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Emily Kame Kngwarreye

My Country - Final Series - 1996

synthetic polymer paint on Belgian linen
127.0 x 82.0 cm
Price Realised: $427,000.00

MP #699


Provenance

Dacou (Dreaming Art Centre of Utopia), SA
Aboriginal Gallery of Dreamings, Vic
Lauraine Diggins Fine Art, Vic
Art Mob, Tas Cat. No AM12242/16
Private Collection, Tas

 

Accompanied by a photo of the artist creating the work

Exhibited

Earth's Creation, the Paintings of Emily Kame Kngwarreye, Lauraine Diggins Fine Art, Melbourne, September - November 1998

Reference

Earth's Creation, the Paintings of Emily Kame Kngwarreye, Lauraine Diggins Fine Art, Essay by Dr Daniel Thomas AM, Victoria, 1998
Emily Kame Kngwarreye, The Person and Her Paintings, Edited by Dr Anne Runhardt, Dacou Publishing 2009, p176-177 illustrated

Artwork Size: 127 x 82 cm 

Framed Size: 134 x 88 cm

By the time she passed away on September the 2nd 1996 Emily Kngwarreye’s fame had achieved mythic status. The Sydney Morning Herald obituary reported the ‘Passing of a Home Grown Monet’. By this time comparisons with a number of great international artists including Pollock, Monet and Kandinsky, had become commonplace. Emily was an artistic superstar, the highest paid woman in the country, who created one of the most significant artistic legacies of our time.

 

In her final series, created during the weeks preceding her death, Emily created a number of simple, stark colour-field paintings working with large flat brushes. They mark a most extraordinary end to a remarkable career and parallel the last works of Henrie Matise, yet another artist with whom she was compared and about whom she knew nothing.

During the year following her death Emily Kngwarreye was one of Australia’s three representatives at the Venice Biennale, and the subject of a touring retrospective exhibition mounted by Margo Neale for the Queensland Art Gallery. Outstanding in a show packed with memorable images was a selection of works from her final series. With broadly brushed areas of luminous, almost fluorescent colours, these paintings looked like nothing ever painted previously by an Aboriginal painter.

They were, in the words of her biographer Dr. Victoria King, 'a final expression of Alhalkere, her remarkable spirit and a draining away, a kenosis. In this last series Emily merged self and country into a dissolution of form. '