Histories of settler colonial art galleries have tended to present these institutions as distant attempts to replicate British models. This essay argues that settler/Indigenous interactions, and the violent dispossession of Indigenous peoples, were fundamental to the formation of settler colonial art galleries, through a case study of the 1880s acquisition and reception of Danish painter A. F. A. Schenck's Anguish (1878) at the National Gallery of Victoria (NGV) in Melbourne, on unceded land of the Kulin nation. Examining the career of the NGV's London art adviser, Alfred Taddy Thomson, from the violence of the colonial frontier in the 1840s, to his art advising practice in late nineteenth-century London, it demonstrates the ways in which frontier violence permeated the formation of British settler colonial cultural institutions. The acquisition and reception of Anguish provides a stimulus to rethink approaches to histories of settler colonial art galleries, and to European paintings in their collections.

中文翻译：

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土著剥夺和定居者殖民艺术画廊：维多利亚国家美术馆的痛苦

定居者殖民地艺术画廊的历史倾向于将这些机构呈现为远距离复制英国模式的尝试。本文通过对 1880 年代丹麦画家AFA Schenck 的《痛苦》的收购和接受的案例研究，认为定居者/土著互动以及对土著人民的暴力剥夺是定居者殖民艺术画廊形成的基础（1878 年）在墨尔本的维多利亚国家美术馆 (NGV)，在 Kulin 民族未割让的土地上。审视 NGV 伦敦艺术顾问阿尔弗雷德·泰迪·汤姆森 (Alfred Taddy Thomson) 的职业生涯，从 1840 年代殖民边境的暴力，到他在 19 世纪晚期伦敦的艺术咨询实践，它展示了边境暴力如何渗透到英国人的形成中定居者殖民地文化机构。Anguish的获得和接受刺激了人们重新思考殖民地艺术画廊的历史及其收藏中的欧洲绘画的方法。