A visionary space : theosophy and an alternative modernism in Australia 1890-1934

Abstract

In this thesis I argue that the Theosophical Society had a major influence on Australian visual artists during the early 20th century. The project is located within a larger wave of contemporary histories now focussing on the aberrant and discontinuous to rediscover actively forgotten pasts. The Theosophical Society supported those who were marginalised and disenchanted with the experience of modernity. It proved particularly attractive to women who as artists, activists and intellectuals drew on its conceptualisation of reality to engage with an uncertain present. The Society was especially productive for artists as it offered a radical alternative visuality in which women had a privileged role in an extended international network of like-minded individuals. Theosophical teachings proposed a reality which was more profound than that available to the physical eye. The clairvoyant leadership of the Society communicated their encyclopaedic knowledge of the invisible and this would have a significant impact on Australian artists. Equally important was the influence of Indian art, specifically an interpretation of an Indian art tradition which privileged visualisation over optical sensation. The tension between a perceived invisible reality and the visible world unites these Theosophically inspired artists who directed their practice at passing beyond appearancesbeyond the visible to truth. The practice of visualisation was deployed in combination with a variety of stylistic vocabularies. In this thesis a number of key case studies are proposed which together present a picture of Australian modernist artists as informed primary players in a movement which challenged Western reason and looked to the 'East' to revitalise its focus. Australian artists are reconceived as an active part of a larger international network in which women and their concerns are the primary point of focus.