It has often been observed with pride and puzzlement that women artists were the leaders in introducing and promoting European modernism in the visual arts in between-the-wars Australia. Analysis has focused on the why of this, with attributions ranging from the loss of a generation of male artists in World War 1 to the impact of first-wave feminism, rather than on the how. We know about some of the gendered ways in which prominent modernist artists Margaret Preston and Thea Proctor led as artist-innovators through women’s crafts and women’s fashion and design, respectively. We know relatively little about how they, and other women, may have adopted similarly gendered pathways to promote modernism in less-conspicuous roles as curators, collectors, educators and fundraisers. We argue that the private, not-for-profit funding body, the Carnegie Corporation of New York, is a useful vehicle for uncovering this second layer of modernist women’s leadership in Australia because of its central concerns, which included developing the fine arts specifically as an educational tool and identifying leaders in the field. Through Carnegie, key women gained access to positions of influence. Carnegie’s fostering of the fine arts in Australia is itself under-investigated, and the story of this interwoven with women’s leadership of modernism in Australia has not previously been told. The Corporation began investing in incentives for Australia to ‘look to America’ for cultural leadership, rather than to Great Britain, under Corporation President Frederick P. Keppel (1923–1941, Figure 1) Keppel identified the fine arts as one of his three main priorities, along with library services and adult education, in the US and in the British colonies and dominions (Canada, Australia, New Zealand and South Africa). In the peak years of 1935 to 1945 the Corporation pumped money and resources into the Australian arts sector, speeding its recovery from the Great Depression. Its goals were the modernisation and internationalisation of Australian museums and galleries, to be achieved mainly via the introduction of educational programs; to support modernism in contemporary art through international exchange, and to reinvigorate leadership in the fine arts in Australia through its prestigious travel grants program. Our question is to what extent did

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1930 年代和 1940 年代澳大利亚艺术中女性现代主义者的性别领导力

人们常常自豪和困惑地观察到，女性艺术家是在两次世界大战之间的澳大利亚在视觉艺术中引入和促进欧洲现代主义的领导者。分析集中在为什么会这样，归因范围从第一次世界大战中失去一代男性艺术家到第一波女权主义的影响，而不是如何。我们了解着名现代主义艺术家玛格丽特普雷斯顿和西娅普罗克特作为艺术家创新者分别通过女性手工艺和女性时尚与设计领导的一些性别化方式。我们对她们和其他女性如何采取类似性别的途径来促进现代主义的方式知之甚少，他们作为策展人、收藏家、教育家和筹款人的角色并不那么显眼。我们认为，私人的、非营利的资助机构，纽约卡内基公司是揭示澳大利亚现代主义女性领导力的第二层的有用工具，因为它的核心关注点包括将美术专门发展为教育工具并确定该领域的领导者。通过卡内基，关键女性获得了有影响力的职位。卡内基在澳大利亚对美术的培养本身就没有得到充分的调查，而且这种与澳大利亚现代主义女性领导力交织在一起的故事以前也没有被讲述过。在公司总裁 Frederick P. Keppel（1923-1941，图 1）的领导下，公司开始投资激励澳大利亚“向美国寻求文化领导力”，而不是向英国寻求帮助。优先事项，以及图书馆服务和成人教育，在美国和英国的殖民地和领地（加拿大、澳大利亚、新西兰和南非）。在 1935 年至 1945 年的鼎盛时期，该公司向澳大利亚艺术部门注入了资金和资源，加速了其从大萧条中的复苏。其目标是澳大利亚博物馆和画廊的现代化和国际化，主要通过引入教育项目来实现；通过国际交流支持当代艺术的现代主义，并通过其著名的旅行资助计划重振澳大利亚美术界的领导地位。我们的问题是在多大程度上 在 1935 年至 1945 年的鼎盛时期，该公司向澳大利亚艺术部门注入了资金和资源，加速了其从大萧条中的复苏。其目标是澳大利亚博物馆和画廊的现代化和国际化，主要通过引入教育项目来实现；通过国际交流支持当代艺术的现代主义，并通过其著名的旅行资助计划重振澳大利亚美术界的领导地位。我们的问题是在多大程度上 在 1935 年至 1945 年的鼎盛时期，该公司向澳大利亚艺术部门注入了资金和资源，加速了其从大萧条中的复苏。其目标是澳大利亚博物馆和画廊的现代化和国际化，主要通过引入教育项目来实现；通过国际交流支持当代艺术的现代主义，并通过其著名的旅行资助计划重振澳大利亚美术界的领导地位。我们的问题是在多大程度上 通过国际交流支持当代艺术的现代主义，并通过其著名的旅行资助计划重振澳大利亚美术界的领导地位。我们的问题是在多大程度上 通过国际交流支持当代艺术的现代主义，并通过其著名的旅行资助计划重振澳大利亚美术界的领导地位。我们的问题是在多大程度上