: The West Australian (Perth), September 3, 1953, p. 13.
  57. ↑ Reserve Bank of Australia: Pre-Decimal Inflation Calculator → A £ 100,000 / 1953 = A $ 3,474,219 / 2017
    Oanda: Historical Exchange Rates → 0.63 as mean value for € / A $ February 17, 2018 - August 16, 2018 → € 2,188,758
  58. ^ Lloyds To Free French Paintings for Tas. Exhibition. In: Examiner (Launceston), January 14, 1953, p. 3.
    Bond Dispute On French Art. In: The Mercury (Hobart), January 13, 1953, p. 1.
  59. ^ Launceston Population Realignment. In: The Mercury (Hobart) June 16, 1953, p. 17.
  60. ^ French Art Exhibition At Hobart. In: Examiner (Launceston) January 20, 1953, p. 5.
  61. ↑ French Paintings unpacked for Art Gallery exhibition. In: The Sydney Morning Herald, February 25, 1953, p. 1.
  62. ^ French Artist Here For Exhibition. In: The Advertiser (Adelaide), July 13, 1953, p. 4.
    French art. In: The Courier-Mail (Brisbane), April 2, 1953, p. 7.
    Record Attendance At French Exhibition. In: The Advertiser (Adelaide), August 19, 1953, p. 2.
  63. ^ Art Needs 'Horror And Beauty,' Says Director. In: The West Australian (Perth), October 3, 1953, p. 14.
  64. ^ A b c Alan McCulloch: French exhibition in retrospect. In: The Herald (Melbourne), November 17, 1953, p. 14.
  65. ↑ population of.Australia 1953. In: populationpyramid.net
  66. ^ Exhibition closes. In: The Sydney Morning Herald, March 30, p. 3.
  67. ↑ 6000 See French works in record art 'rush'. In: The Courier-Mail (Brisbane), April 13, 1953, p. 3.
  68. ↑ Natalie Jackson: Tasmania since Federation. In: Plenary Address to the Australian Population Association Biennial Conference, University of Waikato , Hobart 2014, p. 4.
  69. ↑ For Hobart → Margot's Jottings. In: The Mercury (Hobart), February 5, 1953, p. 8.
    For Perth → Art Needs 'Horror And Beauty,' Says Director. In: The West Australian (Perth), October 3, 1953, p. 14.
    For Adelaide → Record Attendance At French Exhibition. In: The Advertiser (Adelaide) of August 19, 1953, p. 2.
    For Brisbane → 6000 See French works in record art “rush”. In: The Courier-Mail (Brisbane) of April 13, 1953 p. 3.
    Antony Moulis: A brush with the architect: On the reception of Le Corbusier's art in Australia 1953. ( Memento of February 13, 2015 in the Internet Archive )
    For Melbourne → Coming here: Sydney is wild about French art. In: The Courier-Mail (Brisbane) of March 30, 1953, p. 3.
    For Sydney → French Art Display In SA In July. In: The Advertiser (Adelaide), May 26, 1953, p. 2.
    Women's News. Talkabout. In: The News (Adelaide), March 4, 1953, p. 24.
  70. ↑ For Sydney → See French Art With open Mind. In: The Mail (Adelaide), July 4, 1953, p. 38.
    Archibald Paintings Coming Here. In: The Advertiser (Adelaide), March 10, 1953, p. 2.
    For Melbourne → 50,000 went to French art exhibition. In: The Herald (Melbourne) of June 27, 1953, p. 5.
    For Brisbane → 900 Say adieu to French art. In: The Courier-Mail (Brisbane), May 9, 1953, p. 6.
    French Art Show breaking records. In: Brisbane Telegraph, April 17, 1953, p. 2.
    For Adelaide → Art show catalog sale high. In: The News (Adelaide) of August 3, 1953, p. 9.
    Overall → Alan McCulloch: French exhibition in retrospect. In: The Herald (Melbourne), November 17, 1953, p. 14.
  71. ^ Women's News. Talkabout. In: The News (Adelaide), March 4, 1953, p. 24.
    French And German Diplomats Entertain. French Art - and how they talked about it. In: The Sunday Herald (Sydney), March 1, 1953, p. 30.
  72. ^ Looked At Paintings; Lunched In Town. In: The Sydney Morning Herald of February 19, 1953, p. 6.
    Original text: “Sydney's Domain on Friday looking like Buckingham Palace lawns during a garden party, with flocks of elegant women in airy-fairy summer clothes tripping across the grass, special traffic police working full time, curious crowds watching the stream of limousines deposit the hundreds - from sleek Diplomatic Corps, the Consular Corps, society (high and low), businessmen (snatching an hour or two from the office), to artists (well- known and conventionally clothed, to lesser known and as unconventional as all get-out). For THE day had arrived. Having survived a shipwreck and endless delays over several years, THE FRENCH PAINTINGS had reached town. "
  73. ^ Alan McCulloch: French art causes stir. In: The Herald (Melbourne), April 7, 1953, p. 10.
  74. ^ 50,000 went to the French art exhibition. In: The Herald (Melbourne), June 27, 1953, p. 5.
  75. ↑ Coming here: Sydney is wild about French art. In: The Courier-Mail (Brisbane), March 30, 1953, p. 3.
  76. ^ To sell 89 painting. In: The Courier-Mail (Brisbane), March 24, 1953, p. 3.
  77. ↑ Melissa Boyde: Art and Advocacy. Mary Alice Evatt in the 1930s and '40. In: University of Wollongong , Faculty of Law, Humanities and the Arts, Wollongong 2005, p. 96. Quoted from Hal Missingham: They Kill You in the End. Angus and Robertson, Sydney 1973, pp. 65-66.
    Original text: ... "surely, we shouldn't think of acquiring such a lewd and indecent work, gentlemen".
  78. ^ French art picture sold. In: The News (Adelaide), August 17, 1953, p. 17.
  79. ^ French Painting To-Day. Provocative event. In: Cairns Post, April 4, 1953, p. 6.
    French Paintings. Provocative Event Of The Art Season. In: The Canberra Times, February 28, 1953, p. 2.
  80. ^ Tracey Lock-Weir, John Dowie: John Dowie: A Life in the Round. Wakefield Press 2001, ISBN 1-86254-544-8 , p. 10.
  81. ^ Esmond George: Violent impact of French paintings. In: The Mail (Adelaide), July 18, 1953, p. 53.
  82. ↑ A Lindsay "Feud" over French art. In: The Age (Melbourne), May 23, 1953, p. 13.
  83. ↑ Emu Island: Modernism in Place. In: Penrith Regional Gallery, 2017, p. 13.
  84. ↑ Candid Comment. In: The Sunday Herald (Sydney) of March 8, 1953, p. 2.
    Original text: “Missingham has expressed some impatience with the Philistines; suggested that they 'stay quietly away'. ”
    A Lindsay“ Feud ”over French art. In: The Age (Melbourne) of May 23, 1953, p. 13.
    Original text: "... a cultural event of which only the most recalcitrant of Philistines would question the importance."
    Warning on wrecking. In: The Courier-Mail (Brisbane) of April 11, 1953, p. 6.
    Original text: "The Philistine may think the painting depicts a person with a split personality."
  85. ^ Richard Haese: Permanent Revolution: Mike Brown and the Australian Avant-garde 1953-1997. The Miegunyah Press, 2012, ISBN 0-522-86080-X , pp. 4, 40-46.
  86. ^ Lesley Harding, Sue Cramer: Cubism & Australian Art. The Miegunyah Press, 2009, ISBN 0-522-85673-X , p. 156.
    Original text: “Cassou invited Australian audiences to enjoy 'this spiritual adventure, which is our history of modern art '. "
  87. ↑ Paintings grouped in unique exhibition of French art. In: The Mercury (Hobart) of January 23, 1953, p. 7.
    Original text: "The art of Paris must not be considered only as an expression of our own genius, but as phenomenal of universal culture".
  88. ↑ French Art Show arouses interest. In: The West Australian (Perth) of September 9, 1953, p. 10.
    Original text: “The French are never satislied; they are always in search of perfection - perfection that is possibly beyond the grasp of human beings. "
  89. ^ Warning on art exhibition. In: The News (Adelaide) of June 17, 1953, p. 24.
    Original text: "You may first be surprised then extremely irritated if you see the French art exhibition [...]". Campbell gave this warning in an address […]. "[T] he exhibition was unlike anything most people, with their-preconceived ideas of art, had ever seen."
    French arts display here next week. Surprise in store. In: The News (Adelaide) of June 30, 1953, p. 16.
    Original text: "My impression is that people will be distinctly surprised, as I believe most of the paintings are not the Australian's idea of ​​painting or of art."
  90. ^ "French Painting To-day" needs to be seen many times. In: Sunday Mail (Brisbane) of April 12, 1953, p. 13.
    Original text: "This is all very stimulating, but it is hard work for the spectator".
  91. ^ French art called vital, courageous. In: The Herald (Melbourne), June 8, 1953 p. 5.
    Original text: "French art called vital, courageous." "It is stimulating and courageous."
  92. ^ French Paintings opened. In: The Sydney Morning Herald, February 28, 1953, p. 2.
  93. ^ French Art Show Opens In Sydney. In: The Sun (Sydney) of February 27, 1953, p. 3.
    Original text: "[H] e expected the exhibition would provoke 'many long and large arguments'".
  94. ↑ James Gleeson: Stimulus of French Exhibition. In: The Sun (Sydney) of February 27, 1953, p. 4.
    Original text: "[T] here are truly magnificent paintings." "So rich is it that to list its richnesses would be impossible".
  95. ^ Antony Moulis: A brush with the architect: On the reception of Le Corbusier's art in Australia 1953. ( Memento from February 13, 2015 in the Internet Archive )
    Original text: “[Some] were more reflective in coming to terms with the cause of abstraction , understanding that the works demanded an active, rather than passive way of looking. Others saw that these images were a fit for the times with one […] proclaiming that 'one must concede that modern art tells the truth about the age'. "
  96. ↑ 1,200 At French Art Opening. In: The Advertiser (Adelaide) of July 21, 1953, p. 5.
    Original text: “Heysen said […] that the display was 'certainly exciting' […]. Form, however, seemed to have been forgotten in achieving color. "
  97. ↑ Record Crowd See Paintings. In: The Advertiser (Adelaide) of July 27, 1953, p. 2.
    Original text: "George said he felt some of the paintings reflected the chaos that had existed in France since the Franco-Prussian war."
  98. ^ R. Dedman: Shore, Arnold Joseph Victor (1897–1963). In: Australian Dictionary of Biography , 1988.
  99. ^ Arnold Shore: French Art is vivid. In: The Argus (Melbourne) of May 22, 1953, p. 2.
    Original text: “More than a little evidence is offered, in my opinion, that since Cezanne French art is well in decline; but this in no way destroys the supreme value of the exhibition to the Australian public. We need to see such work 'in the flesh', to appraise, reject, or accept its message and form. Our art horizon must be extended. Color, design, and art freedom are our present day art inheritance. "
  100. ^ Richard Haese: Permanent Revolution: Mike Brown and the Australian Avant-garde 1953–1997 , The Miegunyah Press, 2012, ISBN 0-522-86080-X , p. 16.
    Original text: “Smith confidently announced that 'no doubt we shall meet its influence in Australian painting for some time to come '. "
    See also → " French Pointing Today "is the most important exhibition seen here for many years. In: The Daily Telegraph (Sydney) of February 27, 1953, p. 9.
    Original text: "The exhibition should have a tremendous influence on Australian artists."
  101. ↑ Reverence is reaction to French art. In: The News (Adelaide) of July 20, 1953, p. 7.
    Original text: “I do not believe […] this exhibition will have any influence on the styles of the our painters here. Such shows never do, but they have an enormous inspirational effect, and help create a larger appreciative public. "
  102. ↑ 900 Say adieu to French art. In: The Courier-Mail (Brisbane), May 9, 1953, p. 6.
  103. ^ French Artist Here For Exhibition. In: The Advertiser (Adelaide), July 13, 1953, p. 4.
  104. ^ French Art. In: The News (Adelaide) of July 21, 1953, p. 10.
    Original text: “90 per cent of the people who thronged the opening yesterday confessed, publicly or privately, that they could not understand most of the paintings . "
  105. ^ French Painting To-Day. Provocative event. In: Cairns Post, April 4, 1953, p. 6.
    Original text: “French Painting To-day. Provocative Event. "" Illustrations in the catalog suggest a provocative show. "
  106. ^ Australia's Answer To The French Art Exhibition. In: The Western Mail (Perth) of January 7, 1954, p. 7.
    Original text: “Many people who found themselves in a state of intellectual confusion after inspecting the recent French art exhibition in Perth no doubt attributed the peculiarities of many of the exhibits to the traditional eccentricity of the French race. "
    French Art. In: The Advertiser (Adelaide) of July 21, 1953, p. 2.
    Original text: " [T] he visitor to the current exhibition at the South Australian National Gallery may well wonder what is in fact signed by some of the more eccentric pictures there displayed. "
  107. ^ Art "test" in Aust. In: Sunday Mail (Adelaide) of May 3, 1953, p. 16.
    Original text: “To now, generally speaking, the public have preferred the painter with gray colors, and not so much the bright. [...] This is [...] a test of the taste of the public. "
  108. ↑ Antony Moulis: A brush with the architect: On the reception of Le Corbusier's art in Australia 1953. ( Memento from February 13, 2015 in the Internet Archive )
    Voila! So easy, no, monsieur? In: The News (Adelaide) of July 13, 1953, p. 5.
    Mais Non… French Art Is Not What It Seems. In: The News (Adelaide), May 27, 1953, p. 17.
  109. ↑ Column 8. In: The Sydney Morning Herald, February 27, 1953, p. 1.
    An upside-down view of art. A man stood on his hands yesterday in front of modern paintings at the National Art Gallery. In: The Daily Telegraph (Sydney) March 1, p.
  110. ↑ Voila! So easy, no, monsieur? In: The News (Adelaide), July 13, 1953, p. 5.
  111. ↑ You Take A Canvas, Splash And Muddy It - Then Stand Upon Your Head To Study It. In: Truth (Brisbane) of April 19, 1953, p. 22.
    Original text: “You can take a canvas, splash and muddy it, then stand upon your head to study it. "
  112. ^ Critical Of French Exhibition. In: The Advertiser (Adelaide) of March 2, 1953, p. 1.
    Artist-Critic Put Out of Art Gallery. In: The Age (Melbourne), March 2, 1953, p. 4.
  113. ↑ A Man-in-the-Street Went to See the French Paintings in Brisbane. His verdict: I agree with Norman Lindsay. In: Brisbane Mail, April 19, 1953, p. 23.
    Original text: "Lindsay said: 'This is the art of persons who cannot draw and cannot paint!'"
  114. ^ Melbourne Letter. Art Horizons. In: The Advertiser (Adelaide) of May 25, 1953, p. 2.
    Original text: "Lindsay described it as 'wicked and dangerous nonsense.'".
  115. ^ Howard Ashton: Modernist French pictures a slump into decadence. In: The Sun (Sydney) of March 12, 1953, p. 27.
    Original text: “Modernist French pictures in a slump into decadence.” “[T] he great traditions of French art have entirely slumped into puerility, idiocy and exhibitionism. "
  116. ↑ Victoria Lynn: Direction Now. Essay on the traveling exhibition Direction Now , 2015, p. 4.
  117. ↑ Thoughts on French art. In: The Courier-Mail (Brisbane) of April 14, 1953.
    Original text: “Most of the exhibits reminded me of the product of diseased and deranged minds.” “To my mind, the painting, […] was as well as being hideous, what obscene. "
  118. ↑ Must look for clue in this new fangled art. In: Brisbane Telegraph, April 6, 1953, p. 4.
    Original text: "[A] pparent hideousness".
  119. ^ French art on display. In: Examiner (Launceston) of January 23, 1953, p. 6.
    Original text: "[S] ome of the paintings were regarded as 'grotesque' by some of the onlookers."
  120. ↑ "Hope Yet", for French Art. In: The Age (Melbourne) June 20, 1953.
    Original text: "[S] ome of the people represented at the Melbourne exhibition have obviously lost all touch with reality."
  121. ^ Modern French Art Exhibition. In: The Sydney Morning Herald of March 4, 1953, p. 2.
    Original text: “[The] gallery has been used to house such appalling trash.” “[All] must pray for the return some day of sanity and intelligence. Till then, angels must laugh - and weep a little. "
  122. ↑ Talent behind a man of politics. In: The Sydney Morning Herald, October 25, 2007.
  123. ^ French Art ... Exhibition of decay. In: Tribune (Sydney) of March 4, 1953 p. 11.
    Original text: "Exhibition of decay." "This hatred of truth and humanity is characteristic of the whole exhibition."
  124. ^ Give men land and they will develop it. In: Brisbane Telegraph of April 23, 1953, p. 4.
    Original text: "If Hitler had visited the French Art exhibition he would have dismissed it, no doubt, as 'decadent Jewish art'."
  125. ^ Alan McCulloch: French art causes stir. In: The Herald (Melbourne) of April 7, 1953, p. 10.
    Original text: "The sound and fury which has accompanied this event has no parallel in the annals of Australian art".
  126. ↑ Abstract art should not be treated scornfully. In: The News (Adelaide) of August 22, 1953, p. 9.
    Original text: “For some unfathomable reason, it has become fashionable, since the French exhibition, to damn abstract art with faint price”.
  127. ↑ David Marr: The Letters Of Patrick White. Vintage Australia, November 8, 1996, ISBN 978-0-09-183087-8 , p. 90, letter to Peggy Garland dated May 1, 1953.
    Original text: "One forgets that the average Australian has seen so little."
  128. ^ Women's News. Talkabout. In: The News (Adelaide), March 4, 1953, p. 24.
  129. ↑ Hal Missigham: Reply to Howard Ashton on French modern art. In: The Sun (Sydney) of March 17, 1954, p. 21.
    Original text: "It is quite possible to have an open mind, and still have preference."
  130. ↑ Voila! So easy, no, monsieur? In: The News (Adelaide) of July 13, 1953, p. 5.
    Original text: “You must approach these paintings with an open mind”.
  131. ↑ "Naturally, it's modern", says 'Guardian' of French art. In: The Courier-Mail (Brisbane), April 6, 1953, p. 5.
  132. ^ Frenchman Designs Set For Opera. In: The Courier-Mail (Brisbane), October 28, 1953, p. 9.
  133. ↑ See French Art With open Mind. In: The Mail (Adelaide) of July 4, 1953, p. 38.
    Original text: "One of the difficulties is that most people refuse to believe the artist is justified in departing from Nature."
  134. ↑ On Understanding Of Modern Art. In: Le Courrier Australien, April 20, 1953, p. 6.
    Original text: “It was Gustave Moreau, professor to Matisse, Marquet, Camoin, and Manguin, who declared to these young painters: 'What does nature matter! It is only an opportunity for the artist to express himself. '"
  135. ^ Natalie Adamson: Painting, Politics and the Struggle for the École de Paris, 1944–1964. Ashgate, 2009, ISBN 0-7546-5928-3 , p. 219.
  136. ↑ Andrew Frost: Blockbuster exhibitions: see incredible historical art on your own doorstep. In: The Guardian of July 24, 2014.
  137. ↑ Art Sets. 20th-century Australian art: Abstraction in the 1950s and '60s. In: Art Gallery of New South Wales.
  138. ^ Lesley Harding, Sue Cramer: Cubism & Australian Art. The Miegunyah Press, 2009, ISBN 0-522-85673-X , p. 156.
  139. ↑ Bernard Smith , Terry E. Smith, Christopher Robin Heathcote (Eds.): Australian painting, 1788-2000. Oxford University Press 2001, ISBN 0-19-551554-4 , p. 353.
  140. ^ Gary Catalano: The years of hope: Australian art and criticism 1959-1968. Oxford University Press 1980, p. 19.
    Original text: "French Painting Today represented a spirit of optimism and new ways forward for postwar art."
  141. ↑ John McPhee: Tony Tuckson. Modesty's Blaze. In: Australian Art Collector, April 16 - June 2001, p. 62.
  142. ↑ William Robinson. A Life in Brief. in: Queensland University of Technology, February 26, 2013
  143. ^ A b c Lesley Harding, Sue Cramer: Cubism & Australian Art. The Miegunyah Press, 2009, ISBN 0-522-85673-X , p. 156.
  144. ^ A b Ken McGregor: Teeming With Life: John Olsen: His Complete Graphics, 1957-2005. Macmillan Education, Australia 2005, ISBN 1-876832-23-1 , p. 10.
  145. ↑ Ken McGregor, Jenny Zimmer, John Olsen: Journeys Into the 'You Beaut Country'. Macmillan Education Australia 2007, ISBN 1-921394-05-6 , p. 41.
  146. ^ Clive James: The Revolt of the Pendulum: Essays 2005-2008. Picador, 2010, ISBN 1-74329-111-6 , pp. 296, 297.
  147. ^ Painting in the Mid Twentieth Century - (1). In: Encyclopedia of Australia, WebsterWorld, p. 8.
  148. ↑ Antipodeans. Challenge and Response in Australian Art 1955-1965. In: National Gallery of Australia , Canberra. Quoted from Artonview , Issue 20, Summer 1999, pp. 4-8.
  149. ↑ João Florêncio: Abstract Expressionism: how New York overtook Europe to become the epicenter of Western art. In: The Conversation of September 23, 2016.
    Abstract Expressionism. National Gallery of Australia, Canberra 2012.
  150. ↑ Antony Moulis: A brush with the architect: On the reception of Le Corbusier's art in Australia 1953. ( Memento of February 13, 2015 in the Internet Archive )
    Original text: “'French Painting Today' was a key public event, instrumental in introducing Australians of the post was period to Modernist Art on an unprecedented scale. "
  151. ^ Natalie Adamson: The Last Big Artist in Paris, Bernard Buffet. In: Art Journal 44 from 2004.
    Original text: "The show [...] was viewed in Australia as a crucial access to European developments in modernism."
  152. ^ Richard Haese: Permanent Revolution: Mike Brown and the Australian Avant-garde 1953-1997 , The Miegunyah Press, 2012, ISBN 0-522-86080-X , p. 15.
    Original text: “A good many others who had been selected have long since sunk into obscurity. "
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