Robert Baart Landscape Paintings

This painting is the first in a new series I began in the fall of 2025, exploring the profound relationship between nature and the human experience. The collection features contempor...

In keeping with my passion of nature, this collection focusses on the movement and structure of nature. Movement of water, vegetation and even sound. I am fascinated in seeing thing...

This very fine quality 19th century oil on canvas in dark brown wood frame with gold leaves details throughout is signed by Joseph Brunner (Vienna 1826-...

In Between Words III, 2021, Horizons Series Handwoven painting, linen, cotton yarn, acrylic textile paint, 65 x 50 cm ‘Horizons’ are a symbiosis of two disciplines of art, Painting and Weaving. Handwoven Canvas is entirely constructed on a weaving loom using a painting technique of glazing - applying semi-transparent layers of textile on each other' Inspiration is the colour perspective which exists in nature and the line of the horizon – border of the space visible to the eye and the one hidden by the ground. Marta Pokojowczyk...

‚The Heat’, handwoven landscape, linen yarn, organic cotton, acrylic textile paint, 60 x 50 cm, 2021. This work are a symbiosis of two disciplines of art, Painting and Weaving. Handw...

Senses, 2021, Horizons Series Handwoven painting, linen, cotton yarn, acrylic textile paint, 65 x 50 cm ‘Horizons’ are a symbiosis of two disciplines of art, Painting and Weaving. ...

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...

‘Horizon. Cabo Sardão’ 2020 Handwoven painting, linen, woollen, silk, cotton yarn, acrylic textile paint, 135 x 65 cm Handwoven painting from the series ‘Horizons’, based on a portuguese landscape...

"Timeless", from the series Horizons, handwoven painting, linen yarn, acrylic textile paint, 60 x 80 cm, 2022. Canvas is entirely constructed on a weaving loom...

Between the Landscape and Geometry, hand weaving, linen yarn, wool, acrylic textile paint, 70 x 65 cm, 2024. There is a second painting from this series - my other article here, mat...

From the series Horizons – Sunset 2023 Handwoven painting, linen, cotton yarn, acrylic textile paint, 40 x 50 cm. ‘Horizons’ are a symbiosis of two disciplines of art, Painting and...

This painting is part of a new series I began in the fall of 2025 titled Contemplation and Introspection. In this series I am exploring the profound relationship between nature and t...