| Death Place: | Yirrkala |
| Death Date: | 1976 |
| Birth Place: | Blue Mud Bay |
| Birth Date: | 1929 |
| Other Names: | Midinari, Midhinarri, Mitinari |
Mithinarri Gurruwiwi (1929–1976) was an Aboriginal Australian painter of the Gälpu clan of the Yolngu people of north-eastern Arnhem Land in the Northern Territory of Australia.[1] His first name is sometimes spelt Midinari, Mitinari, or Mithinari.
Mithinarri Gurruwiwi was born in 1929 to the Galpu clan and the Dhuwa moiety of the Yolngu people, in the Blue Mud Bay area of North-east Arnhem Land.[2] The Galpu clan is known to play the yidaki or didgeridoo. Besides Yirrkala, the Galpu clan also lives at Galiwinku, Goulburn Island, Gunyungarra, Gangan and Galupa.[3]
Mithinarri first learned to paint as a young man, receiving mentorship from a group of Dhuwa moiety artists that included notable artists like Larrtjannga Ganambarr and Wandjuk Marika. They were taught by Wandjuk's father, Mawalan Marika, a master bark painter, at Beach Camp in Yirrkala in Arnhem Land. Mithinarri was often characterised as an eccentric man. He usually camped slightly apart from the other members of his community though he would be often surrounded by his children. He also painted on the beach under a shade of palm fronds stuck into the sand.[4]
Mithinarri had a very successful career as an artist with his works featured in many significant exhibitions and collections worldwide. He also became one of the painters of the famous 1962 Yirrkala Church panels. Other members on the panel at the time included renowned artists like Mathaman Marika and his brother Mawalan Marika. The panels are now housed in the Buku-Larrnggay Museum.
Mithinarri also had a daughter, Djul’tjul, who painted from Gurrumurru. Mithinari's son Gurrukmungu Gurruwiwi is also an artist renowned for his paintings and carvings.
In 1976, Mithinari died at the age of 45.
Mithinarri was a prolific and passionate artist. Although many Aboriginal Artists have started to transition into European paintbrushes, Mithinarri continued working with brushes made of frayed stringy bark when applying background colour as well as drawing the main figurative components of his paintings. His design was created by brushes made of human hair or from the midrib of a palm frond. Mithinarri was both skilled and fast, leading to paintings of large scale. He adapted his compositions brilliantly to the size of the bark available, as in Djaykung (File snakes), c.1960, and Wuyal the Honey Man, c.1960. Mithinarri frequented subjects such as Wild Cabbage, Wagilag Sisters Myth, Rainbow Serpent, Snake in his paintings using Natural Earth Pigments on Eucalyptus Bark.[5] His style of painting featured repeated motifs organized in patterns that suggest the rhythms of ritual performance.[6] Mithinarri's paintings are characterized by a diversity of forms but also have an overall coherence of stylistic elements. The relationship between figuration and abstraction often exhibits Yolngu art characteristics, and thus, his portfolio includes both more literal as well as more abstract paintings. Mithinarri's figurative representations often integrate itself with his geometric clan designs, creating a flowing composition that consist of both stylistic elements. However, some of his paintings are also more separate in their style. For example, many of his paintings of Garrimala burst with vibrant life that characterize the rich inland lake with snakes, birds and fish competing with each other among the waterlilies. In other paintings, he reduces the figurative element almost to the point of abstraction, capturing his energy and emotion solely within the design itself.
Mithinarri was most active in the 1960s and was one of the artists who worked on the famous 1962 Yirrkala church panels, alongside Mathaman Marika and Mawalan Marika. Around this time, he also painted a series of superb large barks for the collector Dr. Stuart Scougall. Mithinari's works have also garnered an international following, appearing in many significant overseas exhibitions including ‘Australian Aboriginal Art’ in Chicago, 1972, and ‘Aratjara – Art of the First Australians’ in Düsseldorf, London and Humlebaek, 1993–94. Furthermore, Mithinari Gurruwiwi is represented in all Australian state galleries as well as in Kluge-Ruhe Aboriginal Art Collection in the United States.
Among the many collections Mithinarri's work has been featured in, the 1962 Yirrkala Church panels are one of the most significant and well known. These panels were two four meter works painted by eight artists from each of the two defining halves of Yolngu reality, Yirritja and Dhuwa.[7] It was originally made for the newly constructed Methodist church but were ultimately not installed. The Yirrkala Church Panels were painted in Earth pigments and featured no Christian imagery and a central focus was to balance that spirituality with the Yolngu cosmology. The Church discarded them when they made the decision not to install the work, but was rescued in 1978 and brought to the fledgling Buku-Larrnggay Mulka Centre.
Gurruwiwi's work is seen in many renowned collections:
Gurruwiwi has been represented in exhibitions all over the world in universities, museums, and art galleries. They have featured some of his most well-known works in combination with other Aboriginal artists. All throughout Australia, in Paris, and at the University of Virginia, Gurruwiwi's work was and still is made available to the public in major collections. All Australian state galleries feature his paintings and his art can also be seen in the Kluge-Ruhe Aboriginal Art Collection in the United States. Below is a timeline of his exhibitions, ranging from 1963 to 2009.