Australia - Landscape Paintings

"Pastel Cloud Sketch Pink" is a large original painting featuring soft pink and green hues that blend to create a dreamy cloudscape. Thick, descriptive strokes of acrylic paint bring...

"Pastel Cloud Sketch Lavender" is a beautiful cloud study rendered in acrylic on canvas. The artwork features soft pastel hues, predominated by lavender and white, that blend seamles...

'I Can Sea no3' A small sweet work of Australian beach inspiration, descriptive cloudy skies and beautiful tones of beautiful blue ocean waters to up...

Yannima Tommy Watson is a Pitjantjatjara artist born around the 1930s, in the bush some 44km west of the small isolated community of Irrunytju. Not yet very well known to the French public, despite his participation in the architectural project of the Musée du Quai Branly, Tommy Watson is nevertheless often considered the greatest living Aboriginal artist. Like many aborigines of his generation, he lived a traditional, nomadic or semi-nomadic life before his contact with Western civilization; then he will occupy the only jobs that the Aborigines find: herdsmen (until Yuendumu), laborers for the construction of infrastructures in the desert. Throughout this period he became familiar with his "country", a harsh region, and deepened his knowledge, both profane and sacred, relating to Dreams and Dreamtimes, to the connections between sacred sites and the Ancestors. He will even work in Papunya, where the artistic movement started. But the Pijantjarra are intransigent with tradition…no question at this time of revealing the motives and the secret stories. The North of South Australia, the region where he is from, was touched by the pictorial movement only at the very beginning of the 2000s. In 2001, Tommy began his career as an artist in Irrunytju (Wingellina). He is a young artist… He learns by observing other painters and draws on the experiences of a long life and on the exceptional knowledge he has stored up. But quickly he will find his way, a radically new style where color plays a major role. Very quickly, the iconography now well known by the artists of Yuendumu, or the Western Desert, Balgo or Lajamanu disappeared. The symbols are no longer there. As Rover Thomas, Emily Kame or Paddy Bedford had done before him, this is a real artistic revolution. For Tommy, it is not a question of describing his Dream (Caterpillar), the routes taken by the Ancestors. He concentrates on a site, a story, sometimes very profane, the memory of a meeting, of a hunting party, tries to condense his memories, the information of which he is the depositary, to add a poetic touch to it, sometimes melancholy, and this gives a painting with a very abstract aspect. It is a painting where the emotion is very present, undoubtedly less cerebral than the art of the neighbors of the north the Pintupi, like Ronnie Tjampitjinpa, George...

"Nautilus Code" from the Ocean's Imprint Collection, evokes the serene beauty of the sea through subtle, shell-like patterns and rich textures. Crafted with layers of texture, delibe...

Ronnie Tjampitjinpa was born around 1943 at Tjiturrunya, about 100km west of the Kintore ranges in Western Australia. Following an extended drought in the 1950s, Ronnie's family move...

"Still Blue Waters" This piece speaks to the soul's longing for peace and the ever-present dialogue between the earth, sky, and ocean. It will infuse any home with a sense of calm ...

"Carved by the Current," from the Ocean's Imprint Collection, captures the essence of the sea through textures and subtle patterns reminiscent of seashells. The artist's technique i...

There’s nothing quite like watching clouds drift silently across a brilliant blue sky. This oversized square canvas captures that peaceful feeling of lying outside and watching the w...

"White Wash and Pastel no2" A quiet, delicate abstract lanscape painting rendered in soft pastel tones with a dark, deep blue underpainting adding to the depth and drama. Experience...

Gloria Petyarre, sometimes referred to as Gloria Pitjara, was one of Australia's most successful and significant female artists. Her depiction of the K...

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...

Warlimpirrnga Tjapaltjarri was the son of Papalya Nangala and Waku Tjungurrayi, an old man who had three wives (Papalya and two of her siste...

Head in the Clouds no3 There’s nothing quite like watching clouds float silently across a brilliant blue sky. This oversized square canvas captures that peaceful feeling of lying ou...

"Spirals of the Shore," from the Ocean's Imprint Collection, evokes the tranquil yet powerful essence of the sea. Subtle patterns reminiscent of seashells are captured through layers...

'Pastel View' is from my minimalist abstract collection on high quality linen in my favourite colours. I love the challenge of painting in the minimalist style, it takes me two to th...

"White Wash and Pastel no1" A quiet, delicate abstract lanscape painting rendered in soft pastel tones with a dark, deep blue underpainting adding to the depth and drama. Experience...

Feel the movement of deep ocean like waters, the energy of white wash waves and the delicate light reflecting in a soft moody grey sky. This semi abstract oceanscape is highly textu...

'Evergreen' 'When I paint my goal is to take all my impressions, feelings and experiences and create an artwork that will emanate a pure, positive vibrant energy. I want my painting...

'Today' 'It's Summer' a small square works collection of quality custom framed, minimalist abstract expressionist paintings on timber board. Lighten up the room with bright, summer ...

'Soul Surfing' 'When I paint my goal is to take all my impressions, feelings and experiences and create an artwork that will emanate a pure, positive vibrant energy. I want my paint...

'Something Loving' 'When I paint my goal is to take all my impressions, feelings and experiences and create an artwork that will emanate a pure, positive vibrant energy. I want my p...

Titled 'Stand By Me' it is acrylic on cotton canvas, 100cm high x 200cm wide. A large scale abstract collection painted in minimal colour with pairing down, simplifying, beauty and c...

'Reef Waters' 'It's Summer' a small square works collection of quality custom framed, minimalist abstract expressionist paintings on timber board. Lighten up the room with bright, s...

'Tomorrow' 'It's Summer' a small square works collection of quality custom framed, minimalist abstract expressionist paintings on timber board. Lighten up the room with bright, summ...

New Horizons is an abstract expressionist collection of original paintings exploring the views of the natural world and the beauty of the vast Australian landscape. Painted on raw French linen with built up layers of paint revealing ghostly descriptive details and delicate mark making. Sunset mirroring pink skies, stormy night...

Yannima Tommy Watson is a Pitjantjatjara artist born around the 1930s, in the bush some 44km west of the small isolated community of Irrunytju. Not yet very well known to the French public, despite his participation in the architectural project of the Musée du Quai Branly, Tommy Watson is nevertheless often considered the greatest living Aboriginal artist. Like many aborigines of his generation, he lived a traditional, nomadic or semi-nomadic life before his contact with Western civilization; then he will occupy the only jobs that the Aborigines find: herdsmen (until Yuendumu), laborers for the construction of infrastructures in the desert. Throughout this period he became familiar with his "country", a harsh region, and deepened his knowledge, both profane and sacred, relating to Dreams and Dreamtimes, to the connections between sacred sites and the Ancestors. He will even work in Papunya, where the artistic movement started. But the Pijantjarra are intransigent with tradition…no question at this time of revealing the motives and the secret stories. The North of South Australia, the region where he is from, was touched by the pictorial movement only at the very beginning of the 2000s. In 2001, Tommy began his career as an artist in Irrunytju (Wingellina). He is a young artist… He learns by observing other painters and draws on the experiences of a long life and on the exceptional knowledge he has stored up. But quickly he will find his way, a radically new style where color plays a major role. Very quickly, the iconography now well known by the artists of Yuendumu, or the Western Desert, Balgo or Lajamanu disappeared. The symbols are no longer there. As Rover Thomas, Emily Kame or Paddy Bedford had done before him, this is a real artistic revolution. For Tommy, it is not a question of describing his Dream (Caterpillar), the routes taken by the Ancestors. He concentrates on a site, a story, sometimes very profane, the memory of a meeting, of a hunting party, tries to condense his memories, the information of which he is the depositary, to add a poetic touch to it, sometimes melancholy, and this gives a painting with a very abstract aspect. It is a painting where the emotion is very present, undoubtedly less cerebral than the art of the neighbors of the north the Pintupi, like Ronnie Tjampitjinpa, George...

'Sweet Home' 'When I paint my goal is to take all my impressions, feelings and experiences and create an artwork that will emanate a pure, positive vibrant energy. I want my painting...

'I can Sea no2' A small sweet work of Australian beach inspiration, descriptive cloudy skies and beautiful tones of beautiful blue ocean waters to up...

'I Can Sea no1' A small sweet work of Australian beach inspiration, descriptive cloudy skies and beautiful tones of beautiful blue ocean waters to up...

'Sweet Thing' 'It's Summer' a small square works collection of quality custom framed, minimalist abstract expressionist paintings on timber board. Lighten up the room with bright, s...

Matisse Mountains no1 abstract impressionist landscape in pastel colors on fine art paper, framed in white. A sweet happy original painting to add light and joy to any room or small ...

Beach no1 I always find inspiration in endless waves and a calming effect from the beach and coastline where I grew up on the Gold Coast of Australia. After many year I have returne...

'Aqua Mountain Forms' minimalist mountain landscape. A sweet happy original painting to add light and joy to any room. I have used colour and form to create this art work striving f...

'Mountain sketch no3' a small square work on timber, abstract expressionist landscape. A sweet happy original painting to add light and joy to any room or small wall space. This small collection is inspired by Canberra, Australia's national capital, surrounded by mountains. You have a magnificent show of these beautiful land forms from anywhere you stand.  The breath taking Brindabella’s are located on the border that separates New South Wales and Canberra. The range rises to the west and includes the Namadgi National Park in the ACT and the Bimberi Nature Reserve and Brindabella National Park in New South Wales. The Brindabellas are visible to the west of Canberra and form an important part of the city’s landscape. 'Mountain Sketch' is painted in soft earthy tones, coral, skin, tan, burnt Sienna, peach, grey, leaf green and white. Heavily layered with lots of thick descriptive textures and details. This work comes ready to hang. 3 paintings make us this collection. A wonderful edition to a home, hang one or more side by side on a hallway wall, above a bedside table, or make a statement with a salon hang with 2 or 3 works for the main living room wall. - Original one of a kind painting - Ready to hang - Painted on ply wood timber box...

'Mountain sketch no2' a small square work on timber, abstract expressionist landscape. A sweet happy original painting to add light and joy to any room or small wall space. This small collection is inspired by Canberra, Australia's national capital, surrounded by mountains. You have a magnificent show of these beautiful land forms from anywhere you stand.  The breath taking Brindabella’s are located on the border that separates New South Wales and Canberra. The range rises to the west and includes the Namadgi National Park in the ACT and the Bimberi Nature Reserve and Brindabella National Park in New South Wales. The Brindabellas are visible to the west of Canberra and form an important part of the city’s landscape. 'Mountain Sketch' is painted in soft earthy tones, coral, skin, tan, burnt Sienna, peach, grey, leaf green and white. Heavily layered with lots of thick descriptive textures and details. This work comes ready to hang. 3 paintings make us this collection. A wonderful edition to a home, hang one or more side by side on a hallway wall, above a bedside table, or make a statement with a salon hang with 2 or 3 works for the main living room wall. - Original one of a kind painting - Ready to hang - Painted on ply wood timber box...

Like a joyous bright sunny day, soak in the vibrant light and pure energy of healing turquoise in this abstract expressionist painting. A delicate, mediative work, inspired by the tu...

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...