Bernard Smith and Robert Hughes: A Critical Dialogue
This paper explores the origins and development of the public dialogue between Bernard Smith (1916-2011) and Robert Hughes (1938-2012). Smith and Hughes were giants of Australian art history of the twentieth century. Both, however, followed very different career paths: Smith’s readership was primari...
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| Format: | Article |
| Language: | English |
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Department of Art History, University of Birmingham
2021-12-01
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| Series: | Journal of Art Historiography |
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| Online Access: | https://arthistoriography.files.wordpress.com/2021/11/berryman.pdf |
| _version_ | 1818986308338450432 |
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| author | Jim Berryman |
| author_facet | Jim Berryman |
| author_sort | Jim Berryman |
| collection | DOAJ |
| description | This paper explores the origins and development of the public dialogue between Bernard Smith (1916-2011) and Robert Hughes (1938-2012). Smith and Hughes were giants of Australian art history of the twentieth century. Both, however, followed very different career paths: Smith’s readership was primarily academic and local, while Hughes’s audience was popular and international. And yet, despite their differences, a considerable amount of exchange existed between the two. After first locking horns in 1961, Smith and Hughes engaged in public debate intermittently for more than four decades. This dialogue, which transpired in the pages of published sources, especially their reviews and books, was characterised by acrimony and bitterness, as well as moments of conciliation and mutual respect. When contesting issues of common interest, both writers played to their natural strengths. Smith was dominant in the field of art history, while Hughes had the upper hand in art criticism. Each, however, encroached upon the other’s area of expertise: Smith wrote art criticism and Hughes wrote art history. Conflict was greatest in areas where their respective spheres of authority overlapped. Although tensions receded after 1964, when Hughes left Australia, they did not end. Key topics of debate included abstract art and modernism; provincialism and internationalism; and most importantly the vexed issue of Australian cultural isolation, which was defined in terms of Australian art and its relationship to European art history (or, as Smith termed it, ‘Renaissance tradition’). |
| first_indexed | 2024-12-20T18:48:44Z |
| format | Article |
| id | doaj.art-bf6e9cb5f5524039b553046df2920f35 |
| institution | Directory Open Access Journal |
| issn | 2042-4752 |
| language | English |
| last_indexed | 2024-12-20T18:48:44Z |
| publishDate | 2021-12-01 |
| publisher | Department of Art History, University of Birmingham |
| record_format | Article |
| series | Journal of Art Historiography |
| spelling | doaj.art-bf6e9cb5f5524039b553046df2920f352022-12-21T19:29:38ZengDepartment of Art History, University of BirminghamJournal of Art Historiography2042-47522021-12-012525JB110.48352/uobxjah.00003472Bernard Smith and Robert Hughes: A Critical DialogueJim Berryman0University of MelbourneThis paper explores the origins and development of the public dialogue between Bernard Smith (1916-2011) and Robert Hughes (1938-2012). Smith and Hughes were giants of Australian art history of the twentieth century. Both, however, followed very different career paths: Smith’s readership was primarily academic and local, while Hughes’s audience was popular and international. And yet, despite their differences, a considerable amount of exchange existed between the two. After first locking horns in 1961, Smith and Hughes engaged in public debate intermittently for more than four decades. This dialogue, which transpired in the pages of published sources, especially their reviews and books, was characterised by acrimony and bitterness, as well as moments of conciliation and mutual respect. When contesting issues of common interest, both writers played to their natural strengths. Smith was dominant in the field of art history, while Hughes had the upper hand in art criticism. Each, however, encroached upon the other’s area of expertise: Smith wrote art criticism and Hughes wrote art history. Conflict was greatest in areas where their respective spheres of authority overlapped. Although tensions receded after 1964, when Hughes left Australia, they did not end. Key topics of debate included abstract art and modernism; provincialism and internationalism; and most importantly the vexed issue of Australian cultural isolation, which was defined in terms of Australian art and its relationship to European art history (or, as Smith termed it, ‘Renaissance tradition’).https://arthistoriography.files.wordpress.com/2021/11/berryman.pdfbernard smith (1916-2011)robert hughes (1938-2012)australian art historymodernismart criticism |
| spellingShingle | Jim Berryman Bernard Smith and Robert Hughes: A Critical Dialogue Journal of Art Historiography bernard smith (1916-2011) robert hughes (1938-2012) australian art history modernism art criticism |
| title | Bernard Smith and Robert Hughes: A Critical Dialogue |
| title_full | Bernard Smith and Robert Hughes: A Critical Dialogue |
| title_fullStr | Bernard Smith and Robert Hughes: A Critical Dialogue |
| title_full_unstemmed | Bernard Smith and Robert Hughes: A Critical Dialogue |
| title_short | Bernard Smith and Robert Hughes: A Critical Dialogue |
| title_sort | bernard smith and robert hughes a critical dialogue |
| topic | bernard smith (1916-2011) robert hughes (1938-2012) australian art history modernism art criticism |
| url | https://arthistoriography.files.wordpress.com/2021/11/berryman.pdf |
| work_keys_str_mv | AT jimberryman bernardsmithandroberthughesacriticaldialogue |