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 Minnie Pwerle 1910-2006


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

Born in in Utopia, the extraordinarily powerful and dynamic artist, Minnie Pwerle (1910-2006) is one of Australia’s most significant contemporary artists, also known as Minnie Purla or Minnie Motorcar Apwerl. Minnie Pwerle won National Aboriginal and Torres Strait Islander Art Awards 2001, 2002, 2003, 2005, 2004. The World's Art experts acknowledged her work as ground-breaking that emanates state-of-the-art utmost dynamic contemporary art. Hank Ebes named Minnie Pwerle "a genius". Prof. Vivien Johnson described Minnie Pwerle style as the upmost contemporary.

Minnie Pwerle work is highly praised in the World art market, Awelye 2002 sold for $78,000, Awelye 2004 sold for $72,000 and Awelye 2005 sold for $60,000. Minnie Pwerle work is held in prestigious Australian and International collections including National Gallery of Victoria, Art Gallery of NSW, Queensland Art Gallery, Art Gallery of South Australia, Kelton Foundation, Kreglinger, Thomas Vroom, John McBride, Corrigan, Hank Ebes, Fred Torres. Minnie's Awelye MP0635 coup (2015) Department of Queensland Education Australian National Curriculum

Auctions

AWARDS

Biography

Collections

Ancient culture of 60 thousand years gave the World its most exciting Contemporary Art

Minnie Pwerle 1910-2006
Awelye 11145 (2002)
Synthetic polymer paint Belgian linen
Size:
122 cm x 88 cm
Size: 48 inches x 34.7 inches

Price:  Enquire

(2002) Minnie Pwerle Awelye 11145 

ENLARGE


Minnie Pwerle was the sole creator of the
Awelye 11145  piece which comprises the authentic idiosyncrasies of Minnie Pwerle painting technique.
 

 

Minnie Pwerle 1910-2006
MP0635
1998 Masterwork
Acrylic on Belgian linen
160 cm x 75 cm
63 inches x 29.5 inches

Price: Enquire

(1998) Minnie Pwerle MP0635 masterwork

 ENLARGE

 

 


Minnie Pwerle was the sole creator of the
MP0635 1998 Masterwork which comprises the authentic idiosyncrasies of Minnie Pwerle painting technique.

 

Awelye 12043
 Synthetic polymer paint on Belgian linen
Size: 150 x 90 cm
Price:
SOLD

Minnie Pwerle 1910-2006

 

Awelye 11799,  Acrylic on linen
Size: 150 x 95 cm
Price: 
SOLD

Minnie Pwerle 1910-2006

 Awelye 11799

 

Awelye 11745
 Synthetic polymer paint Belgian linen
Size:
150 x 95 cm
 Price:
SOLD

Minnie Pwerle 1910-2006

 

Auction results 

Minnie Pwerle 1910-2006

Under the freedom of information we have compiled relevant data for your enjoyment

 

Details

Price excl. GST

Awelye Atnwengerrp 2002

Synthetic polymer paint on canvas, 165 x 360 cm, Est: $60,000-80,000, Lawson~Menzies (now trading as Menzies), Australian Aboriginal Art, Sydney, 14/11/2007, Lot No. 51 

$78,000

Awelye 2004

Synthetic polymer paint on linen, 355 x 165 cm, Est: $60,000-80,000, Lawson~Menzies (now trading as Menzies), Aboriginal Art, Sydney, 22/11/2006, Lot No. 53 

$72,000

Awelye-Atnwengerrp 2005

Synthetic polymer paint on linen, four panels, 122 x 90 cm, Est: $55,000-60,000, Lawson~Menzies (now trading as Menzies), Australian Aboriginal Art, Sydney, 14/11/2007, Lot No. 129 

$60,000

Awelye Atnwengerrp 2005 (4)

Synthetic polymer paint on four canvas panels, 122 x 360 cm overall, Est: $50,000-60,000, Lawson~Menzies (now trading as Menzies), Contemporary, Modern Australian and Important Abor, Sydney, 19/06/2008, Lot No. 244 

$54,000

Awelye Atnwengerrp, 2005

Synthetic polymer paint on canvas, four panels, 122.5 x 90.5 cm, Est: $50,000-60,000, Lawson~Menzies (now trading as Menzies), Aboriginal Fine Art, Sydney, 23/05/2007, Lot No. 96 

$50,400

Awelye, 2002

Synthetic polymer paint on linen, stamped verso, 164 x 345 cm, Est: $40,000-50,000, Lawson~Menzies (now trading as Menzies), Aboriginal Fine Art, Sydney, 23/05/2007, Lot No. 55 

$45,600

Awelye Antwengerrp - Bush Tomato, 2001

Synthetic polymer paint on canvas, 352 x 164 cm, Est: $40,000-50,000, Lawson~Menzies (now trading as Menzies), Aboriginal Art, Sydney, 22/11/2006, Lot No. 198 

$43,200

Awelye Atnwengerrp, 2000

Synthetic polymer paint on canvas, 360 x 166 cm, Est: $40,000-60,000, Lawson~Menzies (now trading as Menzies), Aboriginal Art Auction, Sydney, 23/11/2004, Lot No. 42 

$43,200

Awelye Atnwengerrp 2001

Synthetic polymer paint on canvas, inscribed verso: DG 04726/ Minnie Pwerle/ Awelye Atnwengerrp/ 2001, 353 x 165 cm, Est: $40,000-50,000, Lawson~Menzies (now trading as Menzies), Colonial to Contemporary Including Aboriginal Art, Sydney, 25/03/2009, Lot No. 135 

$43,200

 

 

 

Minnie Pwerle biography

Minnie Pwerle (1910-2006) Biography is on page 331 Australian Aboriginal Artists dictionary of biographies.

Minnie Pwerle and  Emily Kame Kngwarreye (1910-1996) sister-in-law, are both the most highly praised Contemporary Australian artists.

Both emanated to Western-style the most contemporary, state-of-the-art work.

Minnie Pwerle work is dynamic, and ground-breaking. She was recognised as one of the world’s best modern abstract artists and most successful in the World Art Market

Minnie Pwerle (1910-2006) is one the most highly praised Australian artists, recognised by art experts as dynamic, original, ground-breaking and one of the world’s best modern abstract artists.

Professor Vivien Johnson, a Desert art specialist said that   Minnie Pwerle style was 'radically different' from other ‘painting communities’ in the Western Desert art movement, stunningly contemporary and most successful in the World Art Market.

Hank Ebes named Minnie Pwerle "a genius".

Michael Eather (Contemporary Australian artist who helped cross-cultural artistic collaboration between Indigenous and non-Indigenous artists) paralleled   Minnie Pwerle work to Emily Kngwarreye, and also Tony Tuckson paintings. John Anthony Tuckson, was an Australian Abstract Expressionist artist exhibited in National Gallery of Australia.

Indigenous art expert Jenny Green (who worked with the Anmatyerre and Alyawarre people, recording and noting their language) believes Minnie's work continues the tradition of "gestural abstractionism" established by Emily Kngwarreye, in the works of Western Desert artists.

An Australian-born art critic, writer and editor, Benjamin Genocchio, illustrated   Minnie Pwerle work on the cover of his book 'Dollar Dreaming'. VIDEO: Dollar Dreaming: Ben Genocchio on the world of Aboriginal art.

Minnie paintings have distinctive linear fluidity and rare energy which is infectious to the viewer. Minnie work is immensely joyful, she experimented with bold, brilliant colours, painting with a rich array of tones.

MINNIE PWERLE's style was characterized by one reviewer as "broad, luminescent flowing lines and circles". Minnie's creative style comprises two key themes.

The first, embodies the body painting (designs used in women's ceremonies, or Awelye). These are free-flowing parallel lines in a pendulous outline.

The second, circular forms portrays bush tomato (Solanum chippendalei), bush melon, and northern wild orange (Capparis umbonata), among a number of forms of bushfood represented in her works.

  Minnie Pwerle style, both: circular design and the patterned lines are presented in bold and reminiscent of Emily Kame Kngwarreye work.

  Minnie Pwerle (1910-2006) same as her sister-in-law Emily Kame Kngwarreye (1910-1996) are the most highly praised Australian artists who dubbed by art experts as one of the world’s best modern and abstract artists. Both artists are ground-breaking and dynamic emanated to Western-style original and the most contemporary, state-of-the-art work.

Emily Kame Kngwarreye (1910-1996) painting 'Earth's Creation' sold for $1,056,000. The success of female artists snowballed CAAMA’s ‘Summer Project 1988/9’ handling over $1 million in sales for Utopia artists.

  Minnie Pwerle (1910-2006) museum-quality original paintings are highly sought after and have the physical presence of the much contemporary work of art. Skilfully painted with accuracy and attentions details, unrestrained shades of colours that seems to float in the air and moves with the viewer’s eyes, capturing the three dimensional appearance.

Papunya Tula Artist   Minnie Pwerle work contains a compelling visual and spiritual power, clearly evident in all her paintings, conveys her deep connection with the land. Minnie used linear brush-work based on the body painting used for important women’s ceremonies in her native country of Atnwengerrp. T

Minnie paintings are held in lots of overseas institutional and private collections as well as the major art galleries in Australia. Minnie’s work has been highly sought after by art international and Australian collectors.

Many of the works in the National Museum's Papunya collection had been rarely seen in Australia, until Papunya Painting exhibition in 2007 in Canberra.

 

AWARDS

2001 the 18th National Aboriginal and Torres Strait Islander Art Award   Minnie Pwerle entered

2002 first selected to exhibit in the National Aboriginal and Torres Strait Islander Art Award

2003 Exhibited National Aboriginal and Torres Strait Islander Art Award Awelye Atnwengerrp
The artist's price $44,000 was the second-highest in the exhibition and the highest for an artist from the central and western deserts.

2005 Exhibited National Aboriginal and Torres Strait Islander Art Award competition Awelye Atnwengerrp no.2

2004 recognised one of Australia's 50 most collectible artists Minnie by Australian Art Collector

2015
  Minnie Pwerle
Awelye Atnwengerrp MP0635 masterwork
was selected by the Department of Education, Queensland Government for the Australian National Curriculum, with the acknowledgments to the artist Pwerle Estate’s representative, the AAA © Estate of the artist licensed by Aboriginal Artists Agency Limited and credits to Galeria Aniela art gallery

 

 

 

COLLECTIONS

Art Gallery of South Australia (Adelaide)

Queensland Art Gallery (Brisbane)

National Gallery of Australia (Canberra)

Museum and Art Gallery Northern Territory (Darwin)

Art Gallery of New South Wales

Art Bank Sydney

National Gallery of Victoria

Gallery of Victoria (Melbourne)

Art Gallery of Western Australia

Homes a Court Gallery and gallery Collection

Kelton Foundation USA

Kreglinger Collection

John McBride Collection

Ebes Collection

Fred Torres Collection

Museum of Victoria

National Museum Australia

Kreglinger Collection

Thomas Vroom Collection Holland

John McBride Collection

Fred Torres Collection

Hank Ebes Collection, Melbourne

AMP Collection Melbourne

Australian Heritage Commission, Canberra

 

Many of Minnie’s paintings reflect possibly the oldest designs of art in the world; the body painting for women’s ceremony – Awely. These are linear designs that are painted onto the chest, breasts, arms and thighs. Powders ground from red ochre (clay) and ash are used, and applied with a flat stick with soft padding. This stick is called a ‘typale’. During the ceremony, Minnie and the women would sing the songs associated with their awely, paint each other and dance. Awely ceremonies are performed to demonstrate respect for the country and the total well-being and health of the community. 

Minnie also painted the Dreamtime story of the Anemangkerr (Bush Melon) and also of the Akarley, which may be represented in her paintings by ‘a-lube-eh-ditch’ loops. Her works are very bold and free flowing and immediately capture the attention of art lovers. Having never been taught art by way of European methods, nor having visited museums and contemporary art galleries, Minnie was one of Australia’s top female contemporary Indigenous artists. Her paintings are loved for being so modern in style and yet so traditional and raw in subject. 

Minnie was born in Alyawarr land, approximately 200 kilometres north east of Alice Springs, in approximately 1922. Speaking very little of the English language, Minnie made a bold, swift and unexpected entry into the European world of Australia in 2000 through painting. Minnie’s eldest daughter, Barbara Weir born in 1945, was taken away at the age of 9 but they were both reunited in the late 1960’s. For many years Minnie detached herself from Barbara. Sorry business had been done for her many years before and it was hard for Minnie to welcome a stranger claiming to be her daughter. Their lives were so different. 

Minnie had earlier married an Aboriginal man by the name of Motorcar Jim and had six children; Aileen, Betty, Raymond and Dora Mpetyane (two other daughters passed away and are not spoken of). But it was Barbara who encouraged Minnie to paint in the later years of her life. Barbara, being an established artist herself, gave Minnie some canvas and paints while she waited for Barbara to finish painting at a workshop in Adelaide. Minnie painted what she has always painted – the body paint designs (awely) that belonged to her country, Atnwengerrp. The traditional colours of this country are red ochre and white; however Minnie was excited by the vast amount of colours in front of her and never looked back. 

When asked if Minnie enjoyed painting, Minnie’s family always replied for her with wholehearted conviction ‘absolutely’. And very evident it was in her enthusiasm to paint and in her work; her freedom of brush stroke and fervour of colour. 

Minnie passed away on 18th March 2006 at her home in Atnwengerrp. She is survived by her children, grandchildren, great grandchildren and siblings Margie, Molly, Emily, Geyla, Lois, Ally and Louie.

 

Exhibitions

2021    Desert Colours 2021, Incinerator Art Space, Sydney

2021    We Choose to Challenge, Coo-ee Fine Art Gallery, Sydney

2020    Still in the Desert, Fireworks Gallery, Brisbane

2019    International Women’s Day, Kate Owen Gallery, Sydney

2019    Large Showroom; Large Works, FireWorks Gallery, Brisbane

2019    Desert Colours, Central Australian painting, Queensland Art Gallery, Brisbane

2019    Defining Tradition | the colourists, Kate Owen Gallery, Sydney

2019    Matches 6 – Exhibition Featuring Barbara Weir, Ian Bettinson, Jack Britten, Lilly Kelly Napangardi, Minnie Pwerle, Tony Tuckson & Yvonne Mills-Stanley, Fire-Works Gallery, Brisbane

2018     Mercedes Me x Pwerle Gallery Art Exhibition at Mercedes Me Melbourne.

2018     Pwerle Gallery ‘Utopia exhibition of four generations’, Adelaide.

2018    Earth’s Creation 2: Emily Kame Kngwarreye & Family, Kate Owen Gallery, Sydney

2018    Delmore Gallery: Utopia Women, Merricks Art Gallery, Merricks

2018    Utopia Exhibition of 4 Generations, One Rundle Trading Co., Adelaide

2017    Gems from the Stockroom, Kate Owen Gallery, Sydney

2017    A SWEEP continues, FireWorks Gallery, Brisbane

2010    ‘Utopia’, group exhibition, DACOU Melbourne, Middle Park, VIC.

2010    ‘Desert Rhythms’, group exhibition, Flinders Lane Gallery, Melbourne, VIC.

2010     ‘The Pwerle Sisters’, group exhibition, DACOU Australia & DACOU Melbourne, Port Melbourne & Middle Park, VIC.

2009    ‘Utopia – Colors of the Desert’, Gongpyeong Art Space in conjunction with DACOU, Australian Embassy in Korea and Crossbay Gallery, Seoul, Korea.

2008     ‘Atnwengerrp: Land of Dreaming’, Minnie Pwerle carpet launch, Designer Rugs Showroom, Edgecliffe, NSW.

2008    ‘EWB Elements’, travelling group exhibition, all major cities of Australia, DACOU in conjunction with Dreamtime Art.

2008    ‘Minnie Pwerle – Body Paint’, solo exhibition, DACOU Melbourne, Middle Park, VIC.

2007    ‘Utopia in New York’, Robert Steele Gallery, New York, USA.

2007     ‘Desert Diversity, group exhibition, Flinders Lane Gallery, Melbourne, VIC.

2007     ‘New Works from Utopia’, Space Gallery, Pittsburgh, PA, USA.

2006    ‘The Pwerle Sisters’, group exhibition, Flinders Lane Gallery, Melbourne, VIC.

2006    ‘Memorial Exhibition’, solo exhibition, Gallery Savah, Sydney, NSW.

2006     APS Bendi Lango Art Exhibition, group exhibition, Rio Tinto Offices, Melbourne, VIC.

2005    Finalist in the 2005 Telstra National Aboriginal & Torres Strait Islander Art Award.

2004    Named by Art Collector as “one of Australia’s 50 most collectible artists”.

2003     ‘My Grandmother & Me’, World Vision, Walkabout Gallery, Sydney, NSW.

2003    ‘Minnie Pwerle & Mitjili Napurrula’, Japingka Gallery, Fremantle, WA.

2003      Art & Soul Gallery, group exhibition, Nashville, Tennessee, USA.

2003    ‘Art from the Dreamtime’, Portland Art Museum, Oregon, USA.

2002    ‘United Mother and Daughter’ incl. Barbara Weir, Alison Kelly Gallery, Armadale VIC

2002    Group exhibition, New York City, USA.

2002    Mbantua Gallery, group exhibition, Alice Springs, NT.

2002    Knut Grothe Galeri, Utopia group exhibition, Charlottlenlund, Copenhagen.

2002    Galerie à Le Temps Du Reve, Utopia group exhibition, Pont-Aven, France.

2002    ‘Minnie’s Country’, DACOU Gallery, Adelaide, SA.

2002    ‘Generations Utopia’, group exhibition, Japingka Gallery, Fremantle, Perth, WA.

2002     Selected entrant in the 2002 19th Telstra National Aboriginal & Torres Strait Islander Art Award.

2002    ‘Awelye Atnwengerrp’, solo exhibition, DACOU Gallery, Adelaide, SA.

2002     Urban Wineworks Gallery, Portland, Oregon, USA.

2002     ‘In the Cove’, Carriage House Gallery, Portland, Oregon, USA.

2001    Group exhibition, San Anselmo, Marin County, California, USA.

2001    ‘Small Stories: Minnie Pwerle, Mary Pantjiti McLean, Tumaru Purlykumunu’ Japingka Gallery, Perth, WA

2001    ‘Desert Colour- My Country’, exhibition, Raintree Aboriginal Art Gallery, Darwin, NT.

2001    Dreamtime Gallery, group exhibition, Santa Fe, New Mexico, USA

2001   ‘Women Artists of the Australian Desert’, exhibition, Gallery 2021, Auckland, NZ

 

Minnie Pwerle was born around 1910 at Utopia Station in the Australian central desert on the banks of the Sandover River, 350 kilometres northeast of Alice Springs. Her country was Atnwengerrp, (pronounced a-NOONG-a-pa), and her languages Anmatyerre and Alyawarr, languages from an area of Central Australia 250 km northeast of Alice Springs. Minnie was one of six children and went on to become the mother of seven children including International artist Barbara Weir. She was married to Jim Motorcar and together they had six children.

Like many other highly respected Utopia women artists, Minnie participated in the batik project which was introduced to the community in 1977. Painting on canvas in the community started in the late 1980s. Minnie then started painting batiks in the 1980's completing works for the Robert Holmes a Court Collection. Minnie's paintings reflect her country, the bush tucker so important to her desert heritage and the women's ceremonial body paint inherent in her culture.  She adopted the traditional body painting designs that convey Minnie's intuitive connection with her country.

All the stories she painted conveyed her deep connection with the land, and knowledge of the foods that it provides. Besides Women's Dreaming,   Minnie Pwerle painted other Dreamings involving the bush melon, and bush melon seed, types of bush tucker traditionally used by her people, once very common, and becoming increasingly rarer.

  Minnie Pwerle and the other women used to collect this fruit (that was green in colour and then ripened to a brown colour) and scrape out the small black seeds. They would then eat the fruit straight away or cut it into pieces and skewer them onto a piece of wood and dry them to be eaten in the coming months when bush tucker was scarce.

MINNIE PWERLE’s work shared many features with that of other contemporary artists of the central and western deserts: the portrayal of stories or features for which she had responsibility within her family or clan; the strong influence of traditional designs in the art; vigorous use of colour; and the enthusiastic embrace of new techniques, such as acrylic paint on canvas.

In 1999, after many years of ceremonial body painting and in her late eighties, Minnie started to paint on canvas. Minnie soon attracted a large following, holding her first solo exhibition in Melbourne in 2000. Minnie work rapidly drew the attention of both local and international collectors.   Minnie Pwerle painted the Awelye Atnwengerrp Dreamings (Women's Dreaming}.

  Minnie Pwerle work contains a compelling visual and spiritual power, convening her deep connection with the land, clearly evident in all her paintings.  Minnie Pwerle used linear brush-work based on the body painting used for important women’s ceremonies in her native country of Atnwengerrp.

The circular design of the Bush Melon and the patterned lines of the Women's body paint are presented in bold and reminiscent of Emily Kame Kngwarreye work. Minnie paintings have distinctive linear fluidity and rare energy which is infectious to the viewer. Minnie work is immensely joyful, as she experimented with bold, brilliant colours, often painting with a rich array of tones.  

 Minnie Pwerle is regarded as one of Australia's most important indigenous talents and is compared with her late friend and contemporary, Emily Kame Kngwarreye. They both became prolific and highly praised artists who came to Western-style art late in life.

Minnie paintings are held in lots of overseas institutional and private collections as well as the major art galleries in Australia. Minnie’s work has been highly sought after by art international and Australian collectors.

 Minnie Pwerle continued to paint up until her death in March 2006.

 

BIBLIOGRAPHY Literature Source & FURTHER REFERENCES

In 2015, the Department of Education of the Queensland Government selected Minnie Pwerle '1998 masterwork - MP0635 Awelye Atnwengerrp‘ for the Australian National Curriculum - acknowledgments to the artist Pwerle Estate’s representative, the AAA © Estate of the artist licensed by Aboriginal Artists Agency Limited - the credits to Galeria Aniela.

Australian Aboriginal Artist dictionary of biographies Kreczmanski, Janusz B and Birnberg, Margo (eds.): Aboriginal Artists: Dictionary of Biographies: Central Desert, Western Desert and Kimberley Region JB Publishing Australia, Marleston, 2004.

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

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, Latz, P. 1995, Bushfires & Bushtucker, IAD Press, Alice Springs

Brody, A. 1989 Utopia women’s Paintings: the First Works on Canvas, A summer Project 1988-89 exhib. Cat. Heytesbury Holdings, Perth Brody

Amadio, N. und Kimber, R., Wildbird Dreaming. Aboriginal Art from the Central Deserts of Australia, Greenhouse Publ., Melbourne 1988; Auckland City Art Gallery, Auckland 1990, Ausst. Kat.; Australian Aboriginal Art from the Collection of Donald Kahn. Lowe Art Museum, University of Miami (Hrsg.), 1991, Ausst. Kat.; Droombeelden - Tjukurrpa. Groninger Museum (Hrsg.), Groningen 1995, Ausst. Kat.; Isaacs, J., Australia´s Living Heritage. Arts of the Dreaming, Lansdowne Press, Sydney 1984; Isaacs, J., Australian Aboriginal Paintings. Lansdowne, Sydney 1989, ISBN 186302011X; Johnson, V., Aboriginal Artists of the Western Desert. A Biographical Dictionary, Craftsman House, East Roseville 1994, ISBN 9768097817; Modern Art - Ancient Icon. The Aboriginal Gallery of Dreamings (Hrsg.), o.O. 1992, ISBN 0646080520; Nangara. The Australian Aboriginal Art Exhibition from the Ebes Collection. The Aboriginal Gallery of Dreamings (Hrsg.), Melbourne 1996, Ausst. Kat.; Stourton, P. Corbally, Songlines and Dreamings. Lund Humphries Publ., London 1996, ISBN 0853316910; The Painted Dream. Contemporary Aboriginal Paintings. Johnson, V. (Hrsg.), Auckland City Art Gallery, Auckland 1991, Ausst. Kat.; Tjinytjilpa. The Dotted Design. Aboriginal Art Galleries of Australia (Hrsg.), Melbourne 1998, Ausst. Kat.; Traumzeit - Tjukurrpa. Kunst der Aborigines der Western Desert. Die Donald Kahn-Sammlung, Danzker, J.B. (Hrsg.), Prestel, München und New York 1994, Ausst. Kat.; Voices of the Earth. Paintings, Photography and Sculpture from Aboriginal Australia. Gabrielle Pizzi (Hrsg.), Gallery Gabrielle Pizzi, Melbourne 1996, Ausst. Kat., ISBN 0646288954.

 

Bush Melon, Melon Seeds and Body Paint 

Minnie Pwerle 1910-2006
Awelye Atnwengerrp MP0635 Masterwork (1988)
Acrylic on Belgian linen -
stretched ready to hang

160 cm x 75 cm
63 inches x 29.5 inches

Minnie Pwerle was the sole creator of the MP0635 1998 Masterwork which comprises the authentic idiosyncrasies of Minnie Pwerle painting technique.

Awelye MP0635 1988 is the state-of-the-art, museum-quality, authentic Minnie Pwerle work of fine art that has the physical presence of the much contemporary work of fine art, illustrated in 2015 at Department of Queensland Education Australian National Curriculum.

Hank Ebes named Minnie Pwerle "a genius", Prof. Vivien Johnson called Minnie Pwerle style as the most contemporary. An art critic, Benjamin Genocchio illustrated  Minnie Pwerle work on the cover of his book 'Dollar Dreaming'.


Price
:  Enquire

 

VIDEO: Dollar Dreaming: Ben Genocchio on the world of Aboriginal art

 
Awelye-11145   

Minnie Pwerle was the sole creator of the Awelye 11145  piece which comprises the authentic idiosyncrasies of Minnie Pwerle painting technique.

 

Minnie Pwerle 1910-2006
Awelye-Atnwengerrp (11145)
Acrylic on Belgian linen, depicts Body painting designs stretched ready to hang

Size: 122 cm x 88 cm
Size: 48 inches x 34.7 inches

Minnie Pwerle was the sole creator of the Awelye 11145  piece which comprises the authentic idiosyncrasies of Minnie Pwerle painting technique.

Awelye-Atnwengerrp 'Bush Melon Seeds and Body Paint (2002) is the state-of-the-art, museum-quality, authentic Minnie Pwerle work of fine art that has the sheer physical presence of the much contemporary work of art.

Recognised by World's art experts as ground-breaking and dynamic, Minnie Pwerle is one of the World’s best modern abstract artists, stunningly successful in the World Art Market and is one of the most highly praised Australian artist.

Hank Ebes named Minnie Pwerle "a genius". Professor Vivien Johnson described  Minnie Pwerle style as the most contemporary. An art critic, Benjamin Genocchio illustrated  Minnie Pwerle work on the cover of his book 'Dollar Dreaming'.

Price:  Enquire

 

VIDEO: Dollar Dreaming: Ben Genocchio on the world of Aboriginal art.

Founded in 1994, Galeria Aniela hosted and exhibited world-class artists and received celebrities such as Sir David Attenborough, Cameron O’Reilly, Australian Prime Minister Bob Hawke, built a strong standing in Australia and internationally.

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