维多利亚国家美术馆正在展出玛格丽特·普雷斯顿的大型回顾展，汇集超过200件作品，全面呈现这位澳大利亚艺术家从20世纪初静物画到手工彩色木刻版画的艺术历程1。展览通过呈现普雷斯顿与学生兼情人贝西·吉布森和格拉迪丝·雷诺尔德的关系，以及她对第一民族艺术的热情和改编，刻画了一个比以往更加复杂和细致的艺术家形象1。此次展览将持续至2027年1月31日1。
普雷斯顿1875年生于阿德莱德，1963年去世1。她于1919年12月31日与威廉·乔治·普雷斯顿中尉结婚，婚礼中谎报年龄减少了8岁1。其标志性作品《轮花》创作于1929年1，后期重要作品包括1951年的《基督将水变成酒》和1953年的《白桉树》1。普雷斯顿对第一民族艺术的态度复杂，她在1924年声称"澳大利亚土著人追随了野蛮人特有的抽象设计特征"，但到了1925年又表示"我已去除自己国家以外的习惯性手法"1。
The National Gallery of Victoria is presenting a major retrospective of Margaret Preston's work, featuring over 200 pieces that span her artistic career from early twentieth-century still life paintings to hand-colored woodblock prints.1 The exhibition, which runs through January 31, 2027, provides a more nuanced and complex portrait of the artist than previously presented.1
The retrospective explores Preston's relationships with her students and partners Bessie Gibson and Gladys Reynolds, alongside her engagement with and adaptation of First Nations art.1 Preston, who was born in Adelaide in 1875 and died in 1963, married Lieutenant William George Preston on December 31, 1919, falsifying her age by reducing it by eight years on the marriage certificate.1 Her artistic output included iconic works such as "Wheel Flower" created in 1929, and later pieces including "Christ Turning Water into Wine" from 1951 and "White Eucalyptus" from 1953.1
The exhibition also contextualizes Preston's controversial relationship with Indigenous Australian art, including her 1924 statement that "Australian Aboriginal people followed abstract design characteristics peculiar to savages," and her 1925 assertion that she had "removed habitual methods from outside my own country."1
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