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The first issue of The Salon in 1912 contained a foreword by the President of the Institute of Architects of New South Wales, G. Sydney Jones, who declared that The Salon 'will not be a technical journal only ... The chief object the promoters have in view is to foster the interest of cultured readers, and to encourage and assist those who desire to increase their knowledge in the fine arts ... The illustrations, except in a few instances, will be the work of Australian artists. The Salon will be in the best sense an Australian art journal.'
In pursuit of that broad aim, the first issue began a four-part essay by Fred J. Bloomfield on 'The Modern Tendency of Art'. Vol.2, no.3 (Oct 1913) featured the work of painter E. Phillips Fox, and the following issue that of Norman Carter (q.v.). Its view of the Cubist and Futurist movements was savage: 'Their pictures are puerile, their sculpture repulsive, their literature ridiculous'. It covered the work of the Royal Art Society, the Society of Artists, and Women Painters. After July 1914, when The Salon became the official organ of the Australian Institute of Architects and Engineers, it declared its purpose more explicitly to serve the two professions, but it still maintained its coverage of the plastic arts. As well as general discussion of town planning and garden cities, there was extensive coverage of the design of the Federal Capital and Federal Parliament House and of the Greater Sydney redevelopment, including a four-part essay by J. J. C. Bradfield on 'Linking Sydney with North Sydney'. International as well as local buildings and exhibitions were examined in detail, and the destruction of historic buildings in Europe was denounced as German vandalism. Special state sections, sub-edited by local Institutes of Architects, were progressively added.
Notes
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Research into the history of this periodical was supported through the Nancy Keesing Fellowship at the State Library of New South Wales and undertaken by Dr Jill Julius Matthews during 2005-06.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Related Works
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Art and Architecture : The Journal of the Institute of Architects of New South Wales
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From Vol.2 (1905), the Journal of the Institute of Architects of New South Wales adopted a new title that entrenched its emphasis on art as well as architecture. The first number contained articles by leading fine artists Sid Long (q.v.) and Julian Ashton (q.v.), and black-and-white artists George Taylor (q.v.) and D. H. Souter (q.v.). It discussed Maori art, new pictures at the National Gallery of NSW, Royal Academy schools, bookplates, hoarding posters, tapestry, pottery, wall decorations, sgraffito, and ancient Egyptian art, and made an assessment of gas versus electricity. It continued the series on Sydney domestic architecture, and began a new series of well-illustrated biographical sketches of a considerable number of Australian architects and artists. Over the next six years, it ran numerous articles on the ideal Australian house, apartment houses, the model suburb, town planning, interior decoration, furniture, and artistic dress. It reviewed exhibitions of women's craftwork, and reproduced contemporary paintings and photographs. The new editorial team of Nicholas Shiels and D. H. Souter declared in their first issue (Vol.6, no.1, 1910) that the magazine was 'published chiefly for the use of the cultured reader, and in the interests of those who are willing to be influenced by whatever is best in the various arts'. From 1911, it showed increasing interest in the design of the Federal Capital.
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Architecture : An Australasian Review of Architecture and the Allied Arts and Sciences
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What began in 1904 as the Journal of the Institute of Architects of New South Wales had become by 1916 the official journal of all the state Institutes of Architects across Australia. A new journal with a new name was required. In the inaugural issue of Architecture, the editor declared its purpose to be that of making architects into 'an articulate force in the body national'. Initially, there was little difference in tone, style, or policy from the earlier titles. The journal was nationalistic, seeking to foster 'a distinctive Australian National style of Architecture' and to encourage the use of Australian building materials. But its nationalism, while patriotic, was not insular, and it looked both abroad and to the European past for inspiration. It was concerned with obliterating slums and 'jerry buildings' and improving the health of the people. It held to the ideals of 'Beauty, Health and Utility', and sought 'to interest Public and Governments in the Home Beautiful, the Civic Palace Splendid, and the City Magnificent'. From their mutual inception, it championed the new Department of Architecture at Sydney University. It condemned the spread of private boarding houses as leading not only to urban congestion but also to the creation of 'a type of married woman that is one of our national calamities ... an idler of the worst type'; it supported instead American-style flats where women would be workers, albeit with the aid of every modern convenience. It contained reviews of art and photography exhibitions and occasional poems.
