Sarah Thomas
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The art of travel in the name of science
Mobility and erasure in the art of Flinders’s Australian voyage, 1801– 3
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This chapter explores the salience of mobility to an understanding of visual culture in the colonial period, focusing in particular on the works of art produced on board Matthew Flinders's inaugural circumnavigation of Australia between 1801 and 1803: by British landscape painter William Westall (1781–1850) and Austrian botanical artist Ferdinand Bauer (1760–1826). Mobility was a strategic advantage for such artists in providing new material to record both for Enlightenment science and a broader European public; yet it also presented an array of logistical, aesthetic and philosophical challenges. During and following the voyage an enormous number of pencil sketches, and subsequent watercolours, prints and oil paintings were produced to assist with the mapping and classifying missions of the voyage. Mobility, of course, was at the heart of this endeavour, and had at least since the Renaissance been equated with the pursuit of knowledge. Yet what I argue here is that in many senses mobility was utterly at odds not only with the practicalities of producing works of art under such trying circumstances, but more significantly, with the scientific demands made of the voyager artist; namely, precision and immutability.

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