Melbourne Art Journal
Melbourne Art Journal
Number 2 1998
Contents
Editorial
Barbara Creed
Modernity and Misogyny: Film and the Public Erotic
(The Joseph Burke Lecture 1997 )
Very little has been written or theorised about the representationof
the erotic in film from the silent to the contemporary period. Theaim
of this paper is to offer a series of general observations aboutthe cinematic
representation of eroticism in the silent period, andthe relationship
of this to the emergence of what I have described asan 'erotic public
sphere' shaped by the twin forces of modernity andmisogyny. A key argument
of this paper is that it is woman's bodywhich is almost always represented
to signify, not only the erotic,but also the 'perverse' erotic of the
new era.
Modernity and Misogyny: Film and the Public Erotic
(The Joseph Burke Lecture 1997 )
Very little has been written or theorised about the representationof the erotic in film from the silent to the contemporary period. Theaim of this paper is to offer a series of general observations aboutthe cinematic representation of eroticism in the silent period, andthe relationship of this to the emergence of what I have described asan 'erotic public sphere' shaped by the twin forces of modernity andmisogyny. A key argument of this paper is that it is woman's bodywhich is almost always represented to signify, not only the erotic,but also the 'perverse' erotic of the new era.
Mark P. McDonald
A Drawing by Antonio del Castillo y Saavedra in the British Museum
Antonio del Castillo y Saavedra is regarded as one of the mostoutstanding
draughtsmen of seventeenth-century Spain. Thisarticle identifies a drawing
representing various male heads as awork by Castillo by comparing it to
signed works by the artist. Thedrawing is related to Netherlandish and
Spanish traditions of patternprints, and it is suggested that it was intended
as a preparatorystudy for Castillo's own compilation of pattern prints
which wasnever realised.
A Drawing by Antonio del Castillo y Saavedra in the British Museum
Antonio del Castillo y Saavedra is regarded as one of the mostoutstanding draughtsmen of seventeenth-century Spain. Thisarticle identifies a drawing representing various male heads as awork by Castillo by comparing it to signed works by the artist. Thedrawing is related to Netherlandish and Spanish traditions of patternprints, and it is suggested that it was intended as a preparatorystudy for Castillo's own compilation of pattern prints which wasnever realised.
Jillian Dwyer
The Lone Hand Case: the Critical Response to Bernard Hall's Sleep in
New Zealand
In 1907, copies of the Australian publication Lone Hand wereseized in
Wellington, New Zealand, on the grounds that thefrontispiece, Bernard
Hall's painting from the nude called Sleep, wasobscene. The ensuing court
proceedings produced varied opinions onthe question of nudity in art,
which demonstrated a shift fromVictorian constraint towards more liberal
attitudes. As the focus ofthis debate, Hall's Sleep has been invested
with an increasedsignificance as an example of the Edwardian nude. Its
subsequentacceptance by Australian audiences and its purchase in 1919
by theNational Gallery of Victoria acknowledged its status as part of
alegitimate art tradition.
The Lone Hand Case: the Critical Response to Bernard Hall's Sleep in New Zealand
In 1907, copies of the Australian publication Lone Hand wereseized in Wellington, New Zealand, on the grounds that thefrontispiece, Bernard Hall's painting from the nude called Sleep, wasobscene. The ensuing court proceedings produced varied opinions onthe question of nudity in art, which demonstrated a shift fromVictorian constraint towards more liberal attitudes. As the focus ofthis debate, Hall's Sleep has been invested with an increasedsignificance as an example of the Edwardian nude. Its subsequentacceptance by Australian audiences and its purchase in 1919 by theNational Gallery of Victoria acknowledged its status as part of alegitimate art tradition.
Joan E. Barclay Lloyd
The Architecture of the Church of the ImmaculateConception,
Hawthorn
The church of the Immaculate Conception, Hawthorn, is an importantexample
of nineteenth-century church architecture in Melbourne. Itwas built in
honour of the Virgin Mary by the Jesuits, a year aftertheir arrival in
the colony in 1866. This article traces the church'sbuilding history,
from the donation of the land on which it stands byMichael Lynch and a
first architectural competition won by Crouch andWilson in 1867, through
a renewal of the master plan for theliturgical east end by Reed Smart
and Tappin in 1890, to thecompletion of the spire, the entrance porch,
and the transepts andcontiguous structures by A. A. Fritsch and his son.
After the SecondVatican Council (1962;1965) the chancel was re-ordered
and anew Lady Chapel was laid out in the old Sodality Room. Someindication
is given of how the interior was decorated in variousphases, with stained
glass windows, tesselated floor tiles, andmurals. The names of patrons
survive in inscriptions and in otherliterary sources. Abundant documentation
of the church's history isfound in contemporary newspapers, as well as
in numerousarchitectural drawings and old photographs, most of which arepublished
here for the first time.
EditRegion3 The Architecture of the Church of the ImmaculateConception, Hawthorn