Anatjari No.III Tjakamarra (circa 1938-1992) Rilynga, 1974

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Lot 72
Anatjari No.III Tjakamarra
(circa 1938-1992)
Rilynga, 1974

Sold for AU$ 30,500 (US$ 23,574) inc. premium
Anatjari No.III Tjakamarra (circa 1938-1992)
Rilynga, 1974
inscribed verso with artist's name
synthetic polymer paint on composition board
76.0 x 61.0cm (29 15/16 x 24in).

Footnotes

  • PROVENANCE
    Painted at Papunya, Northern Territory

    EXHIBITED
    Grandmasters: from Tradition to Contemporary Art from Australia, AAMU - Museum for Contemporary Aboriginal Art, Utrecht, The Netherlands, 9 September 2006 - 30 September 2007

    LITERATURE
    Howard Morphy and Margo Smith Boles (eds.), Art from the Land: Dialogues with the Kluge-Ruhe Collection of Australian Aboriginal Art, The University of Virginia, United States of America, 1999, painting 113, pl.8.18, p.235 (hand-drawn illus.)


    In his essay, Aesthetic Function and Practice: A Local History of Pintupi Painting, Fred Myers discusses this painting as follows, 'In mid-1974 a major period of Tingarri initiation took place in the Pintupi community at Yayayi. It corresponds - perhaps only coincidentally - with two developments in Yanyatjarri's paintings: an increased recourse to rectilinear forms and the appearance of a 'path' motif. One can see a sensibility at play here, in exploring the potential of distinctive forms.

    Painting 113 [8.18] returns to the Tingari story in the hills around Kurlkurtanya, and is focused on the place known as Rilynga. Resorting in a striking fashion to a rectilinear imagery, this painting emphasises some of the relationships among the places created in the Tingarri movements as the native cat brought the Tingarri men towards Lake MacDonald. This narrative emphasis is a common strategy for painters who wish to indicate the coinvolvement of geographically distinguishable features in a larger story. It also amounts to another version of places that are sometimes painted separately. Such a painting reveals the significance of the Dreaming, its truth. At the top, feature 1 is Rilynga, a large rockhole, and feature 2 is Pilintjinya (another waterhole), while feature 3 is Kurlkurtanya...These waterholes occupy the central space of the image, representing the spatial logic of residing in the area, with camps drawing on all three water sources. The other rectilinear features, organised with the whole as part of a three-column arrangement, represent the hills and rocks which are the Tingarri men in their numbers. Around the outside, dotting represents mulga scrub around the hills. The native cat's tracks are found within the image along the spaces that the painter identified as 'creeks' in the hills.'

    This work has been granted a Certificate of Exemption allowing it to be exported from Australia
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