Albert Namatjira


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Namatjira, Albert

 

Born July 28, 1902, in Hermannsburg, Northern Territory; died Aug. 8, 1959, in Alice Springs. Australian painter.

Namatjira, an aborigine, was the greatest representative of the school of realistic watercolor landscape that originated in the Aranda tribe. He created colorful, majestic scenes of his native land.

REFERENCE

Joyce, B. Namatzhira. Moscow, 1973. (Translated from English.)
References in periodicals archive ?
Another highlight of this wonderful festival was the performance by Australia's Big hART theatre company of Namatjira, a powerful and ultimately heartbreaking account of the life of Albert Namatjira, Australia's first celebrated Aboriginal indigenous artist.
The lives, works and themes of three late contemporary artists are then presented with an emphasis on the effects of assimilation policy on them: Albert Namatjira, Les Griggs, and Lin Onus.
In what field did Albert Namatjira achieve success and fame?
The timing is just right--as the writers point out early in the introduction, the media's influence on popular perception was beginning to burgeon in the 1950s and had the capacity to shape personalities, as well as the perception of them, in a way that, in some cases, for example Albert Namatjira, had disastrous consequences.
So far this is a painfully short list that recognises only Rover Thomas, Lin Onus and Emily Kngwarreye, leaving Albert Namatjira with the long list of Australian artists.
In a radio interview in 1992 William described Albert Namatjira as possessing a unique ability to convey the feeling of the outback without embellishment or overstatement.
Albert Namatjira became the first Australian Aboriginal to be given Australian citizenship in 1957, while Aborigines were not given the right to vote in Commonwealth elections until 1962.
He sees the paintings of Albert Namatjira and the other Western Aranda watercolourists which began in the mid-1930s as `exhibited partly as a sign of what Aborigines were capable of achieving once "civilized", and in this respect could be seen as much as a denial of Aboriginal art as a recognition of it' (p 22).