Elea was born the first son of Namatjira and Ljukutja of the Arrernte Tribe at the Hermannsburg mission on the 28th of July 1902. Three years later on Christmas Eve 1905 he was baptized and given the name, Albert, in the same ceremony his parents were given the names, Jonathon and Emilie. It was not customary for Western Arrernte people to have a second name. For this reason Alberts first paintings were signed, Albert, it was not until Albert started exhibiting that it was thought necessary for him to have a second name. He took his fathers original name and signed his works, Albert Namatjira.
Alberts early years were spent on the mission where he became proficient in the trades of carpentry and blacksmithing. At the age of eighteen he eloped with his wife Ilkalita who were together forced to live in neutral country for three years. This was because Ilkalita (later baptized Rubina) had been denied to him under tribal law. Albert married wrong way. On his return to the mission he sought employment and worked as a camel boy on the train between Oodnadatta and Alice Springs. In the late 1920s Albert took an interest in the emerging crafts industry at Hermannsburg. He began decorating mulga plaques with scripture and images of native plants and animals. This led to his first commercial success in 1932, when he was commissioned by Police Constable W. Mackinnon to make a dozen oval plaques.
Albert became interested in watercolour painting when he saw an art exhibition at Hermannsburg featuring the works of Rex Battarbee and John Gardner. The paintings amazed Albert who immediately sought painting materials and information from Pastor Albrecht,How much this fella get, Albert asked. Albrecht first dismissed Alberts interest in painting. Albert persistently returned, I think I can still do it, Albert said. Albrecht reconsiderd Alberts request and consulted with Battarbee who encouraged the idea and offered to teach painting to any Aboriginal who wished to learn. Battarbee left the mission soon after and did not return for two years. During this time Albert toiled with his paints but after much enthusiasm decided to wait for the lessons he had been promised. When Battarbee returned in 1936 he commissioned Albert (as his camel boy) to take him on a painting trip. Albert guided Battarbee through some of the most spectacular country in Central Australia, including Palm Valley, The James Range and Gosses Gorge. Over the next two-months Albert received his first and last lessons. He progressed rapidly. He excelled in draftsmanship, perception of colour and study-of-detail. His first major public exhibition was oppened in Melbourne on the 5th of December 1938, in which all 41 works sold within days (this would become the norm). Alberts extraordinary ability worried some critics of the day. Several state galleries refused to collect or acknowledge his work.
During the war years Albert became inundated with orders. The strong demand for his work came from Australian and American soldiers. A subsequent shortage of materials forced Albert to substitute paper for local beanwood. Albert would cut the wood from the tree and sand it until perfectly smooth.
Alberts reputation grew during 1940s and 50s. A quietly spoken and well mannered man, he met with dignitaries from around the world, including the Queen of England. People came from afar to meet Albert. Despite all of the hype and publicity, Albert remained modest. Retreating to the peaceful surroundings of his tribal lands, he became internationally renowned as one of Australias greatest artists.
Language Group: Western Arrernte
Skin: Kngwarreye
Tribal Name: Tonanga

Enos was born, out bush, in 1920. After attending mission school he worked as a Camel Boy before joining the Army Labor Gang in 1942. Three years later he returned to the mission and took up painting.
Enos took up painting in 1945. He had attempted to paint prior to joining the labour gang but recieved little help from his father who was obliged to help Walter Ebatariinja.
Enos made tremendous progress in the late 1940s. Battarbee sites the reason for this being because Enos was living on a reserve west of Herrmannsburg away from his fathers influence. His landscapes portray stylised flowing brushwork with totemic influence. Some figurative works depicted hunting scenes with emus, wild dogs and on occasion a tribesman.
Language Group: Western Arrernte
Skin: Peltharre

Oscar was born, out bush, in 1922. After attending mission school he joined the Army Labor Gang in 1942. He returned to the mission three years and took up painting. In 1947 Oscar became Alberts truck driver. He would drive Albert to his various painting spots and leave him with supplies. Oscar would then visit the camps of family and friends. This lasted for about a year until the truck became so damaged from the rough dirt tracks that it had to be garaged.
Of Alberts five sons Oscars work is most strongly influenced by his fathers. His landscapes achieved a simalarily high standard of finish with later works having a brighter pallet. Oscars best works match Alberts for techique and beauty. Superbly composed, they capture subtle changes in light. His ghost gums are masterly. Note. Early works were signed, Oskar Namatjira.
Language Group: Western Arrernte
Skin: Peltharre

Ewald was born the third son of Albert and Rubina on the 11th of July 1930. He had almost no schooling, spending much of his youth on painting trips with his father.
Ewald took up painting in 1947. His first work surprised Pastor Albrecht who had thought Ewald to have no artistic abilty. Ewald slowly produced more works and was later considered to be one of the groups leading artists.
Language Group: Western Arrernte
Skin: Peltharre

Keith was born the fourth son of Albert and Rubina on the 13th of June 1938, (the same year as Alberts first exhibition). Keith would often drive or accompany Albert on interstate trips.
Keith took up painting in the tradition of his father and older brothers. His composition usually included a gum tree to the left. Earlier works were finely drafted and included more diverse subject matter.
Language Group: Western Arrernte
Skin: Peltharre

Maurice was born the fifth son of Albert and Rubina in 1939. He took up painting in the late 50s.
Language Group: Western Arrernte
Skin: Peltharre

Gabriel was born the son of Enos Namatjira on the 20th of January 1942. His hard edged landscapes and are lit with bright tones.
Language Group: Western Arrernte
Skin: Kngwarreye

The three Pareroultja brothers were born the sons of Kristian and Auguste. Their second name is associated with their fathers totemic site. There are several major native-cat totemic sites to be found in the Mt. Sonder area, but all of these are located in rugged country several miles distant from the mountain. One of them is PaEroultja... once the home of the long deceased father of three well-known Hermannsburg watercolour artists originally christened Ruben, Otto and Edwin; they later adopted the name of their fathers totemic site as their own family name. STREHLOW - Mythology of the Centralian Aboriginie.
The Pareroultja brothers demonstrated a clear divergence in style from Namatjiras. Edwin first found success with a new style. Encouraging other Arrernte artists including his brothers, Otto and Reuben to be more creative in their approach to the Mythological landscape.

Otto was born on the 24th of March 1914. After attending mission school he worked as a stockman, carpenter, shearer and gardener. He later served on the Native Council at Hermannsburg.
Otto started painting in 1940. Over the next few years he painted intermittently, working between a conservative and totemic approach to the landscape. It was not until the mid 1940s that Otto found the confidence to paint freely in his own vision. Encouraged by Edwins success and told by Rex Battarbee to paint the landscape as he saw it, he made tremendous progress, selling all 48 paintings in his first solo exhibition in 1947.
Ottos paintings portray the creation myhts(dreamtime stories) of the Western Arrernte People. Mythological plays depicting the creation ancestors. A pictorial account of how the world was created. Ancient mountains and trees bend and jut in an orgy of colour, rhythm and movement. His palette was unique, firstly favoring rich earthy tones and later using bright expressive colours. Unaffected by almost any knowledge of western art, Otto was free to create Mythological Surrealism.
Language Group: Western Arrernte
Skin: Kngwarreye

Reuben was born on the 3rd of May 1916. After attending mission school he worked odd jobs before joining the Army Labor Gang in 1942. One year later he was discharged for ill health. Reuben returned to the mission where he briefly took up painting before moving to an Aboriginal reserve west of Hermannsburg with his wife Elsie and their three young children.
Reuben took up painting full time in 1945. He was one of the only Hermannsburg artists who depicted the people and wildlife of the Centralian Bush. Battarbee encouraged his figurative work but Reuben was reluctant because under tribal law painting such subjects was not permitted. Reubens style reflected his character and status as the refined leader amongst the group. He was commended for his superb draftsmanship.
Language Group: Western Arrernte
Skin: Kngwarreye

Edwin was born on the 23rd of October 1918. As a young man he was physically fit and excelled at all sports especially running. Edwins remarkable ability as a runner was demonstrated at a Red Cross sports meeting in Alice Springs, 1944. The only runner off scratch Edwin won both the 130yrd and 75yrd barefoot against the best runners from the Army and Allied Works. He competed on a few other occasions but received little encouragement.
Edwin began painting in 1943, his first attempt astounding Rex Battarbee, The greatest impression any artist has ever made on me was on 25th October 1943, when Edwin showed me his first watercolour, Rex Battarbee, Modern Australian Aboriginal Art, 1951. Battarbee encouraged Edwin to develop his own style and not to emulate that of Albert. His first solo exhibition was opened on the 12th of November 1946 at the Athenaeum Art Gallery, Melbourne. Edwin was inspired by the symmetries and patterns found in nature. This is evident in the form of parallel ranges and decorative shrubbery. This design quality resembles traditional Arrernte symbolism where parallel and circular lines move in harmony. Note. Early works 1943/44 were signed, Edwin Bareroultja.
Language Group: Western Arrernte
Skin: Kngwarreye

Walter was born the son of Joshua and Ruth on the 20th of October 1915. He was schooled at the Hermannsburg Lutheran mission, West of Alice Springs. At the mission he became proficient in the trades of stock-whip and belt plaiting.
Walter took up painting in the early 1940s following the success of Albert Namatjira. He became Alberts first pupil by right of his superior ancestry thus being taught before Alberts own sons Enos & Oscar Namatjira. Under Alberts tutelage he improved quickly and had a ready market for his paintings.
Language Group: Western Arrernte

Cordula was born the niece of Albert Namatjira. She was raised by Albert before marrying Walter Ebatarinja with whom she had several children.
Cordula began painting in 1950. Her interest in painting was first seen merely as a curiosity and she was not encouraged to the same extent as the male artists. One of her works was bought by Prince Philip at the Melbourne Olympics in 1956. She is credited with becoming the first Arrernte woman to establish herself as an artist.
Language Group: Western Arrernte
Skin: Peltharre

Henoch was born on the 16th of July 1914, his second name, Raberaba, means, willy-willy, or, wirlwind. He had several children with his wife Regina and was the Tribal brother of Albert Namatjira and Edwin Pareroultja. Henoch became an excellent stockman and was adept at all stock work. In 1944 he was one of the founding members of the Hermannsburg Aboriginal Pastoralists Scheme. He was given fifty cows, a bull, several horses and gear. The initial loan, free of interest, was to be paid back with his first sales of bullocks. After working the land for two years he asked to be relieved of his position and returned to the mission.
In 1946 he went on a one month painting trip with Albert Namatjira. Inspred by Alberts work he took up painting and by 1947 had become devoted to his art. That year he painted and sold more paintings then any other artist in the group.
Language Group: Western Arrernte
Skin: Kngwarreye or Penangke

Herbert was born on the 14th of April 1920. He grew up around the Hermannsburg mission before taking up painting in the late 1940s. In 1951 he exhibited with twelve other Aranda artists in an exhibition held by Rex Battarbee.
Language Group: Western Arrernte
Skin: Penangke

Brenton was born the son of Herbert and Arfa Raberaba at Hermannsburg on the 19th of December 1951. He began painting in the late 1960s.
Language Group: Western Arrernte
Skin: Pengarte

Richard was born near Hermannsburg in 1916. His second name, Moketarinja, means, a snake curled up in a circle. He was schooled at the mission and excelled at running, later working in construction around the mission.
In 1940 Rex Battarbee invited Richard on a one-month painting trip. Battarbee was impressed by Richards drawing ability and decided to encourage him rather than interfere with his developing style. Richard was to go on another painting trip the following year by which time he was earning a good living from painting on boomerangs. Despite this success he opted for a career change and joined the Army Labour Gang. Three years later he returned to the mission. Over the next few years Richard painted intermittently. By 1948 Richard had become devoted to his art, that year he painted more pictures then any other artist in the group. His style was considered to be primitive and as such his works did not command the higher prices achieved by his peers.
His style is uniquely tribal portraying the landscape in harmonic pattern. Some works echo mythological theme, landmarks that embody ancestral forms revealing some of the secrets of the Western Arrernte Dreamings.
Language Group: Western Arrernte
Skin: Peltharre

Benjamin was born the son of August and Naomi on the 6th of September 1921. He was schooled at the Hermannsburg Lutheran Mission (West of Alice Springs). Benjamin married Albert Namatjiras eldest daughter Maisie. He took up painting in the late 1940s. Benjamin often painted with Albert. Albert encouraged Benjamin and had a hand in some of his early works.
Language Group: Western Arrernte
Skin: Kemarre

Adolf was born the son of Reinhold and Clara on the 27th of December 1914. He began painting in the mid to late 1940s. His interest in painted lasted until he turned his attention to cattle. In the early 1950s Adolf was granted permission to run a commercial cattle heard on land west of Haast Bluff. This venture proved to be very successful. His works are finely drafted and beautifully coloured.
Language Group: Western Arrernte
Skin: Mpetyane

Gerhard was born the son of Reinhold and Clara on the 2nd of June 1917.
Language Group: Western Arrernte
Skin: Mpetyane

Claude Pannka was born the son of Anthapa and Sandra at Tempe Downs in 1928. He developed an interest in art when Battarbee visited Hermannsburg in 1934 and by 1950 was painting full time.
Language Group: Luritja
Skin: Kemarre

Gustav Malbunka was born the son of Hezekiel and Julanta Malbunka at Hermannsburg on the 11th of february 1909. He joined the Army during the early 1940s. On his return to Hermannsburg he briefly took up painting before embarking on a successful career as a Pastoralist.
Language Group: Western Arrernte
Skin: Peltharre

Kennneth was born the son of Rolf and Millicent on the 9th of April 1932. He was schooled at the Hermannsburg Lutheran Mission (West of Alice Springs) before taking up painting in the 1950s.
Language Group: Western Arrernte
Skin: Mpetyane

Clem was born the son of Arthur & Katie Abott on the 30th of July 1939.
Language Group: Western Arrernte
Skin: Mpetyane

Reggie Namatjira (1946-)
Jillian Namatjira (1949-1991)
Albert Jnr Namatjira (1955-)
Trevor Pareroultja (1941-1983)
Arnulf Ebatarinja (1931-)
Joshua Ebatarinja (1940-1973)
Desmond Ebatarinja (1946-2004)
Gloria Moketarinja (1922-1982)
Nelson Pannka (1935-1971)
Thomas Stephens
Lindsay Imbarndarinja