PRIME. MINISTER
CHECK AGAINST DELIVERY EMBARGOED UNTIL DELIVERY
SPEECH BY THE PRIME MINISTER
OPENING OF " OLD MASTERS NEW VISION" EXHIBITION
CANBERRA -30 SEPTEMBER 1987
Gough Whitlam,
James Mollison,
Ladies and gentlemen
The Phillips Collection in the north-west suburbs of
Washington D. C. has long been recognised as one of the
compulsory stops on any tour of the art galleries of
America. This is nothing less then a superb exhibition. So it should
be: it is drawn from one of the world's great private
collections. It stretches from El Greco to Rothko, and its breadth and
excellence is a stunning tribute to the taste and vision and
dedication of Duncan Phillips, who began assembling the
paintings more than seventy years ago.
In its early days it was, as the exhibition catalogue notes,
the first real museum of modern art in the United States.
Today it stands as a monumental and yet still highly
personal, exposition of the entire development of European
and American modernism.
By the time of his death in 1966, Duncan Phillips, assisted
by his wife Marjorie Phillips, had personally created a
comprehensive Art Museum tracing that development through
more than two thousand paintings. He had provided as well
the buildings which house the col ' lection, and an endowment
which he hoped would provide for its future.
For it now to be available for Australians to see here in
Australia is an achievement of which all those responsible
can be proud.
We are particularly indebted to James Mollison, who several
years ago first broached the subject of an Australian tour
with the custodians of the Phillips Collection in
Washington. 0015~ 2'
it is a particular pleasure to welcome tonight Mr Laughlin
Phillips, the current Director of the Collection and the son
of Duncan Phillips.-
This is the fourth major international exhibition displayed
by the Australian National Gallery, following the Chinese
Entombed Warriors Exhibition, the Great Impressionists, and,
last year, the 20th Century Masters from the Metropolitan
Museum of Art in New York.
They were all highly successful events and in response to
public demand, the Council of the Australian National
Gallery recently moved to work toward staging a major
international exhibition each year and to share this with
two other Australian cities.
I am confident " Old Masters New Visions" will prove an
equally outstanding success with the Australian public, here
in Canberra, and in Adelaide and Perth later.
As the great Australian painter, Tom Roberts, said: " By
making art the perfect expression of one time and one place,
it becomes art for all times and of all places."
There are many such " perfect expressions" in " Old Masters
New Visions" with Renoir's " Luncheon of the Boating Party"
one of the finest.
If Tom Roberts is right, the perfection of these works
ensures they are statements of equal relevance and
importance to Australians in 1987 as to the first audiences
who saw them.
It is that durable perfection which provides the basis for
my confidence in the success of " Old Masters New Visions"
Ladies and gentlemen
That the ANG has staged these four major exhibitions as
well as presenting its continuing displays provides proof,
if any were needed, that it has established itself as an
outstanding art museum with a world-wide reputation.
The work by many individuals that goes on behind the scenes
of exhibitions such as this rarely receives the praise it
deserves. So I want to express my appreciation of their efforts to
James Mollison and his staff of the Australian National
Gallery, and to their counterparts in the Art Galleries of
Western Australia and South Australia which will also host
this exhibition.
Such major exhibitions, of course, could not go ahead
without the assistance of Commonwealth indemnity. I am
pleased that the Federal Government was able this ' year to
increase the indemnity ceiling to $ 250 million. 00jL-2~
3.
But the support of a considerable number of private
individuals and organisations is required as well if
exhibitions of this nature are to be staged.
Merrill Lynch, as the world sponsor of the tour, deserves
our special thanks. A number o ' f other companies including
QANTAS, Australian Airlines and Capital Seven TV have also
provided valuable support.
Increasingly, private sponsors are being involved in
Australia in the acquisition and display of art work for the
benefit of the whole community. As art prices rise, this
sponsorship will become more necessary.
The Australian National Gallqxy's own Foundation in the
United States has proved very successful in the few years
since it was established.
At dinner this evening the Gallery will be launching a new
Foundation to act as a fundraiser within Australia for
corporate and private support of its activities.
I commend this initiative and trust it will receive the
support of a wide cross-section of the Australian community.
In opening " Old masters New Visions" it is essential to
remember with gratitude the generosity, philanthropy and
taste with which Duncan Phillips assembled his collection
and opened it to the public.
Equally we should hope that we will see Australian art
patrons increasingly display those same attributes in their
support of art, and art galleries, in this country. 011G