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Established in 1994 Galeria Aniela won the trust of some of the most important Australian artists: Charles Blackman, Arthur Boyd, David Boyd, Jamie Boyd, Lenore Boyd, Bogdan Fialkowski, Pamela Griffith, Ray Crooke, Celia Perceval, Tessa Perceval, Col Henry, Danielle Legge, Dino Rogliani, Garry Shead, Gaye Spencer, John Olsen, John de Burgh Perceval, Kinga Rypinska,  Michael Vaynman Pin Hsun Hsiang, Peter Smith, Robin Holliday, Regina Noakes, Susan Weaver, Andrew Sibley. Galeria Aniela specializes in selling to a world wide buyer base high-quality art by renowned artists. We combine art and financial expertise, to deliver to collectors, investors and institutions unique art investments. We recognize the importance of a buyer confidence in purchasing an authentic original work of art, we sell items only of impeccable provenance and quality. Our people focused approach ensures an enjoyable and a rewarding experience.

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Minnie Pwerle (1910-2006)   Click - Share your art enjoyment    Click - Share your art enjoyment     Email

Biography  Australian Encyclopaedia Aboriginal Artists dictionary of biographies page 331.

SOLD
Minnie Pwerle
Awelye
12043
150
x 90 cm
Acrylic on linen
Price:
SOLD
 
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Minnie Pwerle
Awelye Cat.No.11799  
122 x 88 cm
Acrylic on Belgian linen
Buy Now Price: contact us
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Minnie Pwerle
Bush Melon Seeds, Body Paint No.MP0635
160 x 75 cm

Acrylic on Belgian linen

NFS
Buy Now     price may change without prior notic contact us
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Minnie Pwerle
Awelye 11745  
150
x 92 cm
Acrylic on linen
 Price:
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SOLD
Minnie Pwerle

Bush Melon Seeds and Body Paint
150
x 95 cm
Acrylic on linen

Price:
 
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Minnie Pwerle with 'Bush Melon Seeds and Body Paint' 160x75cm
Minnie Pwerle
Bush Melon Seeds and Body Paint
Acrylic on Belgian linen 160 x 72 cm
NFS
price may change without prior notice  contact us

Fair Trade – Australian Indigenous Art Trade AssociationMinnie Pwerle biography

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Minnie Pwerle same as Emily Kame Kngwarreye are two the most important Australian artists. They both became prolific and highly praised artists who came to Western-style. Australian Encyclopaedia Aboriginal Artists dictionary of biographies page 331.

AWARDS
2001 18th National Aboriginal and Torres Strait Islander Telstra Award

COLLECTIONS

Minnie Pwerle was born around 1910 near Utopia in the Australian central desert. Minnie passed away on 18 March 2006. In accordance with Aboriginal Australian practices SOLDconcerning respect for the dead (lasts at least 12 months) and out of respect for her family, she is referred to only as M. Pwerle.  

Minnie Pwerle (pronounced Pearl) (born circa 1910 at Utopia Station was an Australian Aboriginal artist. 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. M. is often compared to Emily Kame Kngwarreye. They both became prolific and highly praised artists who came to Western-style art late in life. M. began painting in 1999 when she was in her late eighties and continued to paint up until her death in March 2006.

M. painted of the Awelye Atnwengerrp Dreamings (Women's Dreaming}. Her distinctive style used linear brush-work based on the body painting used for important women’s ceremonies in her native country of Atnwengerrp. She painted with a rich array of colours and her work contained a compelling visual and spiritual power.

All the stories she painted conveyed her deep connection with the land, and knowledge of the foods that it provides. Besides Women's Dreaming, M. 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. SOLDM. 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. M.’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.

One of M.’s pieces was entered into the 18th National Aboriginal and Torres Strait Islander Art Award in 2001.

M. (like Emily Kngwarreye) experienced considerable pressure to produce works, mentioned in McCulloch's fourth edition of the Encyclopedia of Australian Art. Her work was also mentioned in the context of the Australian Senate inquiry into Indigenous Australian art as being possibly the target of unethical business practices. This reflected broader issues in the industry surrounding artists like M., who were often older, had limited education or English language ability, and faced serious poverty both themselves and amongst their broader family. Questions were periodically raised about whether she was pressured to paint by others, whether she was paid fairly for her work, and whether some of the vast number of paintings traded under her name were created by her at all.

The number of retail outlets still selling M.'s works in large quantities, after her short career late in life, continues to raise questions about ethics and practices in the sector.

Minnie, one of eight children and mother of acclaimed artist Barbara Weir, was born in the Utopia Station Region of the Northern Territory, 250 km northeast of Alice Springs. 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. In 1999, after many years of ceremonial body painting and in her late eighties, Minnie started to paint on canvas. Painting traditional body paint designs of Awelye and her inherited Bush Melon Dreaming, Minnie soon attracted a large following, holding her first solo exhibition in Melbourne in 2000. Her knowledge of and her spiritual connection to the land is clearly evident in all her paintings. Minnie continued to paint until she died in March 2006.

Minnie paintings are held in many 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.

Exhibitions

Minnie Pwerle was born on the banks of the Sandover River, 350 kilometres northeast of Alice Springs. Her country is Atnwengerrp and her language is Anmatyerre and Alyawarr. Minnie was one of six children and went on to become the mother of seven children including International artist Barbara Weir. Minnie commenced painting on canvas in 1999 - and was immediately noticed by Galleries and Collectors worldwide - after a lifetime of ceremonial body painting. Body paint designs are worn to represent Dreamings and various symbols are specific to particular rituals. 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.The circular design of the Bush Melon and the patterned lines of the Women's body paint are presented in bold and striking colours reminiscent of the late Emily Knwarreye's later works, and those of the Batik designs in which Minnie was involved.

Minnie work rapidly drew the attention of both local and international collectors. Minnie is now regarded as one of Australia's most important indigenous talents and is compared with her late friend and contemporary, Emily Kngwarreye. Minnie paints with distinctive linear fluidity as she depicts her country, Awelye Atnwengerrp. She experiments with bold and brilliant colours and adopts traditional body painting designs conveying her intuitive connection with her country. Minnie’s work is immensely joyful. Her paintings convey a rare energy and meaning which is infectious to the viewer. She paints with a rich array of colour and her work contains a compelling visual and spiritual power. The stories that she paints convey her deep connection with the land, and knowledge of the foods that it provides.Minnie is now regarded as one of Australia's most important indigenous talents and is compared with her late friend and contemporary, Emily Kngwarreye. Minnie paints with distinctive linear fluidity as she depicts her country, Awelye Atnwengerrp. She experiments with bold and brilliant colours and adopts traditional body painting designs conveying her intuitive connection with her country. Minnie’s work is immensely joyful. Her paintings convey a rare energy and meaning which is infectious to the viewer. She paints with a rich array of colour and her work contains a compelling visual and spiritual power. The stories that she paints convey her deep connection with the land, and knowledge of the foods that it provides.

It was not until 1999 that she painted her first canvas and rapidly drew the attention of both local and international collectors. Minnie is now regarded as one of Australia's most important indigenous talents and is compared with her late friend and contemporary, Emily Kngwarreye. Minnie paints with distinctive linear fluidity as she depicts her country, Awelye Atnwengerrp. She experiments with bold and brilliant colours and adopts traditional body painting designs and bush melon seeds, conveying her intuitive connection with her country. Minnie’s work is immensely joyful. Her paintings convey a rare energy and meaning which is infectious to the viewer. Minnie Pwerle is the mother of the internationally renowned artist Barbara Weir. She has exhibited extensively throughout Australia and the USA.

One of Minnie’s pieces was entered into the 18th National Aboriginal and Torres Strait Islander Telstra Award in 2001. To be selected for the Telstra Award is an enormous recognition of her work. The Dreamings which Minnie paints are Body Painting (Awelyewe - Atnwengerrp), Bush Melon, and the Bush Melon Seed. Once very abundant and fruiting in the summer season, the bush melon is now very hard to find. Minnie 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. Her distinctive style uses linear brush-work based on the Body Painting used for important women’s ceremonies in her native country of Atnwengerrp.  She paints with a rich array of colours and her work contains a compelling visual and spiritual power. All the stories that she paints convey her deep connection with the land, and knowledge of the foods that it provides.

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Awelye Cat. no. 11799

Minnie Pwerle 1910 - 2006

Acrylic on Belgian Linen

122 x 88 cm

Top-quality, exquisite original painting, with particular attention to the details, the intricate shades of colour moves with the viewer’s eyes. The painting boasts the powerful, physical presence wit multi dimensional appearance of the much contemporary work of art.

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Bush Melon, Melon Seeds and Body Paint circa 1998 Cat. No. MP0635

Minnie Pwerle

Acrylic on Belgian Linen    Horizontal

160 x 75 cm

NOTES:  'Bush Melon, Melon Seeds and Body Paint' is an original masterwork, one of the most beautiful paintings Minnie Pwerle has done. Minnie paid particular attention to the details, the intricate shades of colour moves with the viewer’s eyes. This top-quality, exquisite painting boasts the powerful, physical presence wit multi dimensional appearance of the much contemporary work of art.

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Horizontal Cat. No. MP0635 Bush Melon, Melon Seeds and Body Paint

75 x 160 cm

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