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Mirka Mora

An angel is passing by, 1967

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Catalogue number: 16

charcoal on paper on 2 panels

244.00 x 244.00

signed, dated and inscribed on reverse with the title of what appears to be for a previous painting ‘The lives of our inner ghosts / The sign of life / Mirka Mora / 1963 - 1964 / or / the inner world or / the house of vigour or / the house of vitality’

Provenance:

Tolarno Galleries, 1967 

Exhibited:

Mirka Mora - where angels fear to tread: 50 Years of Art 1948-1988, Museum of Modern Art at Heide, 9 Oct - 28 Nov 1999;
Mirka Mora: Encore, Ararat Gallery, 12 May – 2 July, 2000

Literature & references:

Ulli Beier, Mirka, The MacMillan, Melbourne, 1980, illus p 53;
Max Delaney and Murray White, Mirka Mora - where angels fear to tread: 50 Years of Art 1948-1988, exhibition catalogue, Museum of Modern Art at Heide, Melbourne, 1999, p 62, col 3

Note:

From 1963 – 66 Mora created four large drawings on timber panel; 'The Friendly Devil', 'The Child and the Angel', 'Adam and Eve', and (the present work) 'An Angel is Passing By'.
Beier writes:
"The panels have the decorative effect of medieval tapestries and the powerful imagery reminiscent of Byzantine icons, but they are much more agitated than either. Though biblical symbols are employed in three of the panels, they are really very personal pieces of mythology like all of Mirka’s work, with strong autobiographical connotations. In the total work of Mirka Mora these panels hold a key position. It is here that she works out some major aspects of her ‘Weltanschauung’ and comes to terms with some of her personal problems. The sheer size of the panels gives her an opportunity to create densely rich scenes, full of drama and innumerable little side plots in which the world of Mirka Mora finds its fullest expression."  (Beier, op. cit. p. 49)

This work was the last of the series and also the most biographical. Beier gives a full explanation of every figure in the composition and quotes the artist’s comments in detail. In conclusion:
"This whole panel is about the one theme, repeated with ever new variations: the woman has a lover and she feels guilty about it: she’s hopelessly entangled, because she has a child from him; her sexual involvement is seen as a threat to her stability; many of the emotions are transferred to the child, the faun child. He will, hopefully, not suffer the same agonies, will be wiser, will listen to his bird, will be protected by his angel. It is in a sense a disturbed, almost desperate picture, but there is hope. The artist is able to step back – to distance herself. In the bottom left corner we see Mirka once more, performing a kind of circus bow, as if to say: There it is! That’s where all my troubles are. As if it were something she could already look back on." (Beier, op. cit. p. 54) 

 

View artwork in Exhibition

Exhibition Catalogue

The Pool – Hedemark

Mirka Mora

1976

ink and gouache on paper, 16.00 x 12.00

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(Untitled - Mermaid)

Mirka Mora

stuffed toy, 54.00 x 34.00 x 12.00

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(Untitled – Lovers – The Merboy, half boy half fish)

Mirka Mora

1972

pastel on paper, 37.00 x 27.00

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(Untitled - Two Figures with a duck)

Mirka Mora

1967

charcoal on paper, 28.00 x 22.00

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Happy 1978

Mirka Mora

1977

ink on paper, 18.00 x 12.00

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(Untitled - Four figures with a lamb)

Mirka Mora

1984

gouache on paper, 37.00 x 26.00

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Erotic Drawing No. 30 (And all for love and nothing for reward)

Mirka Mora

1973

charcoal, watercolour and transfers on paper, 55.00 x 75.00

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L’Amour with Flowers

Mirka Mora

1974

oil on sized cotton stuffed with micronite beads, 46.00 x 58.00 x 10.00

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(Lovers – Erotic Drawing)

Mirka Mora

1973

pen and ink on paper, 29.00 x 19.00

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(Untitled - Two Figures with Serpents)

Mirka Mora

1967

charcoal on paper, 76.00 x 55.00

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(Untitled - Figure with wing)

Mirka Mora

1966 - 1977

charcoal on paper, 76.00 x 55.00

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(Untitled - blue plate)

Mirka Mora and Christopher Sanders

1970

painted ceramic, 25.00 x 25.00

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(Le petit cochon de lait – lidded paté dish)

Mirka Mora and Christopher Sanders

1970

painted ceramic, 13.00 x 26.00

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(Untitled – lidded casserole dish)

Mirka Mora and Christopher Sanders

1970

painted ceramic, 19.00 x 35.00

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Untitled - brown platter

Mirka Mora and Michael J. Dillon

ceramic, 35.50 x 35.50

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An angel is passing by

Mirka Mora

1967

charcoal on paper on 2 panels, 244.00 x 244.00

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(Lovers)

Joy Hester

1948 - 1949

ink wash and watercolour on paper, 31.00 x 25.00

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Untitled (Woman and Parrot - Sunday Reed)

Joy Hester

c. 1956

Chinese ink on paper, 55.00 x 38.00

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The Farm

John Olsen

1967

gouache and crayon on cardboard, 56.00 x 76.00

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Five tall glasses, afternoon

Janet Fish

1975

oil on canvas, 106.00 x 106.00

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(Noumenon Series)

Alun Leach-Jones

c. 1967

screenprint on paper, edition 3/20, 51.00 x 51.00

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Kitchen Maid

George Baldessin

1966

cast aluminium (wall sculpture), 68.50 x 68.50 x 51.00

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Kitchen Maid

George Baldessin

1966

pencil and gouache on paper, 66.00 x 50.00

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Triptych

Roger Kemp

1972

etchings on paper, A/P, 50.00 x 50.00

RESERVED

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Head

Jan Senbergs

c. 1966

enamel on board, 68.00 x 55.00

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Since its establishment in 1984, the Charles Nodrum Gallery’s exhibition program embraces a diversity of media and styles - from painting, sculpture & works on paper to graphics and photography; from figurative, geometric, gestural, surrealist & social comment to installation & conceptually based work.