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Travels were printed by Benjamin Motte in two volumes and
illustrated with maps. Swift's authorship - of
what appeared at first glance to be an authentic journal
- was soon revealed.
Cook did not circumnavigate the continent; this was left
Matthew Flinders (1774-1814) in 1801-1803. By
this time it
was clear that 30'2'S. Jay entirely in Central
Australia. Flinders' book, A Voyage to Terra Australis
Smith's European Vision and the South Pacific 1768-1850
(Oxford: Clarendon Press, 1960) remains
the classic study
of the impact of Pacific exploration, in terms
of a relationship between art and science, in depictions
of the Antipodes.
cited by S.J. Checkland in The Rise of Industrial Society
in England (London: Longman, 1964), p.4.
The Australian Encyclopaedia, vol. 3 (Sydney: Grolier,
p.53, and Bryce Fraser, ed., The Macquarie Book
of Events, 2nd
edn (Sydney: Macquarie Library, 1984), pp.63-7,
for later demographic developments.
Hughes, The Fatal Shore (London: Collins Harvill, 1987),
or, A View of What Has Passed, "at
is Now Passing, and During the Present Century,
What Will Pass, in the World,
extract from translation of 1761, in
Beaumont Newhall, Photography: Essays and Images
(New York: Museum of Modern
Art, 1980), pp,
The Origins of Photography (London: Thames and Hudson,
1982) is an authoritative account
'prehistory' and of the early inventors of photography.
De Bono, ed., Eureka: An Illustrated History of Inventions
from the K%eel to the Computer (London: Thames and
Hudson, 1979), pp.9, 194,
Hyatt Mayor, Prints and People: A Social History of Printed
Pictures (Princeton: Princeton' University Press,
development of the camera obscura and camera lucida are
dealt with in standard histories of photography.
H. Hammond, The Camera Obscura: A Chronicle (Bristol:
Adam Hilger, 1981) for a full history of their role as
aids and entertainments.
An ms. account of the use of the camera obscura
and lucida in Australia, by the author, is held by the
National Gallery Library.
Parker, ed., Art and Photography: Forerunners and Influences,
Selected Essays by Heinrich Schwarz
M. Smith Inc., Peregrine Smith Books and The
Visual Studies Workshop Press, 1985). Peter Galassi in
his Before Photography:
and the Invention of Photography (New York:
Museum of Modern Art, 1981), p.30, n.2, acknowledges Schwarz's
stimulus to the exhibition of that title at
the Museum of Modern Art.
view is not exclusive to Schwarz; a number of photohistories
express similar views, e.g. Gisèle
and Society (Boston: Godine, 1980). See
also, Robert A. Sobieszek
and the Theory of Realism in the Second
Empire. A Reexamination of a Relationship', in Van Deren
ed., 100 Years
of Photographic History (Albuquerque: University
of New Mexico,
Carlyle, 'Signs of the Times', (1829) extract printed in
Christopher Harvie, Graham Martin
Industrialisation and Culture 1830-1914
(London: Macmillan for the Open University
Press, 1970), pp.21-4. English
critic John Ruskin (1819-1900) also equated photography
with the growth of despicable mechanisation in society.
See Abigail Solomon-Godeau, 'Photography and Industrialisation:
John Ruskin and the Moral Dimension of Photography',
21:2 (1983): pp. 10-13.
in Beaumont Newhall, op. cit., pp.93-4. Lady Eastlake's
long essay on photography,
which she saw as a new medium of communication,
is described by Newhall as one of the first histories
of the medium.
Newhall, op. cit., p. 112, a reprint of Baudelaire's 1859
essay from The Mirror of Art, trans]. by
(London: Phaidon, 1955).
Walter Benjamin, Illuminations, ed. Hannah Arendt; transl.
Harry Zohn, reprint (New York: FontanaCollins
Sontag, On Photography (New York: Farrar, Straus and Giroux,
Mason's The Light Fantastic (Melbourne: Penguin, 1981)
is a highly readable account of the interrelationship
and nineteenth-century research into light
electricity and magnetism.
Benjamin, op. cit., p.220, notes that 'Just as lithography
virtually implied the illustrated
so did photography
foreshadow the sound film'. Samuel F.B.
Morse (1791-1872), artist and developer of the electric
with photographic processes and was one
of the first to
introduce the daguerreotype to America.
See Helmut Gernsheim, op. cit.,
first major book, The Mechanical Bride: Folklore of Industrial
Man (New York: Vanguard Press,
the concept of a single world-city, generated
by electronic media.
The term 'global vil]age' appeared later
in his Explorations in Communication, edited with Edmund
(Boston: Beacon Press,
1960), p.xi. McLuhan describes photography
as 'the mechanisation of the perspective painting' directly
aiding the growth
of the global village by'breaking the
of nationalistic vernacular
1959 essay on the exhibition is reprinted in Irving and
Harriet A. Deer, The PopularArts:
A Critical Reader (New
York: Scribners, 1967), pp.93-6. See
also ch. 13,n.I1 for
recent criticism of the exhibition.
frontispiece of catalogue (New York: Museum of Modern Art,
Official illustrated catalogue, Exhibition of the
Works of Industry of all Nations 185 1, Reports
thejuiies, 4 vols (London:
Brothers and W. Clowes and Sons,
one of a series of etchings published in 1851 by Henry
1851: or The adventures
and Mrs Cursty
Sandboys and family...
illustration by Nadar (18201910) titled Pluie de photographes,
1855, from journal
in William Parker,
op. cit., pl.1, and Th6odore Maurisset's
lithograph La daguerriotypomanie of December 1839,
reproduced in Naomi
Rosenblum, A World
History of Photography (New York:
Abbeville, 1984), p1.8.
See Ralph Hyde, 'Mr Wyld's Monster Globe', History Today 10
(February 1970): pp. 118-23.
Quoted in Denis Botting, Humboldt and 'The Cosmos' (London:
Michael Joseph, 1973),
promotion of a
global perspective in natural history
was highly influential. Cosmos
was published in five volumes between
1845-1859 and widely read. See
also Bernard Smith, op. cit., pp. 151-7
for a discussion of Humboldt.
to supplement to the Illustrated London News, bound edition
3, July-December 1843
(published January 1844).
Quoted in Photojournalism, Life Library of Photography series
(New York: Time Inc, 1971), p.62,
Talbot, writing of his early camera pictures, described them
I very perfect but extremely small pictures; such as might
be supposed to be the work of some Lilliputian artist'.
From his 'Some account of the Art of Photogenic Drawing,
or the process by which Natural Objects may be made to delineate
without the aid of the Artist's Pencil', Athenaeum, no.589
(February 1839): p. 116.
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