Primal Colours
A long-neglected French expedition
retouches Australia's picture of its past
reprinted from Time Magazine by
Michael Fitzgerald
The Géographe and the Naturaliste
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On October 18, 1800, Captain
Baudin set out from Le Havre with two corvettes, the Géographe and the Naturaliste, 22 scientists, five zoologists, three artists and two
astronomers, among others. What began with grand instructions from
Napoleon to survey New Holland (Australia), Van Diemen's Land (Tasmania)
and southern New Guinea descended into a tragedy of scurvy, 40 deaths and desertions, and missed moments.
"If we had not been kept so long
picking up shells and catching butterflies in Van Diemen's Land, you would
not have discovered the South Coast before us," one of Baudin's
officers later told explorer Matthew Flinders. In March 1804, the Géographe crawled
back to Le Havre with a living cargo of 72 animals and birds, but no captain (Baudin died of tuberculosis
in Mauritius). For the French, it was an embarrassment soon forgotten.
"The French could look back on
their marvellous victories upon land," says maritime historian Frank
Horner, "but the less said about their maritime performance the
better." Baudin's name was deliberately omitted from the official
account of the voyage, written by an enemy. "As Jules Vernes said, it
was as though there was a conspiracy to say nothing about him," says
Horner, author of The French Reconnaisance: Baudin in Australia
1801-1803.
But as Terre Napoléon makes compellingly clear, Baudin
did leave an artistic legacy. After the expedition's official artists
decamped en route, it was his decision to replace them with assistant
gunners Petit and Lesueur. "It will be seen from the work of these
two young men whether my choice was good or bad," wrote Baudin in his
log.
The results were stunning—both as historical documents and as art.
Lesueur, who had providently packed "ma boite de couleurs, crayons,
etc," was among the earliest colonial artists to record an Aboriginal corroboree, while Petit's portraits of Tasmanians were the first to name
and humanise, rather than caricature, their indigenous subjects.
"They don't have the anthropological gaze," notes Hung.
"There's incredible empathy."Lesueur's images of Australian
flora and fauna are similarly lit by strong emotion. An almost
surrealistic spirit invests his flying possums and kangaroos, while his
sea creatures are flushed with phosphorescence. Often using his weekly
alcohol ration to preserve his specimens, and deploying a fine camel-hair
brush in often wild seas, Lesueur worked upon vellum images of gossamer
delicacy.
Such exquisite beauty helped
veil a darker purpose. For the French emperor, the expedition's quest for
scientific knowledge was indistinguishable from imperialism. "The true
power of the French Republic," Napoleon had declared, "Must
henceforth consist in not allowing there to be new ideas which do not
belong to it." And while the Naturaliste's Françoise Peron was busy
collecting specimens during a five-month sojourn in Sydney, the senior
zoologist was also casting his left eye (he had been blinded in the other
while in the revolutionary army) about Port Jackson, dreaming of a French
invasion he would later plan out in his memoir. Viewed in this light, his
protégé Lesueur's topographical drawings of Sydney Harbour brim with a
covetous lasciviousness.
Nearly 200 years later, the
secret visions of Petit and Lesueur are amplifying the picture of
Australia's colonial past. "It enables us to think differently about
what might have been," says Paul Carter, the exhibition's historical
advisor and author of The Road to Botany Bay, "and also to
think about how the foundations of this country have been part of a much
larger process of late 18th century European expansion. It's not just a
crude question of, What if we'd been French? It's a part of the forgotten
way of seeing this country." |