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Aboriginal & Torres Strait Islander Art
Early Western Desert Paintings 1971-1974 gallery See nearby items (accurate to +/- 12 hrs)
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Mick NAMARARI TJAPALTJARRI

Pintupi people

Australia 1926 – 1998

Sunrise chasing away the night [Sunrise chasing away the night] 1977-78 Description: central black circle, black shape along left edge, white arc on right edge.
Place made: Papunya, Western Desert, Northern Territory, Australia
Materials & Technique: paintings, synthetic polymer paint on composition board

Dimensions: 40.0 h x 60.0 w cm
Acknowledgement: Purchased 1997
Accession No: NGA 97.110
Image rights: © the estate of the artist licensed by Aboriginal Artists Agency Ltd

MORE DETAIL

  • Rising sun chasing the night away and Moon Dreaming form part of a series of paintings about the artist’s Moon Dreaming, which he produced for the 1978 film, Mick and the moon. Namarari was one of the key early members of the painting movement that commenced in the early 1970s at Papunya. He went on to paint impressive larger works on canvas in the ensuing decades and is represented in numerous Australian and international collections.

    Rising sun chasing the night away reflects the night’s phases and the sunrise over the landscape. The usual depiction of the landscape in desert paintings is topographical, as though the viewer were looking down from above onto the land. Here, Namarari takes this way of representation to extraordinary lengths, demonstrating the Pintupi sense of perspective, where the point of view incorporates a larger cosmology: looking down from the heavens through the stars, past the rising sun and the night onto the campfires burning on the plain below. As the night fades from the left of the picture, the sun on the right casts the dawn light over the landscape. The white dots are painted stones, the central roundel represents a ceremonial ground.

    Moon Dreaming is again a visually rich topographical representation of the Dreaming and associated landscape. The large circular moon, in varied grades of orange, takes prominent position on the board. It exerts it presence on the surrounding landscape bathing it in a lighter orange hue. The dark shapes are representations of stone axes and ceremonial objects.

    Franchesca Cubillo


    Text © National Gallery of Australia, Canberra 2010
    From: Franchesca Cubillo and Wally Caruana (eds) Aboriginal and Torres Strait Islander Art: collection highlights National Gallery of Australia, Canberra, 2010

  • Mick Namarari Tjapaltjarri’s Sunrise chasing away the night is part of a series of paintings he produced for Geoffrey Bardon’s documentary film, Mick and the Moon 1978—the story of the artist’s custodianship of the Moon Dreaming. Namarari was one of the key early members of the Western Desert painting movement initiated by Bardon in the early 1970s while he was a schoolteacher at Papunya. In the ensuing decades Namarari went on to paint impressive larger works on canvas and is represented in numerous Australian and international collections.

    Sunrise chasing away the night reflects the night’s phases and the sunrise over the landscape. The usual depiction of the landscape in desert paintings is topographical, as though the viewer is looking down onto the land from above. Here Namarari takes this way of representation to extraordinary lengths, demonstrating the Pintupi sense of perspective, where the point of view incorporates a larger cosmology: looking down from the heavens through the stars, past the rising sun and the night onto the campfires burning on the plain below. As the night fades from the left of the picture, the sun on the right casts the dawn light over the landscape. The white dots are painted stones, the central roundel represents a ceremonial ground.


    Text © National Gallery of Australia, Canberra 2014
    From: Collection highlights: National Gallery of Australia, National Gallery of Australia, Canberra, 2014

  • This paintingreflects the night’s phases and the sunrise over the landscape. The usual depiction of the landscape in desert paintings is in plan view, as though the viewer were looking down from above onto the land. Here, Namarari takes this way of representation to extraordinary lengths, demonstrating the Pintupi sense of perspective, where the point of view incorporates a larger cosmology – looking down from the heavens through the stars, past the rising sun and the night onto the campfires burning on the plain below. As the night fades from the left of the picture, the sun on the right casts the dawn light over the landscape. The white dots are painted stones, whilst the central roundel represents a ceremonial ground.

    This work is a part of a series of paintings about the artist’s Moon Dreaming, which he produced for the 1978 film, Mick and Moon. One of the key early members of the painting movement, which commenced in the early 1970s at Papunya, west of Alice Springs, Namarari went on to paint impressive larger works on canvas in the ensuing decades and was represented in numerous Australian and international collections.

    Works made at Papunya challenged public perceptions of contemporary Aboriginal art. For the first time, the rich visual languages of the desert were painted in synthetic paints on flat, portable boards and made available to the general public. Today, art from numerous communities in the Western Desert region is renowned throughout Australia and internationally.

    This small work is an excellent example of early Papunya painting on boards and a precursor to larger, more recent works on canvas. It was commissioned by Geoffrey Bardon who, as a teacher at the Papunya school, was a catalyst in the painting movement in the early 1970s.

    Susan Jenkins, 2002


    Text © National Gallery of Australia, Canberra 2010
    From: Anne Gray (ed), Australian art in the National Gallery of Australia, National Gallery of Australia, Canberra, 2002

  • 纳马拉尼·加帕加瑞·米克 (NAMARARI TJAPALTJARRI, Mick)
    《日出驱走黑夜》(Rising sun chasing away the night)
    1977-78年
    合成板,合成聚合颜料
    40.00(高) x 60.00(宽)厘米
    1997年购买
    97.110

    《日出驱走黑夜》和《月亮梦幻(Moon Dreaming)》是关于艺术家月亮梦幻系列画作的组成部分,他为1978年的电影《麦克与月亮(Mick and the moon)》而创作的作品。纳马拉尼是1970年代初起于帕普尼亚的绘画运动的核心早期成员之一。之后的数十年间,他继续绘制大量令人印象深刻的帆布画作,被众多澳大利亚与国际收藏机构收藏。

    《日出驱走黑夜》再现了夜相和日出。沙漠画对风景的刻画往往注重地形特征,观赏者好像从高处俯瞰大地。这幅作品里,纳马拉尼将这一表现手法发挥到了极致,展示了宾土比(Pintupi)人的视角感,一种融入了更广宇宙哲学的视点:从高高的天穹,透过繁星、日出和夜晚俯瞰下面平原上燃烧的篝火。随着画面左侧的夜色渐退,右侧的太阳将阳光撒下大地。白点是人工染色石,中心位置的小圆盘代表仪式场地。

    《月亮梦幻》同样视觉丰富,表现了梦幻及相关景象的地形特征。用各种橙色色调绘制的月亮又大又圆,占据了画面的显著位置。四周更浅橙色色调烘托了月亮的存在。黑色形状代表石斧和仪式用物品。

    Franchesca Cubillo
    弗兰切西卡·库比尤


    Text © National Gallery of Australia, Canberra 2010

  • Description

    This is a painting by Pintupi artist Mick Namarari Tjapaltjarri (1926-1998) depicting the night and the sunrise over the landscape. The painting is shown as an enlargeable image. Text onscreen gives information on the visual symbolism of the work, describing the enhanced topographical perspective of the painting and explaining the context of the work and the artist, elaborating on the series Moon Dreaming and on Papunya Western Desert painting. The painting measures 40.0 cm high x 60.0 cm wide and was painted with synthetic polymer paint on composition board.

    Educational value

    • This resource is excellent for the Responding strand in the years 7 and 8 visual arts curriculum, especially for those content descriptions that refer to considering the broader context of works of art, such as their social, cultural and historical context. It may also be useful for teachers of history in year 3 and 4 particular in relation to content descriptions about the importance of connection to Country for Aboriginal peoples as the work documents important ceremonial ground.
    • The work is of considerable significance for the Aboriginal and Torres Strait Islander histories and cultures cross-curriculum priority. It exemplifies Aboriginal people’s special connection to Country and the celebration of the unique belief systems that spiritually connect people to land, sea, sky and waterways. The resource also connects to another organising idea: Australia acknowledges the significant contributions of Aboriginal and Torres Strait Islander people locally and globally. Mick Namarari Tjapaltjarri was an integral member of the renowned Papunya Western Desert painting movement.

    Text © National Gallery of Australia, Canberra 2010