Australian dependence that the directors, trustees and selectors relied on art dealers to provide information about the authenticity, quality and value of what was for sale. He stresses that the Australian galleries did not necessarily accept the views of dealers as to the artistic worth of particular work, nor that the prices set by dealers could not be bargained down. Still, Potter could have saidmore about how dealers as the main buyers at auctions would adopt bidding strategies to push up or stabilise prices, often combined with inducements to brokers, consultants and experts to influence the representatives of galleries to buy artists for whom the dealers acted. According to Potter, even though their London advisors and agents made recommendations, it was still up to the trustees and their selection committees to approve acquisitions. Whilst this meant that the responsibility for the failures of the London advisors and agents had to be shared and measured against their successes, in the 1940s some Australian national gallery directors started to react against the purchase of mediocre British art and suggested a shift towards emerging modernist Australian, European and American artists. However, most directors, trustees and selectors doubted the merits of modernism, which they claimed was beyond the imaginative reach of the general public, so that their London advisors and agents were still required to focus on conventional British genre pictures.

中文翻译：

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统治土著：澳大利亚北部的间接统治和定居者殖民主义

澳大利亚依赖董事、受托人和选择人依赖艺术品经销商提供有关待售物品的真实性、质量和价值的信息。他强调，澳大利亚画廊不一定接受经销商对特定作品的艺术价值的看法，也不一定能讨价还价。尽管如此，Potter 还可以说更多关于作为拍卖主要买家的经销商将如何采用投标策略来推高或稳定价格，通常与对经纪人、顾问和专家的诱导相结合，以影响画廊代表购买经销商所代表的艺术家. 根据波特的说法，尽管他们的伦敦顾问和代理人提出了建议，但仍由受托人和他们的遴选委员会来批准收购。虽然这意味着必须分担伦敦顾问和代理人失败的责任，并根据他们的成功来衡量，但在 1940 年代，一些澳大利亚国家美术馆的馆长开始反对购买平庸的英国艺术品，并建议转向新兴的现代主义艺术。澳大利亚、欧洲和美国艺术家。然而，大多数导演、受托人和选择者对现代主义的价值表示怀疑，他们声称现代主义超出了公众的想象范围，因此他们的伦敦顾问和代理人仍然需要专注于传统的英国类型电影。1940 年代，一些澳大利亚国家美术馆的馆长开始反对购买平庸的英国艺术品，并建议转向新兴的现代主义澳大利亚、欧洲和美国艺术家。然而，大多数导演、受托人和选择者对现代主义的价值表示怀疑，他们声称现代主义超出了公众的想象范围，因此他们的伦敦顾问和代理人仍然需要专注于传统的英国类型电影。1940 年代，一些澳大利亚国家美术馆的馆长开始反对购买平庸的英国艺术品，并建议转向新兴的现代主义澳大利亚、欧洲和美国艺术家。然而，大多数导演、受托人和选择者对现代主义的价值表示怀疑，他们声称现代主义超出了公众的想象范围，因此他们的伦敦顾问和代理人仍然需要专注于传统的英国类型电影。