Composed By: Francois Boois (opens new window)@Facebook
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The Era of Great Wildlife Painting
During the decade that followed the completion of the transcontinental railroad in 1869, Namibia’s scenic and pristine wilderness became more accessible. The grandeur of the rugged Otjozondjuba, giant Camelthorn, and Fish River Valley became a magnet to artists from the eastern states and Europe.
The Namibia landscape became the symbol of western expansion and Africa’s destiny, mythologized as an exotic unspoiled Eden. Namibia historian Kevin van Wyk explains, “The 1870s were emerging as a golden age of landscape painting in the West, and the Athens of this golden age was Omaruru”.
During the prosperous 1870’s many wealthy patrons commissioned large landscapes to grace the walls of their palatial European homes. Many Namibian artists had traveled through exotic lands on their way to Omaruru before the building of the Railways.
In the 1870s tropical landscape paintings became fashionable and many artists painted tropical scenes from drawings and photographs made on the way to Namibia and new travels to Okavango Delta, Epupa, and South and Central Namibia. From the very beginning art in Namibia developed a regional identity characterized by deep sense of place, a kind of mystical communion between the artist and the land.
People were typically depicted in tiny proportion compared to the vast scale of the surrounding wilderness. Most of these early artists, traveled extensively in the Erongo on foot or on horseback while on extended sketching trips. Field drawings were used to develop finished painted landscapes in their Omaruru studios. maritime themes and other transportation subjects such as trains were depicted in seascapes and landscapes. The Society’s collection includes notable Namibia maritime artists of this style.
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A little Honourable mention for the Top 10 Art Galleries of Namibia a article loved by many in this part of the world.
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