38:
95:
137:, Sydney of Charles Smith and Rose Anne Tierney on 3 October 1916. An illegitimate child, he was a ward of the state and raised in fostered care. In 1941, he married his first wife, Kate Challis, who died in 1989. Smith married his second wife, Margaret Forster, in 1995 and subsequently separated.
125:, and after leaving the party remained a prominent left-wing intellectual and Marxist thinker. Following the death of his wife in 1989, he sold much of their art collection to establish the Kate Challis RAKA, one of the first prizes in the country for Indigenous artists and writers.
222:
In 1980 he presented "The Boyer
Lectures" on the theme of "The Spectre of Trunganini" which was one of the first public condemnations of the Australian government's policy of removing Australian Aboriginal and Torres Strait Islander children from their families, now known as the
682:
168:, where he completed a PhD. A shorter version of his thesis "European Vision and the South Pacific" was published in 1950, and released as a monograph in 1960 by Oxford University Press.
687:
145:
667:
460:
426:
164:. On his return to Australia in 1951, Smith returned to his position at the Gallery. In 1952, Smith was awarded a research scholarship at the newly established
672:
594:(Interview). Art Gallery of New South Wales Archive: Balnaves Foundation Australian Sculpture Archive Project. Interviewed by Edwards, Deborah.
692:
216:
647:
281:
Melbourne: Oxford
University Press, 1962. (updated 1971; updated 1991 with Terry Smith; & update 2001 with Christopher Heathcote)
81:
59:
113:
and academic, considered the founding father of
Australian art history, and one of the country's most important thinkers. His book
493:"Modernism and post-modernism: neo-colonial viewpoint—concerning the sources of modernism and post-modernism in the visual arts",
657:
677:
652:
165:
231:
475:
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662:
193:
122:
196:, University of Sydney, a position he held until his retirement in 1977. During this time, he became involved with the
192:
In 1967, the Smiths moved to Sydney, where Smith became the founding
Professor of Contemporary Art and director of the
588:
175:'s Fine Arts Department (1955–1967). In 1959, he convened a group of seven emerging figurative painters known as the
219:, until 1980. Later, he was a professorial fellow in the department of art history at the University of Melbourne.
157:
134:
52:
46:
238:
172:
345:
Baudin in
Australian Waters: The Artwork of the French Voyage of Discovery to the Southern Lands 1800–1804
118:
63:
702:
697:
269:. Oxford: Clarendon Press, 1960 (reprinted 1985 by Yale University Press and 2022 by Miegunyah Press)
161:
141:
595:
599:
224:
149:
616:
261:
A Catalogue of
Australian Oil Paintings in the National Art Gallery of New South Wales 1875–1952
153:
570:
536:(ed. Jaynie Anderson, Christopher Marshall and Andrew Yip), Sydney: Power Publications, 2016
353:(eds. W. Eisler and B. Smith). Sydney: International Cultural Corporation of Australia, 1988
152:
country art exhibitions programme from 1944. In 1948, he won a scholarship to study at the
427:"Art Historical Studies in Australia with Comments on Research and Publication since 1974"
267:
European Vision and the South
Pacific, 1768–1850: A Study in the History of Art and Ideas
287:(with Kate Smith). Sydney: University Co-operative Bookshop Press, 1973 (reprinted 1985)
534:
The
Legacies of Bernard Smith. Essays on Australian Art, History and Cultural Politics
347:(eds J. Bonnemains, E. Forsyth and B. Smith). Melbourne: Oxford University Press, 1988
641:
209:
106:
17:
516:
Imagining the
Antipodes: Culture, Theory and the Visual in the Work of Bernard Smith
329:(with Rüdiger Joppien). Melbourne: Oxford University Press, three volumes, 1985–1987
94:
205:
197:
215:
In 1977, the Smiths returned to
Melbourne, and Smith became the president of the
549:, (ed. Rex Butler and Sheridan Palmer), Melbourne: Monash University Press, 2018
341:(eds Bernard Smith and Alwyne Wheeler). Melbourne: Oxford University Press, 1988
176:
257:. Sydney: Ure Smith, 1945 (reprinted Melbourne: Oxford University Press, 1979)
110:
365:. Carlton, Victoria: Melbourne University Press at the Miegunyah Press, 1992
273:
Australian Painting Today: The John Murtagh Macrossan memorial lecture, 1961
201:
179:, which organised its only exhibition in August 1959 and with them composed
212:
about its role. He wanted to rename it the Fine Arts University Workshop.
297:
Documents on Art and Taste in Australia: the colonial period, 1770–1914.
379:
185:
309:
Art as Information: Reflections on the Art from Captain Cook's Voyages
530:(ed. John Spencer and Peter Wright), Sydney: Power Publications, 2000
105:(3 October 1916 – 2 September 2011) was an Australian
574:
93:
255:
Place, Taste and Tradition: A Study of Australian Art Since 1788
115:
Place, Taste and Tradition: a Study of Australian Art Since 1788
387:
Modernism's History: A Study in Twentieth-century Art and Ideas
339:
The Art of the First Fleet and Other Early Australian Drawings
333:
The Death of the Artist as Hero: Essays in History and Culture
31:
323:. Ringwood, Victoria: Allen Lane, 1984 (reprinted 1985, 1994)
547:
Antipodean Perspective: Selected Writings of Bernard Smith
291:
Concerning Contemporary Art: the Power lectures, 1968–1973
275:. St. Lucia, Queensland: Queensland University Press, 1962
117:
is a key text in Australian art history, and influence on
27:
Australian art historian, critic and academic (1916–2011)
565:
Bernard Smith. “European Vision and the South Pacific.”
418:"Coleridge's Ancient Mariner and Cook's second voyage",
183:. Between 1963 and 1966, he worked as an art critic for
468:
Proceedings of the Australian Academy of the Humanities
434:
Proceedings of the Australian Academy of the Humanities
321:
The Boy Adeodatus—The Portrait of a Lucky Young Bastard
148:. After that he served as an education officer for the
399:
The Formalesque: A Guide to Modern Art and Its History
604:
This is an edited transcript of a recorded interview.
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The Writings of Bernard Smith: Bibliography 1938–1998
363:
Imagining the Pacific in the Wake of the Cook Voyages
371:. Melbourne; New York: Oxford University Press, 1993
359:. Melbourne: Oxford University Press Australia, 1989
171:
He was a lecturer and then a senior lecturer in the
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Fellows of the Australian Academy of the Humanities
303:
The Antipodean Manifesto: Essays in Art and History
317:. Sydney: Australian Broadcasting Commission, 1980
500:"Modernism, post-modernism and the formalesque",
357:The Critic as Advocate: selected essays 1941–1988
567:Journal of the Warburg and Courtauld Institutes
420:Journal of the Warburg and Courtauld Institutes
413:Journal of the Warburg and Courtauld Institutes
518:, Melbourne: Cambridge University Press, 1997.
299:(ed.) Melbourne: Oxford University Press, 1975
688:Academic staff of the University of Melbourne
8:
285:The Architectural Character of Glebe, Sydney
335:. Melbourne: Oxford University Press, 1988
305:. Melbourne: Oxford University Press, 1975
411:"European Vision and the South Pacific",
230:Smith was a recipient, Chevalier, of the
144:. Between 1935 and 1944 he taught in the
82:Learn how and when to remove this message
668:Alumni of the Courtauld Institute of Art
389:. New Haven: Yale University Press, 1998
45:This article includes a list of general
558:
311:. Sydney: Sydney University Press, 1979
541:Hegel's Owl: The Life of Bernard Smith
369:Noel Counihan—Artist and Revolutionary
7:
293:(ed.). Oxford: Clarendon Press, 1975
217:Australian Academy of the Humanities
524:, London: Europa Publications, 2000
543:, Sydney: Power Publications, 2017
351:Terra Australis—The Furthest Shore
51:it lacks sufficient corresponding
25:
327:The Art of Captain Cook's Voyages
440:(1982–83): 44–73. Archived from
121:. Smith was associated with the
36:
673:Alumni of the Warburg Institute
587:Grounds, Marr (30 March 2015).
245:, in honour of his first wife.
204:, but clashed with co-founders
279:Australian Painting, 1788–2000
166:Australian National University
1:
589:"Interview with Marr Grounds"
474:(1992): 46–49. Archived from
461:"Sir Joseph Burke, 1913–1992"
232:Ordre des Arts et des Lettres
569:13, no. 1/2 (1950): 65–100.
406:Selected essays and articles
401:. Melbourne: Macmillan, 2007
194:Power Institute of Fine Arts
123:Communist Party of Australia
693:University of Sydney alumni
263:. Sydney: The Gallery, 1953
146:NSW Department of Education
719:
140:Smith was educated at the
648:Australian art historians
617:"Kate Challis RAKA Award"
415:8, no. 1/2 (1950): 65–100
393:A Pavane for Another Time
315:The Spectre of Truganini
189:newspaper in Melbourne.
181:The Antipodean Manifesto
522:International Who's Who
395:Sydney. Macmillan, 2002
239:Kate Challis RAKA Award
173:University of Melbourne
66:more precise citations.
658:Australian art critics
422:19, no. (1956) 117–152
237:He founded the annual
99:
678:Academics from Sydney
653:Australian historians
377:. Carlton, Victoria:
103:Bernard William Smith
97:
18:Bernard William Smith
481:on 15 September 2009
447:on 15 September 2009
162:University of London
142:University of Sydney
663:Australian painters
596:Balnaves Foundation
98:Bernard Smith, 1948
600:Art Gallery of NSW
225:Stolen Generations
150:Art Gallery of NSW
133:Smith was born in
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539:Sheridan Palmer,
497:38 (1994) 104–117
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703:1916 births
698:2011 deaths
485:19 February
451:18 February
177:Antipodeans
64:introducing
642:Categories
554:References
111:art critic
47:references
243:A$ 20,000
202:Tin Sheds
200:known as
158:Courtauld
129:Biography
627:14 April
502:Editions
241:, worth
509:Sources
380:Meanjin
186:The Age
154:Warburg
135:Balmain
60:improve
383:, 1996
49:, but
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629:2020
487:2009
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