Overcoming her nausea she sought enlightenment through the study of Japanese art at the Musée Guimet and learnt ‘slowly that there is more than one vision in art.’ 8 Her advances over her Australian contemporaries have, in part, been attributed to this study of the art that directly influenced Post-Impressionism, rather than to her analysis of Post-Impressionism itself. It was even worse for her when she found herself understanding in German what apparently sane artists and students were saying about a certain picture at a Secessionist Exhibition – a picture that had a large pink dragon, with a lady victim clad in yellow, being rescued by a gentleman in black clothes. Her determination to see where she stood artistically took her to England and Europe from 1904 to 1907, where her pride in her accomplished realism was shattered by coming face to face with modern European art, an experience she described in 1927 in ‘From Eggs to Electrolux.’ 7 There in that horrid country no one seemed to understand Australian German, or appreciate Australian art. She wanted, as she wrote in 1927, to ‘paint her pictures as she would, to choose her own subjects and do them in her own way, leaving all thought of selling out of her mind.’ 6 Preston submitted to the strain of teaching rather than compromise her art by painting pictures with one eye on the market. While studying at the Adelaide School of Design she began teaching to help support her widowed mother and younger sister, a career that continued long after the death of one and the marriage of the other. Her itinerant childhood, from Adelaide to Sydney to Melbourne, ended in her mid-teens with a return to the city of her birth in 1894 for her sailor father’s final illness and death.
Many of Australia’s women artists from the early part of the twentieth century received financial support from their families and thus felt no pressure to compete commercially: ‘society permitted them to be artists but did not necessarily expect them to pay their own way.’ 5 For Margaret Preston, the story was otherwise. Her spirited crusade was partly the expression of her ‘broad and bursting personality’, as her friend Hal Missingham once put it 4 and also an outcome of the tenacity bred in her by experience. Britain’ 3 and the threat of internationalism, by a study of Aboriginal art. Her single, urgent plea was for a truly indigenous national art for this country, liberated from ‘Grandpa G. Talented, adventurous and certainly the most vociferous of the women artists, Preston differed from her compatriots in her strident demands for recognition – not simply for her own art but for the many theories she held about Australia’s artistic atrophy. ‘Their art was remarkably pure painting was done for pleasure and from inner necessity, not often for money or for fame.’ 2 Margaret Preston was Australia’s foremost woman painter between the wars, a period when many of the best Australian artists were women. The author is grateful to the Trustee of the Estate Late Margaret Preston, the Permanent Trustee Company Limited, for permission to reproduce the images and writings of Margaret Preston in all editions.Īn artist is something on two legs with a simple soul and a belief that he was made before God - APHORISM 2 1
Published by Penguin Books 1987, reprinted 1989, 1991. Inquiries should be addressed to the publishers.įirst published by Penguin Books 1985, reprinted 1986. Apart from any fair dealing for the purposes of private study, research, criticism or review, as permitted under the Copyright Act, no part may be reproduced by any process without written permission.
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