Abstract

European Vision and the South Pacific, first published in 1960, is the most acclaimed of all Bernard Smith’s many texts on art history and cultural theory. In conjunction with its 1992 companion-piece, Imagining the Pacific, and supported by collations of art and cartography from Cook’s and other voyages, this work also established his reputation as a major presence in Pacific-centred research. Likewise, the ongoing influence of European Vision and the South Pacific has seen Smith claimed as a foundational figure in post-colonial scholarship, as one who ‘anticipated’ aspects of Edward Said’s late-1970s analysis of orientalism. But while there are important parallels and overlaps in the thinking of this pair, their differences and divergences are at least as significant. Above all, Smith’s Pacific-centred writings need to be understood as the unique intellectual achievements they undeniably are