Albert Namatjira (28 July 1902 – 8 August 1959), born Elea Namatjira, was an Indigenous Australian artist.He is one of Australia's most well-known painters.He is best known for his watercolour paintings of the Australian outback landscape.His works were not in the traditional style of Aboriginal art.But they became important to forming the style of modern indigenous art in Australia. Some people might call it ‘God’ but I see it as a spiritual creator with no name.We try to tie everything down with a title, but when we do most people mistake the title for reality.[3]. Shortly before his death, he confided that his proudest achievement was his participation in the monumental Ngallak Koort Boodja (Our Heartland) canvas produced on behalf of the Nyoongar elders for the 2006 Perth International Arts Festival. ), Shane Pickett, Campfires of our Yesterday’s People, 2006. After completing high-school, he moved to Perth, where in 1976 he held his first solo exhibition at the New Era Aboriginal Centre. Considering Pickett’s invocation of the ‘truth’ in nature, it is difficult not to recall Cezanne’s famous letters to Emile Bernard. At its heart, Pickett’s move to abstraction had a cross-cultural mission. My career has been a journey, expanding in scope; as I have grown in maturity, my work has become less like a photograph and has tried to explore the deeper meaning of the landscape. In Namatjira’s art, they declared, “for the first time, the landscape looks back at us: it meets and deliberately crosses the viewer’s gaze of possession.”[2].
His works had travelled to America, Europe and Asia, and had been acquired by many of Australia’s most important collections, including the National Gallery of Australia, the National Gallery of Victoria and the Art Gallery of Western Australia. Albert Namatjira Australia 1902 - 1959 Follow Biography Articles Exhibitions April 28, 2016. According to Nick Tapper, “Pickett came to feel that representation of the skin and hair of the environment – its landforms, flora and fauna – missed the resonant undercurrents flowing amongst these elements.” As he matured, and his cultural knowledge increased, Pickett increasingly felt that traditional representations were incapable of expressing his deeper understanding of the landscape. Cars and trucks speed across the landscape, blocking it, and drawing the viewer to the foreground of the image. Perhaps this explains the popular appeal of Pickett’s work, for like Pickett, they were never judgemental, but softly guided the viewer into a dialogue with the magical world of the Dreaming. Pickett was included with eight works spanning his career, of which only one – the monumental triptych Traditional Story 2001 could be considered truly abstract. With this knowledge, he realised, came a greater responsibility. In the past decade, Pickett had garnered widespread acclaim for his commanding abstract paintings, but few outside of Western Australia were aware that this was where his artistic journey first began. He saw the project as being an important galvanising moment in the Nyoongar community, and felt that it was imperative that it correctly reflected the teachings and values of his elders. Around him, the desert rises in glorious majesty; purple mountains ascend into a crimson sky that beams down upon the desert’s gleaming yellow sands. [2] Ian Burn and Ann Stephen,“Albert Namatjira:The White Mask”, in Rex Butler (ed. The son of Fred and Dorcas May Pickett, Shane Pickett was born in 1957 in the wheat-belt town of Quairading, about 170 kilometres east of Perth. Albert Namatjira Heavitree Gap, Ngurratjuta Collection, Alice Springs Albert Namatjira is one of Australia’s great artists, and perhaps the best known Aboriginal painter. In order to explore this connection, it is necessary to return to the very beginning of Pickett’s artistic journey where we might find the seeds of Kaanarn. The driver has his eyes fixed forward upon the road as it stretches out onto the horizon. And yet, as a strategy it is forged with difficulties. For although Namatjira’s landscapes were depicted in the realist Western mode of watercolour painting, by the late 1970s the hidden cultural depths of these paintings were beginning to be recognised. This comparison is illuminating.
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