
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Painting
The prodigal son c.1780-1840
UNKNOWN
International Art | Sculpture
Spinario cast late 19th century
after School of PASITELES
Asian Art | Print
Courtesans (reprint) unknown
after EISEN
Asian Art | Sculpture
Flying horse of Kansu cast 1973
after EASTERN HAN ARTIST
International Art | Sculpture
Bust of Niccolo da Uzzano unknown
after DONATELLO
International Art | Sculpture
Borghese warrior 19th century
after AGASIUS THE EPHESIAN
Pacific Art | Fibre
Jipai (mask) 2011
AFEX, Ben
International Art | Glass
Decanter c.1875-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
Contemporary Australian Art | Installation
Blackboards with pendulums 1992
KENNEDY, Peter
International Art | Drawing
Design
ADAM, Sicander
International Art | Metalwork
Tea urn c.1770-1800
ADAM STYLE
International Art | Ceramic
Long necked vase c.1900-50
ACOMO PUEBLO
Pacific Art | Photograph
'Te Waiherehere', Koroniti, Wanganui River, 29 May 1986 1986, printed 1997
ABERHART, Laurence
Pacific Art | Photograph
Nature morte (silence), Savage Club, Wanganui, 20 February 1986 1986, printed 1999
ABERHART, Laurence
Pacific Art | Photograph
Angel over Whangape Harbour, Northland, 6 May 1982 1982, printed 1991
ABERHART, Laurence
Australian Art | Drawing
A memory of Gumeracha (study of flies) 1908
HEYSEN, Hans
Pacific Art | Print
The boxer 2009
ABEL, Patrik
The Kimberley region lies in the north-east corner of Western Australia, bordered by the Pilbara to the south and the Northern Territory to the east. Separated from the rest of the country by vast areas of rugged desert, the sparsely populated region has fewer people per square kilometre than almost any other place on Earth.
Though early representations of the cultural diversity of the Kimberley were recorded in various Aboriginal art forms, paintings on bark and board first appeared in the late 1930s, when missionaries and anthropologists encouraged artists to produce works on transportable materials. These paintings are associated specifically with the local cave imagery — one of the world’s most substantial bodies of Indigenous rock art ranging from the present back into the Pleistocene era. Still clearly visible are the dominant Wandjina images – estimated to be around 3000 to 4000 years old.
Works by (l–r) Dhuwarrwarr Marika and artists from the Kimberly region, installed for ‘Transitions’, GOMA, September 2022 / © The artists / Photograph: J Ruckli, QAGOMA
Wandjina, the large anthropomorphic ancestral beings are typically depicted with a rounded head accentuated by a radial halo, large black eyes abutting a slender nose, white shoulders and the absence of a mouth. Wandjina are imbued with creational and seasonal powers related to rain, regeneration and fertility, and are tasked with the continuance of both human beings and wildlife. Each painting is believed to be an actual Wandjina spirit that transformed itself into the painting when it ceased wandering the earth in the mythical past.
Worrorra artist Alec Mingelmanganu (1905–81), went from repainting Kimberley Rock art in the 1960s to painting on bark and then canvas. His Wandjina images are some of the most haunting.