Beschreibung:

ALBERT NAMATJIRA (1902-1959) Central Australian Landscape watercolour on paper signed lower right: ALBERT NAMATJIRA 26 x 36.5cm PROVENANCE: Acquired by the vendor's father c.1940s whilst stationed in Alice Springs as a soldier during WWII Private collection, Melbourne Thence by descent Leonard Joel, Melbourne, 24 March 2015, Private collection, Melbourne OTHER NOTES: The artworks of Albert Namatjira express his relationship with his country through the delicate medium of watercolour. Ghost gums with glowing white trunks, gorges and mountain ranges are all the classic subjects of the Hermannsburg school and Albert was the artist who mastered the European style of watercolour painting whilst maintaining the sacred stories of his culture. Artists and friends, Rex Battarbee and John Gardner first visited the Hermannsburg Mission in 1932, but it was not until their second visit in December 1934 that they would first meet Albert. Across several visits, Namatjira showed Battarbee sacred areas of the land and in return Battarbee taught Namatjira the medium of watercolour with his natural talents quickly showing through. Albert would paint sitting cross-legged on the ground, supporting the back of the board with his left hand while painting with his right. Battarbee remarked that "…within a fortnight [Albert] had advanced to watercolours and completed his first painting on his own, and then I realised that this man had arrived in the art world." (1) Central Australian Landscape is a superior example of Albert Namatjira's archetypal representation of the Australian landscape. The ghost gum is a symbol of the Australian bush, powerfully withstanding the harsh conditions of the outback with its brilliant white bark starkly contrasting against the burnt reds of the landscape. Namatjira frequently includes the ghost gum in his compositions to highlight the beauty and strength of the Australian bush. Albert's talents in art extended beyond his skill with the brush. As Philip Jones comments, "in a society undergoing trauma, in which the traditional power of the old men was being eroded and supplanted by a complex set of new values, Namatjira's actions had a deeper resonance. By mastering the art of landscape painting he was [able] to take a European cultural item and, in a subversive sense, make it his own." (2) The Hermannsburg School, as they are commonly known, consists of a number of revered artists all painting in watercolours. With Albert Namatjira (Senior) considered the leader of this group, his watercolours have become a symbol of Australian art and have left a legacy far beyond just paint to paper. These works exist as a symbol of Namatjira's resilience as an artist in the face of racism and art world trivialisation, and support to preserve the spiritual heritage of Indigenous Australia. Olivia Fuller | Head of Art (1) K. McGregor, The Life & Times of Albert Namatjira Badger Editions, 2021, p. 48 (2) Philip Jones "Traveller Between Two Worlds", The Heritage of Namatjira: The Watercolourists of Central Australia, edited by Jane Hardy, J.V.S. Megaw and M. Ruth Megaw, William Heinemann Australia, 1992, pp.111-112 © Namatjira Legacy Trust/Copyright Agency 2022 Estimate $30,000-40,000 Condition: Please contact the Art Department for a condition report on this lot. The opinions expressed in the condition reports are a guide only and should not be treated as a statement of fact. Prospective buyers are encouraged to seek further information or request additional images during our pre-sale period where Leonard Joel staff are available for advice. Please note condition reports can be amended during the pre-sale period, so we strongly suggest any interested bidders check the published condition report available on the website before the auction commences. Leonard Joel makes no guarantee of the originality of mechanical or applied components. Absence of reference to such modifications does not imply that a lot is free from modifications. A