Gloria PetyarreMountain Devil Lizard1994
1994
About the Item
- Creator:Gloria Petyarre (1945, Aboriginal Australian)
- Creation Year:1994
- Dimensions:Height: 50.79 in (129 cm)Width: 38.19 in (97 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Miami, FL
- Reference Number:1stDibs: LU13612460142
Gloria Petyarre
Gloria Petyarre was born in Utopia in 1942. Her language is Anmatyarre and her country is Atnangkere. Petyarre lives in Mulga Bore at Utopia and is one of the seven sisters who are all artists. Like many women artists in Utopia, Petyarre first gained recognition as an artist working with Batik and in 1988 she began painting on canvas. Petyarre’s work is based on the body paint designs, which include Mountain Devil, Bush Medicine and Awelye. Her earlier works clearly showed the designs painted across the women’s breasts and shoulders. Petyarre has been well exhibited and collected throughout The United Kingdom, United States of Australia, Singapore, Japan, Australia, New Zealand, Austria and France.
- ShippingRetrieving quote...Ships From: Pont Aven, France
- Return PolicyA return for this item may be initiated within 14 days of delivery.
- Agnangkere GrowthBy Gloria PetyarreLocated in Miami, FLGloria Petyarre, sometimes referred to as Gloria Pitjara, was one of Australia s most successful and significant female artists. Her depiction of the Kurrajong bush medicine leaves-with her layered, free-flowing, swirling brushstrokes that scatter across the canvas-became her iconic motif. Her career took off when she won the coveted 'Wynne Prize for Landscape' at the New South Wales Gallery in 1999. It was a triumph for Aboriginal art. Gloria became the first Indigenous Australian artist ever to win a major art prize at the Gallery of New South Wales. The painting was an extraordinary new artistic statement, quite unlike any other Aboriginal artwork at that time. A huge, gold and green abstract work, it was made up of swirling leaf shaped brush strokes positioned close together on a black background. It brilliantly captured the energy and flow of leaves being scattered by a fitful wind, seaweed swirling in a change of tide, or grass billowing in the wind. So much did this artwork fascinate the essentially nature-loving people of this country, that it was to become one of the most popular styles in Aboriginal art, bringing many a devotee to the genre because of its resonance with the viewer. Gloria continued to paint this style for the next 20 years until her retirement in 2019 due to health issues. During that time and subsequently, the style has been adopted and adapted by several generations of her family members. However, Gloria was and is credited with being the creator of this popular style and its most collectable proponent. Gloria's origins are in a region called Utopia, covering an area approximately 230 - 300km from Alice Springs, itself a remote town to many people. Many of Australia's foremost Indigenous artists spring from this area, including Gloria's renowned aunt, Emily Kame Kngwarreye, deceased since 1996, and the most famous and accomplished female Indigenous Artist Australia has produced. Gloria, her family members and her skin family, first became interested in art making by participating in the Utopia Women's Silk Batik Group introduced in 1977 and initiated by CAAMA (the Central Australian Aboriginal Media Association). Both Gloria and Emily were founding members of the group. With up to 80 members at a time, the Batik and Tie-die project became the seeding inspiration for the artists, and its tremendous success both in Australia and overseas led to another successful project introduced in 1988, again by CAAMA. This time, the artists were to paint on primed, stretched canvas, and many of the women took to the new medium with ease and enthusiasm, finding it more exciting to work with than the silk and batik techniques they had hitherto used. The resulting works were exhibited at the S.H.Erwin Gallery in Sydney and several other notable galleries across Australia. It was the beginning of the Utopian Art Movement, and it was impressive enough to gain international attention. Gloria was one of the artists at the very centre of it. As demand for Utopian art grew, so did Gloria's career. She travelled with her art to many countries and exhibited in France, Germany, the United Kingdom, Belgium, the Netherlands, Italy, the USA and Japan, and of course in regional and commercial galleries throughout Australia. It would be easy to think that Gloria's works were limited to bush medicine leaves works, so popular were they. In fact she had quite a number of Dreamings in her portfolio. She painted the 'Thorny Mountain Devil Lizard Dreaming', a pattern of swirling coloured lines which imitate the tracks made in the sand by the lizard's tail. Yam Dreaming, popularly executed by her aunt Emily, was also one of her commonly painted stories. She also painted Grass Seed, Pencil Yam, Emu, Bean, Small Brown Grass and Body Paint Dreamings. This breadth of subject matter and style has made her an extremely versatile artist. Later in her career, Gloria began to paint massive 'Big Leaf' paintings, expressionistically rendered with giant brush...Category
1990s Contemporary Abstract Paintings
MaterialsCanvas, Acrylic
- Agnangkere GrowthBy Gloria PetyarreLocated in Miami, FLGloria Petyarre, sometimes referred to as Gloria Pitjara, was one of Australia s most successful and significant female artists. Her depiction of the Kurrajong bush medicine leaves-with her layered, free-flowing, swirling brushstrokes that scatter across the canvas-became her iconic motif. Her career took off when she won the coveted 'Wynne Prize for Landscape' at the New South Wales Gallery in 1999. It was a triumph for Aboriginal art. Gloria became the first Indigenous Australian artist ever to win a major art prize at the Gallery of New South Wales. The painting was an extraordinary new artistic statement, quite unlike any other Aboriginal artwork at that time. A huge, gold and green abstract work, it was made up of swirling leaf shaped brush strokes positioned close together on a black background. It brilliantly captured the energy and flow of leaves being scattered by a fitful wind, seaweed swirling in a change of tide, or grass billowing in the wind. So much did this artwork fascinate the essentially nature-loving people of this country, that it was to become one of the most popular styles in Aboriginal art, bringing many a devotee to the genre because of its resonance with the viewer. Gloria continued to paint this style for the next 20 years until her retirement in 2019 due to health issues. During that time and subsequently, the style has been adopted and adapted by several generations of her family members. However, Gloria was and is credited with being the creator of this popular style and its most collectable proponent. Gloria's origins are in a region called Utopia, covering an area approximately 230 - 300km from Alice Springs, itself a remote town to many people. Many of Australia's foremost Indigenous artists spring from this area, including Gloria's renowned aunt, Emily Kame Kngwarreye, deceased since 1996, and the most famous and accomplished female Indigenous Artist Australia has produced. Gloria, her family members and her skin family, first became interested in art making by participating in the Utopia Women's Silk Batik Group introduced in 1977 and initiated by CAAMA (the Central Australian Aboriginal Media Association). Both Gloria and Emily were founding members of the group. With up to 80 members at a time, the Batik and Tie-die project became the seeding inspiration for the artists, and its tremendous success both in Australia and overseas led to another successful project introduced in 1988, again by CAAMA. This time, the artists were to paint on primed, stretched canvas, and many of the women took to the new medium with ease and enthusiasm, finding it more exciting to work with than the silk and batik techniques they had hitherto used. The resulting works were exhibited at the S.H.Erwin Gallery in Sydney and several other notable galleries across Australia. It was the beginning of the Utopian Art Movement, and it was impressive enough to gain international attention. Gloria was one of the artists at the very centre of it. As demand for Utopian art grew, so did Gloria's career. She travelled with her art to many countries and exhibited in France, Germany, the United Kingdom, Belgium, the Netherlands, Italy, the USA and Japan, and of course in regional and commercial galleries throughout Australia. It would be easy to think that Gloria's works were limited to bush medicine leaves works, so popular were they. In fact she had quite a number of Dreamings in her portfolio. She painted the 'Thorny Mountain Devil Lizard Dreaming', a pattern of swirling coloured lines which imitate the tracks made in the sand by the lizard's tail. Yam Dreaming, popularly executed by her aunt Emily, was also one of her commonly painted stories. She also painted Grass Seed, Pencil Yam, Emu, Bean, Small Brown Grass and Body Paint Dreamings. This breadth of subject matter and style has made her an extremely versatile artist. Later in her career, Gloria began to paint massive 'Big Leaf' paintings, expressionistically rendered with giant brush...Category
1990s Contemporary Abstract Paintings
MaterialsCanvas, Acrylic
- Song CyclesLocated in Miami, FLSince he began painting in 1997, Walala Tjapaltjarri has gained worldwide recognition, participating in several national and international solo and group exhibitions. His paintings are represented in private and public collections in Australia, Europe and the U.S.A. Walala Tjapaltjarri was first introduced to painting by his brother Warlimpirrnga, also a painter of international acclaim. While Walala's first paintings were in a classical Tingari style usually reserved for body painting, ground painting and the decoration of traditional artifacts, within a couple of months of painting he evolved his own innovative style of work. He began abstracting the classical Pintupi designs, creating a highly graphic language to speak of his country and ceremonial sites. The rectangles so prominent in his paintings form both a physical and spiritual map establishing Walala as a discerning draughtsman for his ancient country. In was in late 1984, Walala and several other members of the Pintupi Tribe walked out of the remote wilderness of the Gibson Desert in Western Australia and made contact for the first time with European society. Described as 'The Lost Tribe', he and his family created international headlines. Until that day in 1984, Walala and his family lived the traditional and nomadic life of a hunter-gatherer society. Their intimate knowledge of the land, its flora and fauna and waterholes allowed them to survive, as their ancestors had for thousands of years. It is this sacred landscape with its significant sites that Walala so strikingly describes in his paintings. His style is strongly gestural and boldly graphic, one that is generally highlighted by a series of rectangles set against a monochrome background. He paints the Tingari Cycle (a series of sacred and secret mythological song cycles) which are associated with the artist's many dreaming sites - they are Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These Dreamings are the locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. Walala Tjapaltjarri - Tingari Cycle; During the Tjukurrpa (Creation Era) Tingari ancestors beings gathered at a series of sites for Malliera (Initiation) Ceremonies. They traveled vast stretches of the country, performing rituals at specific sites that in turn created the diverse natural features of the environment. The Tingari men were accompanied by novices and usually followed by Tingari Women. The creation stories and rituals are venerated in the song cycles and ceremonies of today, forming part of the teachings of the post initiatory youths, whilst also providing explanations for contemporary customs. Walala Tjapaltjarri uses a highly personalised and minimal style to represent aspects of the sacred Tingari Cycle, an epic journey of Ancestors of the TJukurrpa (Creation Era). He paints aspects of the Tingari Cycle which are associated with the artist's many sacred sites - such as Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These are locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. Selected Solo Exhibitions: 2019 Walala Tjapaltjarri Self-portrait, Fondation Opale, Lens, Switzerland 2001 Tingari Cycle - Walala Tjapaltjarri, FireWorks Gallery, Brisbane 1999 Tingari Cycle - Walala Tjapaltjarri, FireWorks Gallery, Brisbane 1998 Tingari - Men's Business, Coo-ee Gallery, Sydney 1998 Walala Tjapaltjarri Paintings, Vivien Anderson Gallery, Melbourne 1998 Tingari Cycle - Walala Tjapaltjarri, Fire-Works Gallery, Brisbane Selected Group Exhibitions: 2021 50 Years of Papunya Tula Artists, Kate Owen Gallery, Sydney 2020 Central Focus, Art Mob, Hobart 2019 An Exhibition on TJAPALTJARRI Brothers from the Indigenous Lost Tribe, Mandel Aboriginal Art Gallery, Melbourne 2019 Defining Tradition the colourists, Kate Owen Gallery, Sydney 2019 Defining Tradition: the first wave & its disciples, Kate Owen Gallery, Sydney 2019 Sculpture Projects, FireWorks Gallery, Brisbane 2019 Pintupi Artists of the Western Desert, Japingka Gallery, Fremantle, WA 2018 Three Brothers, Kate Owen Gallery, Sydney 2010 Lost Tribe, Kate Owen Gallery, Sydney 2000-01 The Art of Place Exhibition, Australian Heritage Commission, National Tour 2000 Walala Tjapaltjarri and Dr George Tjapaltjarri, Cooee Aboriginal Art Gallery, Sydney 2000 Songlines: Walala Tjapaltjarri & Dorothy Napangardi , Rebecca Hossack Gallery, London 2000 My Country - Journeys of our Ancestors, Ancient Earth Indigenous Art, Cairns 2000 Lines, FireWorks Gallery, Brisbane 2000 Landmarks Exhibition, Dar Festival, Brisbane Powerhouse, Brisbane 2000 Fifth National Indigenous Heritage Art Award, Australian Heritage Commission, Canberra 2000 Melbourne ArtFair 2000, Melbourne 1999 Tingari Cycle, FireWorks Gallery, Brisbane 1999 Spirit Country, The California Palace of the Legion of Honour, San Francisco, U.S.A. 1999 Recent Works by Walala Tjapaltjarri and Warlimpirrnga Tjapaltjarri...Category
2010s Contemporary Abstract Paintings
MaterialsCanvas, Acrylic
- LeafLocated in Miami, FLAbie Loy is the eldest of five children, and was born on Utopia station, about 270km north east of Alice Springs in the Northern Terrirtory. Abie definitely has painting in her blood: being the daughter of Margaret Loy Pula (who won the Wynne Prize in 2012) and Ray Loy Pula. Her aunt is the celebrated artist, Gloria Petyarre and her Grandmother is the equally respected senior woman artist, Kathleen Petyarre. A very innovative mid-career artist, she began painting at the age of 19. She was mentored by her grandmother Kathleen Petyarre, who taught her the methodology of using details and tiny shimmering dotting to create complex optical effects. Over the years, Abie further developed her skills as an artist to become an extraordinarily talented colourist and designer, experimenting with elements of line, colour and form. Abie is a custodian of the Bush Hen Dreaming which she inherited from her Grandfather. At the simplest level, her Bush Hen Paintings...Category
2010s Contemporary Abstract Paintings
MaterialsCanvas, Linen, Acrylic
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2010s Contemporary Abstract Paintings
MaterialsCanvas, Linen, Acrylic
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2010s Contemporary Abstract Paintings
MaterialsCotton Canvas, Acrylic
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MaterialsCanvas, Oil, Acrylic
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