SKU: 83860498941

"Bush Medicine Leaves" by Rosemary Petyarre

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"Bush Medicine Leaves" by Rosemary PetyarreSize 198cm X 130cm Acrylic paint on canvas Free Shipping Art Status: Investment About Rosemary Rosemary Bird Petyarre was born in the early 1950s at Atneltye, or Boundary Bore, on Utopia Station in the Northern Territory, located 270 kms northeast of Alice Springs. Rosemary Petyarre is the niece of the famous Aboriginal artist Emily Kame Kngwarreye and sister of Jeannie Petyarre and half sister of artists Greeny Purvis Petyarre and Evelyn Pultara. She

  • Size 198cm X 130cm
  • Acrylic paint on canvas
  • Free Shipping
  • Art Status: Investment


About Rosemary 
Rosemary Bird Petyarre was born in the early 1950s at Atneltye, or Boundary Bore, on Utopia Station in the Northern Territory, located 270 kms northeast of Alice Springs. Rosemary Petyarre is the niece of the famous Aboriginal artist Emily Kame Kngwarreye and sister of Jeannie Petyarre and half-sister of artists Greeny Purvis Petyarre and Evelyn Pultara. She is also a skin sister to other well-known artists including Gloria Petyarre, Kathleen Petyarre and Ada Bird Petyarre.

 It is clear that Rosemary Petyarre has painting in her blood. Rosemary was one of a group of Anmatyerre women at the forefront of the Aboriginal art movement at Utopia. Like many of the women artists there, Rosemary Petyarre originally produced batik works, eventually moving to painting after encouragement from her aunt Emily Kame Kngwarreye.

 As a bush woman, Rosemary Petyarre is familiar with her land and its abundant species of bush tucker, medicinal plants and native fauna. She and her sister Jeannie Petyarre inherited these stories, along with important women’s stories, from her ancestors via her aunt Emily and they form the basis of her paintings. The subject of many of Rosemary Petyarre’s paintings is a representation of leaves collected around her country and used for a variety of medicinal purposes. In particular, she returns again and again to Bush Yam Leaves and Bush Medicine, depicting these themes with flowing representations of the leaves. Typical of the Utopia artists, Rosemary Petyarre rejoices in the use of color.

 In her paintings, she incorporates traditional iconography and realistic elements. The themes are primarily bush medicines, yam dreaming, and body painting. As a bush woman, she is familiar with her land and its abundance of bush tucker species, medicine plants, and native fauna. These are the stories inherited by her, along with important women's stories, and which form the basis of her paintings.

In Aboriginal culture, ceremonies are focal points in the life of the community. They are held for different purposes but are integral to the happiness and well-being of the people. The people dance and celebrate to acknowledge the fertility of the land, the health of the people, the initiation of young men or to mourn the passing of a loved one. They would smear their bodies with animal fat and would then trace certain ceremonial designs on the top half of their body using a variety of powders, ground from charcoal and yellow and red ochre.

They would gather together and sing and dance, led by the most senior women of the clan group. The women's ceremony is kept separate from the men's ceremony, though each one is equally as important. The main point is that the people are demonstrating their respect and love for the land. The body paint designs would vary from ceremony to ceremony and would depend on the subject and the time of year the ceremony is held. Different symbols are painted on the body and may vary from person to person depending on the seniority of each member.
Rosemary Petyarre is the sister of the famous Aboriginal artist Greenie Purvis Petyarre.

 Today, Rosemary Petyarre spends her time between Utopia and Alice Springs. Rosemary Petyarre is a highly talented artist amongst the famous names of Aboriginal art who resides and works at Utopia Homelands. Rosemary Petyarre’s paintings have been acquired by collectors worldwide. Aboriginal art status – Established artist.

 The Story Behind the Bush Leaves

 The medicine bush leaves depicted were originally of the Kurrajong tree of which there are some 30 varieties dating back 50 million years. They scale from small shrubs to massive trees some 30 meters in height. In the larger trees, their trunks are used to store water, but it is the leaves that have medicinal purposes.

 The women of Utopia, the remote region far to the west of Alice Springs where Rosemary’s people originated, gather the bush leaves, boil them, and then mash them with animal fats (kangaroo, emu, or goanna) making a medicinal poultice or paste which can last for many months. The paste is used to heal a multitude of afflictions such as bites, wounds, skin infections, rashes, and skin cancer. The bush leaves are also boiled in hot water to make an infusion or healing tea. Other preparations were used as insect repellent or were thrown into the water to stun the fish.

 The desirability of the artworks

 Admirers of the medicine bush leaf paintings often observe their mesmerizing attraction. People are captivated by how the paintings appear to be in motion in front of their eyes like the leaves on the canvas are blowing in the wind. Many buyers and collectors of medicine bush leaf artworks both in Australia, America, and Europe are also medical specialists who buy the works to hang in their consulting rooms to show an Aboriginal artwork with medical connotations.

Selected Exhibitions

1989 Utopia Women’s Paintings, A Summer Project

1990 A picture Story, 88 silk works from the Holmes à Court Collection, UK

1993 Central Australian Aboriginal Art & Craft Exhibition, Alice Springs NT

1996, The Meeting Place, - touring exhibition, Australia

1996, Nangara, Stitching Sint-Jan, Brugge, The Netherlands

1998, Dacou Gallery, Australia

2008 Utopia Collection2, Japingka Gallery, Fremantle WA

2010 Colours of Country, Creative Native, Perth WA

2014 Desert Song, Japingka Gallery, Fremantle WA

2018 Colours of Country, Creative Native Art Gallery, Perth WA

2021 Colours of Country, Creative Native Art Gallery, Perth WA



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SKU: 83860498941

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★★★★★ 5
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This is one of those books that makes you re-see everyday things with new awareness and a more critical eye. Well-researched, organized and written. Highly recommend!
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Reviewed in the United States on October 3, 2022
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★★★★★ 1
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Reviewed in the United States on January 20, 2023
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Perry Schmidt-Leukel has tackled one of the most difficult intellectual minefields of all - religious pluralism. I admire his attempt, desire and intentions. This work is based off of a 2015 Gifford lecture in Glasgow. Religious Pluralism is one of the three possible stances that address the Problem of Religious Diversity. The other two stances are significantly more common and also close sisters - Exclusivism and Inclusivism. Pluralism is the most radical stance but also one most needed in a globally-connected world with seemingly ineradicable conflict and violence. One can safely ignore, by the way, the stance that all religions are nothing but projections of immature minds (Naturalism); this is a gaslighting position which tries to throw the baby out with the bathwater and does not really address the issue of religious diversity. Religion should be treated with the seriousness it is due and humans are inherently homo religiosus as history and culture attest. There are several reasons why Pluralism should be considered the superior stance. First, it is the most pragmatic as alluded to in my above statement on conflict. Second, if one understands Truth as something that no human or group of humans can ever have a monopoly on then Pluralism makes more sense than the other two. I should add that we should approach understanding of Truth more as a peregrination than as some fixed or static destination. Third, much of religious diversity is due to historical, cultural and especially linguistic differences but if we spend time in interreligious dialogue, we can begin to see that the religions are often saying the same things but using different jargon. The jargon should not be confused with Reality or Truth. As humans, we must continually be humbled by our lowly ability to understand reality as it is in itself and our immense limitations of language. Language too often creates division and can also circumscribe our ability to understand. Yet, it is all we really have to communicate with. Perry spends some time first outlining what a program of sustained interreligious dialogue would look like and some foundational principles. He then addresses some of the biggest elephants in the room - The Son, The Prophet and The Buddha - and how we can approach possible reconciliation, or at least how we can begin to frame the discussion. The other main issue is the problem of a Creator God in Buddhism. If I were to offer a point of criticism to Perry's approach it is that he does not include in his discussion Philosophical Religions such as Platonism/Neoplatonism and Panentheism. However, I understand that would have really complicated things and he clearly wanted to only focus on the main traditional religions. Perry then finishes up with a very fresh and thought-provoking discussion on a fractal interpretation of religion. That may be the most profound chapter of the book. The book is full of insight but should be taken as only an overview (albeit a very good one) and a hopeful beginning to more in-depth analysis and discussion. I look forward to reading more from Schmidt-Leukel and I hope more people can move from their exclusivist and inherently conflict-bound view of the world to a more peaceful and uniting view of the very same one reality we are all experiencing and are all a small part of.
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Reviewed in the United States on January 18, 2026
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★★★★★ 5
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