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If you LOVE original art of impeccable provenance, the Art you WANT is at Galeria Aniela

We are passionate about Fine Art. Founded in 1994, Galeria Aniela pioneer showing fine art outside the metropolitan area, for public display and acquisition. Challenging the status quo from its inception won the trust of some of the most important artists from post WWII until today. We coup the front page of the Sydney Morning Herald and built a reputation in Australia and the wide World. Recognizing the importance of the buyer confidence in securing artworks of impeccable provenance we offer an opportunity to purchase museum-quality original art, shipping Worldwide. Exhibiting Arthur Boyd, Charles Blackman, John Perceval, Jamie Boyd, Mrs. Bennett, John Olsen, Lenore Boyd, Nancy Ross, Ningura Napurrula, Minnie Pwerle, Lily Kelly Napangardi, Garry Shead and many more, we won the major Australian media such as the ABC TV Australian National News | Boyd Video, ABC TV Sunday Afternoon | Video, ABC TV Australian National News |Perceval Video, SBS National TV Charles Blackman Video.  q Exhibitions q Videos

Kathleen KEMARRE B.1943

We offer an opportunity to purchase ethically sourced, museum-quality original art of impeccable provenance

Biography   Bibliography   COLLECTIONS   EXHIBITIONS

Kathleen KEMARRE is a renown Australian Indigenous artist. She married a recognized artist Greeny Purvis Petyarre 1930-2010 and their daughter Maureen Purvis is an artist. Kathleen's aunt Emily Kngwarreye 1910-1996 is one of the most famous artists. Kathleen's style is distinctively abstract interpreting Ancient Dreamings with a perspective as though the observer were a bird. Kathleen work portrays an elevated view of Utopia country in a modern state-of-the-art way. Kathleen paintings have the sheer physical presence of much contemporary work of art. Kathleen mysterious bird's-eye view landscapes are hypnotic and in high demand keenly sought after by international buyers. Painting with great attention to details, Kathleen's images seem to move with the viewer’s eyes, building up a multi-dimensional topography of depth and space. Kathleen Kemarre is very successful in the World Art Market. Kathleen work represented in important collections include Richard Kelton Foundation, Santa Monica, Flinders University, Artbank, Art Gallery of Western Australia, Museum of Victoria, Homes a Court, World Vision, Art Gallery of New South Wales.

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Artist: Kathleen KEMARRE B.1943
Title: MB033231
Medium: Synthetic Polymer paint on Belgian linen on Board
Dimensions: 95 x 35 cm
Framed: 105 x 45cm
Price: $1,100
Buy Now  Enquire

Artist: Kathleen KEMARRE B.1943
Title: MB031682

Medium: Synthetic Polymer paint on Belgian linen on Board
Dimensions: 95 x 35 cm
Framed: 135 x 45 cm
Price: $1,100
Buy Now  Enquire

Artist: Kathleen KEMARRE B.1943
Title: MB031413 Country

Medium: Synthetic Polymer paint on Belgian linen on Board
Dimensions: 125 x 50 cm
Framed: 135 x 60 c
m
Price: $3,500
Buy Now  Enquire

We offer an opportunity to purchase museum-quality original art of impeccable provenance


Artist: Kathleen KEMARRE
Title:
MB034250 Leaf Fall

Medium: Synthetic Polymer paint on Belgian linen on Board
Dimensions: 125 x 50 cm
Framed: 135 x 60 cm
Price:
$5,500 Buy Now  Enquire

Artist: Kathleen KEMARRE
Title: MB034249 Growing Season

Medium: Synthetic Polymer paint on Belgian linen on Board
Dimensions: 125 x 50 cm
Framed: 135 x 60 cm
Price:
$5,500 Buy Now  Enquire

Artist: Kathleen KEMARRE
Title: MB034248 Falling Leaves
Medium: Synthetic Polymer paint on Belgian linen on Board
Dimensions: 125 x 50 cm
Framed: 135 x 60 cm
Price: $5,500 Buy Now  Enquire
Shipping worldwide or Pick Up from Galeria Aniela. Prices may change without a prior notice.

Kathleen KEMARRE  Biography

Kathleen KEMARRE also known as Kathie KEMARRE, is a renown Australian Indigenous artist.

Kathleen KEMARRE married Greeny Purvis Petyarre (1930-2010) a well-known artist, and their daughter Maureen Purvis (Kngwarreye) is also a recognized artist as well as her aunt Emily Kngwarreye (1910-1996).

Kathleen KEMARRE work is represented at Art Gallery of NSW and international museums.

Kathleen KEMARRE style is distinctively abstract painting of a mysterious bird's-eye views topography. Kathleen interpreters an elevated view of an ancient Dreaming with a perspective as though the observer were a bird.

Kathleen KEMARRE paintings are gentle flowing depiction of the ancient country and how it divides through the Utopia Northern Territory homelands.

Within the lines of the land is where the bush yam is found, ground down and made into a paste which they apply to the exterior of their body to heal.

Kathleen KEMARRE work portrays the ancient Australian country painting her landscapes in a modern state-of-the-art way.

Kathleen KEMARRE is successful in the World Art Market. Her artworks are keenly sought after by international buyers.  Kathleen paintings are hypnotic and in high demand.

Kathleen work has the physical presence of much contemporary work of art. She paints with great attention to details, her images seem to moves with the viewer’s eyes, building up a multi-dimensional depth and space.

Kathleen participated in the Utopia 'A Picture Story Exhibition' and the Summer Project painting from Utopia in 1988-89.

Kathleen is represented throughout the wide World including Richard Kelton Foundation Santa Monica, Flinders University Adelaide, Art Bank Sydney, Art Gallery of WA, Museum Victoria Melbourne, Homes a Court Gallery Perth, Art Gallery of New South Wales.

Kathleen KEMARRE paintings are hypnotic, painted with great attention to details, the intricate subtle shades seems to moves with the viewer’s eyes, building up a mysterious multi-dimensional sensation.

Born around 1943, Kathleen KEMARRE participated in the Utopia 'A Picture Story Exhibition' by 88 Utopian artists, which toured internationally.

Other involvements are the Summer Project, painting from Utopia in 1988-89.

Kathleen has also been involved in wood figures carvings.

Language: Alyawarr

Skin Name: Kemarre (pronounced Ke-mah-ra, also spelled Akemarr)

Language Group: Alyawarr  

Country: Antarrengeny, Utopia Region, N E of Alice Springs

Medium: Silk Batik, Acrylic on Canvas, Sculpture

Subject(s): Antarrengeny Country, Camp Scenes, Apeng (Kurrajong) Dreaming, Awely (Women’s Ceremony and body paint designs)

 

COLLECTIONS

Art Gallery NSW Collection

Richard Kelton Foundation, Santa Monica, USA

Flinders University, Adelaide, South Australia

Art Gallery of Western Australia

Museum Victoria, Melbourne

Art Gallery of South Australia

Homes a Court Collection, Perth

ArtBank, Sydney

World Vision

Art Gallery of New South Wales

Mbantua Museum Gallery Permanent Collection, Alice Springs NT

private collections around the world

 

Kurrajong Seed Dreaming

In Kathleen’s language

Armen means food - Ngkweyang is Kurrajong seed.

The designs in Kathleen’s paintings are inspired by the leaf of Kurrajong Medicine plant. The background designs represent Kathleen’s country Antarrengeny.

Kurrajong Seed Dreaming is the Amern Ngkweyang story of the seed from the Aping desert kurrajong tree. There is an ancient Dreamtime story belonging to the Ngkweyang (the aping seed) witch lies in the heart of Alyawarr land (Kathleen’s country) Antarrengeny north east of Alice Spring.

Ngkweyang is an important and nutritious food source the Aboriginal people would collect these seeds, burn them to remove small hairs, and grind them into a paste for making damper (bread) this practice is not so habitual now.

 

Women Ceremony - Makeup Ceremony

The linear designs in Kathleen’s painting represent women ceremony, their travel and the designs of body paint (Awelye).

In 21st century language: women use makeup. Aboriginal Women manufacturer their own natural products to paint their body for the ceremonies.

The paints are the colored products intended to alter women appearance are are decorative cosmetics. Widely advertised the natural Mineral Makeup (allegedly recently discovered) it has been used by Aboriginal women for over 6000 years.

In Europe Cosmetics have been in use for thousands of years using ceruse (white lead), to cover the face during the Renaissance, (blindness caused by the mascara Lash Lure during the early 20th century). Romans and Ancient Egyptians used cosmetics containing poisonous mercury and often lead. However Aboriginal Women Cosmetics include only natural earth grounded Powders (red and yellow clays (ochre ), charcoal and Ash.

Aboriginal Women apply paint on the whole body, with a tool that is flat soft padding stick called (typale) like a Makeup brush.

They paint their body designs on the faces and also, used the body paint, onto Women chest, breasts, arms as well as their thighs.

Each woman can play a makeup Artist and takes her turn to be “painted-up”. During the Ceremony Aboriginal Women sing the songs associated with their (awely).

Women perform (awely) ceremonies to feel good and to demonstrate respect for themselves, their country and the total well-being and health of the community as well as their own.

Aboriginal Woman have been applying natural grounded earth powders makeup cosmetic for over 6000 years.

However the first archaeological evidence of cosmetics usage was found in Egypt around 3500 BC during the Ancient Egypt times with some of royalty owning make-up, such as Nefertiti, Nefertari, mask of Tutankhamun. In Europe in the Middle Ages women like a pale-skinned complexion, which was achieved through either applying pastes of lead, chalk, or flour, or by bloodletting, also put white lead pigment that was known as ceruse (white lead) on their faces to appear to have pale skin. Cosmetic use was frowned upon at many points in Western history.

For example, in the 19th century, make-up was used primarily by prostitutes, and Queen Victoria publicly declared makeup improper, vulgar, and acceptable only for use by actors. European Women in the 19th century liked to be thought of as fragile ladies. They compared themselves to delicate flowers and emphasized their delicacy and femininity. They aimed always to look pale and interesting. Sometimes ladies discreetly used a little rouge on the cheeks, and used "belladonna" to dilate their eyes to make their eyes stand out more.

Make-up was frowned upon in general especially during the 1870s when social etiquette became more rigid. Actresses however were allowed to use make up and famous beauties such as Sarah Bernhardt and Lillie Langtry could be powdered. Most cosmetic products available in the world were still either chemically dubious, or found in the kitchen amid food colorings, berries and beetroot. By the middle of the 20th century, cosmetics were in widespread use by women in nearly all industrial societies around the world.

 

EXHIBITIONS

1989 Utopia Women’s Paintings, the First Works On Canvas, A Summer Project, 1988-89, S.H. Ervin Gallery, Sydney

1988-89 Exhibition Catalogue Heytesbury Holdings, Brody Homes a Court Gallery Collection Perth

1990, Utopia: Picture Story; Homes a Court Gallery Collection, Pert

1990 Utopia A Picture Story, an exhibition of 88 works on silk from the Robert Holmes a Court Collection by Utopian Artists which toured Eire and Scotland.

1991 The Eighth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin

1991 Aboriginal Women’s Exhibition, Art Gallery of New South Wales, Sydney

1991 Aboriginal Women’s Exhibition Catalogue Art Gallery of New South Wales, Sydney

1993 The Tenth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin

1994 Yiribana Exhibition Catalogue Art Gallery of New South Wales, Sydney

1994 Yiribana, Art Gallery of New South Wales, Sydney 2002 Group Exhibition, Mbantua Gallery, Alice Springs NT

2002 Art and Soul Gallery, Nashville, Tennessee, USA

2002 'The Cove Gallery' Portland, Oregon USA (Benefit - OHSU Heart Research Centre)

2002 Urban Wine Works, Portland, Oregon USA (OHSU Heart Research Centre)

2002 Mary's Woods, Portland, Oregon USA (OHSU Heart Research Centre)

2003 New City Merchants, Knoxville, Tennessee USA

2003 Art and Soul Gallery, Nashville, Tennessee USA

2003 'The Cove Gallery' Portland, Oregon USA (OHSU Heart Research Centre)

2003 Contemporary Aboriginal Art Event,

2003 Umpqua Bank, Portland, Oregon USA (OHSU Heart Research Centre)

2003 Mary's Woods, Portland Oregon USA (OHSU Heart Research Centre)

2003 Art From Dreamtime, Portland Art Museum, Portland Oregon USA (OHSU Heart Research Centre)

Feb 2004 ‘Last of the 20th Century’, Mbantua Gallery, Alice Springs

Aug-Sep 2004 Gallery USA exhibition, Portland USA

2004  Nashville, Knoxville, Greenwich USA

2004 New York Gallery, New York USA

 

Bibliography

Brody, A, 1989, Utopia Women’s Paintings: the First Work on Canvas, A Summer Project 1988-89., cat., Heytesbury Holdings, Perth Brody, A., 1990, Utopia: a Picture Story, 88 Silk Batiks from the Robert Holmes a Court Collection, Heytesbury Holdings Ltd, Perth; 1993, Aratjara, Art of the First Australians: Traditional and Contemporary Works by Aboriginal and Torres Strait Islander Artists, exhibition Cat. (conceived and designed by Bernard Luthi in collaboration with Gary Lee), Dumont, Buchverlag, Koln. Neatle, M., 1994, Yiribana, exhib.cat., Art Gallery of New South Wales, Sydney 1991, Aboriginal Women’s Exhibition, exhibition Cat. Art Gallery of New South Wales, Sydney, NATSIVAD Data Base; 1994, Yiribana Exhibition catalogue, Art Gallery of New South Wales, Sydney; 1991, Aboriginal Women’s Exhibition Cat. Art Gallery of NSW, Sydney; Brody, A, 1989, Utopia Women’s Paintings: First Work on Canvas, A Summer Project; 1988-89., cat., Heytesbury Holdings, Homes a Court Collection Perth Brody, A.; 1990, Utopia: Picture Story; Holmes a Court Collection.

 "Aboriginal Artists of the Western Desert - A Biographical Dictionary" by Vivien Johnson, published by Craftsman House 1994, "The Oxford Companion to Aboriginal Art and Culture" edited by Sylvia Kleinert and Margo Neale published by OUP 2000, Australian Aboriginal Artist Encyclopedia” – dictionary of biographies” Kreczmanski, Janusz B & Birnberg, Margo (eds.): Aboriginal Artists: Dictionary of Biographies: Central Desert, Western Desert & Kimberley Region (JB Publishing Australia, Marleston, 2004). Brody, A. 1989 Utopia women’s Paintings: the First Works on Canvas, A summer Project, 1988-89 exhib. Cat. Heytesbury Holdings, Perth Brody, A. 1990 Utopia, a picture Story, 88 Silk Batiks from the Robert Homes a Court Gallery and gallery Collection, Heytesbury Holdings LTD Perth NATSIVAD database.

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We have a long history with Aboriginal artists and look forward working together for many years to come, bringing to the World Art Market ethically sourced, original museum-quality artworks of impeccable provenance.

Galeria Aniela is committed to significant dynamic artists such as Charles Blackman, Arthur Boyd, Jamie Boyd, John Perceval, John Olsen, Robin Holliday, Brett Whiteley, Garry Shead, Mrs. Bennett, Deborah Halpern, Lily Kelly Napangardi, Ningura Napurrula, Gloria Petyarre, Nancy Ross we aim to be a place of experience and inspiration.

Combining the knowledge of fine art and financial expertise, with over 20 years experience in the World Art Market, and a wide network of resources, we offer an opportunity to purchase original museum-quality artworks of impeccable provenance.

We recognize the importance of the buyer confidence in purchasing genuine works of art. Whether you are a first time buyer, an enthusiastic collector or an astute investor, our people focused approach ensures an enjoyable and rewarding experience.

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