The Margaret Preston retrospective at the National Gallery of Victoria is a revelation

The National Gallery of Victoria's Margaret Preston retrospective is an unprecedented exhibition that presents the renowned artist in a fresh and complex light. This exhibit goes far beyond Preston's earlier work, offering new insights into her life, relationships, and artistic evolution. The show includes over 200 works, ranging from Preston's early still life paintings from the beginning of the 20th century to her stunning hand-coloured woodcuts.

Visitors will encounter Preston's iconic 'Wheelflower' print of 1929 alongside the actual woodblock used to create it. The display juxtaposes her adaptations of First Nations art with the original sources of inspiration, providing a deeper understanding of her creative process and the cultural context in which she worked.

Born as Margaret Rose McPherson in Adelaide in 1875, Preston initially trained in Sydney and later at the National Gallery School in Melbourne. She embarked on extensive travels across Europe, mainly in Germany, France, and England, accompanied by her romantic partners Bessie Gibson and Gladys Reynell. Her career took a significant turn in 1919 when Preston, at 44 years old, falsified her age to marry Lieutenant William George Preston, a successful businessman nine years her senior.

This union helped her achieve social respectability and launched her new career with a grand publicity campaign.

Settling in Mosman, Sydney, Preston became a close friend of publisher Sydney Ure Smith and rose to prominence as one of the most articulate and outspoken female artists of her time. She wrote numerous articles, gave lectures, and participated in interviews. After her marriage, Preston traveled widely throughout Asia and the Pacific, the Middle East, and Europe, continuing her commitment to art and exploration.

Despite her advocacy for First Nations art, her approach was influenced by cultural imperialism, viewing Indigenous art as elements to incorporate into a "civilized" Australian national art. However, Preston's ideas evolved over time, as she gained a deeper understanding of First Nations art through her travels and observations of rock art and community practices.