Australian Academy of Art

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The Australian Academy of Art was a government-backed, conservative art group in Australia that ran from 1937 to 1946 and held annual exhibitions. It stood for traditional, realist drawing and painting and faced strong opposition from Modernist artists, especially those in the Contemporary Art Society. Although the academy’s influence lasted into the 1960s, its bold anti-modernist stance defined much of its short life.

Background
Before a national body existed, Australian art was promoted mainly by state groups. Attempts to create a federal academy drew on the idea of established European academies like Britain’s Royal Academy. Attorney-General (and later Prime Minister) Robert Menzies supported a national academy that would be understood by ordinary Australians and based on solid craftsmanship. He argued that beauty in art should be accessible, while allowing different schools of thought that met professional standards.

Formation and purpose
On 19 June 1937 in Canberra, Menzies and other artists formed the Australian Academy of Art, with Menzies as its first chair. Unlike teaching institutions, the academy held annual salons by invitation and aimed to be a national reference for art and a government advisor on art matters. It hoped to coordinate Australian art across the country and to operate in a federal spirit similar to Canada’s Royal Chartered academy.

Anti-modernist stance
The academy excluded most modernist work, preferring traditional figurative and realist painting. Early members included well-known Australian painters, and the first exhibition showcased work by artists such as Hans Heysen, William Dargie, John Longstaff, Elioth Gruner, and Charles Mere. The aim was to promote “competent craftsmanship” and national artistic standards, while newer, experimental styles were left out.

Royal Charter and opposition
The academy never received a Royal Charter, facing opposition from the Contemporary Art Society and other modernist groups. This struggle helped define the clash between nationalist, traditional art and modernist tendencies in Australia.

Exhibitions and controversy
- 1938 Sydney: The first exhibition opened in April, with a large list of foundation members and a formal selection committee.
- 1939 Melbourne: The second show took place at the National Gallery of Victoria, drawing participants from across states.
- 1940s: Exhibitions continued in Sydney and Melbourne throughout the war years, though participation was limited by the conflict. The northern and southern divisions of the country sometimes meant some states did not participate in certain years.
- 1945–1946: The seventh and eighth annual exhibitions drew attention from critics; some praised individual works, while others noted that the academy’s conservative bias could limit innovation.
- 1946: A private viewing at Government House in Canberra occurred during a royal visit, and the government supported war-art projects that involved academy members.

Aftermath and legacy
The controversy over art direction spilled into politics. Doc Evatt, leading the Labor opposition in the 1950s, supported modernists, contrasting with Menzies’ conservative influence. The debate over what Australian art should represent continued to shape policy, including decisions about official exhibitions abroad. In 1958, disputes over Australia’s representation at the Venice Biennale highlighted these tensions, contributing to a long period when Australia did not participate in Venice (1960–1978). The academy’s bright line between nationalism in art and international modernism shaped Australian cultural debates for years, even after its formal close in the mid-1940s.