Wool Landscape Paintings

Naive Style Art depicting a journey home using wintery earthy colours by Contemporary Irish Artist, Eimear Gilleece Canvas measures 20 x 16 inches Unframed Signed on front and rea...

Miniature Painting of Victoria Embankment London & Houses of Parliament, Westminster in the Rain - a unique original from leading Contemporary Cityscape Artist, Angela Wakefield. Par...

The total size of the two works is 90x180 cm. At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork i...

At the center of the painting stands a woman immersed in a state of inner harmony, playing the flute as if the very space around her responds to her melody. Her figure is gentle and ...

Miniature Painting of Victoria Embankment London & St Pauls Cathedral at Night 2 - a unique original from leading Contemporary Cityscape Artist, Angela Wakefield. Part of the London ...

The painting "Where I Am – the Strings Breathe with Life" radiates harmony, presence, and inspiration. The figure of a woman with a gentle gaze and a violin in her hands embodies the...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

Ps 240 Summer in La Baule Vincent Van Gogh In this luminous and poetic work, it's a powerful layer of meaning through the woman’s swimsuit, which echoes Vincent van Gogh’s Starry Ni...

Black & White Painting of People in the Sunshine on London Bridge with Tower Bridge in the background. A unique original from leading British Cityscape Artist, Angela Wakefield. Part...

Robert Motelski's paintings are exceptional visions of nature, visions of space which surrounds us. They tell about being, fate and passing. They depend on the season of year, the ti...

Robert Motelski's paintings are exceptional visions of nature, visions of space which surrounds us. They tell about being, fate and passing. They depend on the season of year, the ti...

As one of the last generation to remember a childhood lived in the desert hunting and gathering with her family, Walangkura Napanangka's paintings recall the stories of country and the location of specific sites in her traditional homeland west of the salt lake of Karrkurutinjinya (Lake Macdonald). Born around 1946, at Tjitururrnga west of Kintore, in the remote and arid country between the Northern Territory and Western Australia, she lived with her father Rantji Tjapangati and mother Inyuwa Nampitjinpa and later, while still a teenager, travelled by foot with her family over the hundreds of kilometres from their remote desert home eventually joining Uta Uta Tjangala's group as they walked in to the settlements of Haasts Bluff and then Papunya. The lure of settlement life with its promise of plentiful food and water belied the harsh conversion they would make to an alien lifestyle with its many problems and unfamiliar demands. The upheaval however, was ameliorated to some degree by the proximity of her immediate family including her mother Inyuwa, adoptive father Tutuma Tjapangati, and sister Pirrmangka Napanangka (now deceased) all of whom became artists. Relocated to the community of Kintore in 1981 when the outstation movement began, Walangkura participated in the historic women's collaborative painting project (1994) that was initiated by the older women as a means of re-affirming their own spiritual and ancestral roots. It was a time of specifically female singing, ceremony and painting, away from the gaze of outsiders and men folk. The huge and colourful canvases that emerged from the women's camp were 'alive with the ritual excitement and narrative intensity of the occasion' (Johnson 2000: 197). Within a year, Papunya Tula Artists, now established at Kintore, had taken on many of these women as full-time artists, revitalising the company after the deaths of many of the original 'painting men'. While individual women forged their own stylistic trajectory, these paintings were immediately distinguishable from the men's more cerebral and symmetrical style. They radiated an exuberant and vibrant energy, the felt heart-beat of women's affinity to country and spirit. Walangkura's early works, created from 1996 onward, are characterized by masses of small markings and motifs covering large areas of canvas. Her favorite colour, a deep sandy orange predominates, accentuated against more somber blacks and reds and dusky greens or yellows. More recent works show a gestural quality though still tightly packed with an intensity of geometric line work representing sandhills. In a sense this provides a strong visual and contextual link to the men's linear style as exemplified by the works of George Tjungurrayi...