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1100 BCE
Driekopseiland: Rock engravings
South Africa has a large number of historical rock-engraving and rock art sites. The Driekopseiland site is situated on the glaciated pavement riverbanks of the Riet River and consists of over 3500 engraved motifs, 90 percent of which are non-representational. Walter Battiss studied Driekopseiland rock engravings along with archaeologist, Battiss was greatly inspired by rock art paintings, a non-scientist amongst scientists investigating the paintings. -
1000 BCE
Rock Art
Battiss joined many excavations with the goal to help interpret the historical and technical facts. He did not lose sight however of the aesthetic implications - the fact that the objects of their study were first and foremost ART. Through his studies, his influence drew heavily upon the art and began to translate it into his own practise, which can be seen in the painting African Rocks and Figures. -
1000 BCE
Bushmans Kloof rock art site
The Bushmans Kloof rock art site, part of the Bushmans Kloof Wilderness Reserve, is a pristine area about 50km from Clanwilliam and 270km north of Cape Town. This site was one of Battiss’ inspirations sites, he was heavy influenced by busmen culture and their artworks. The site offered more than 130 sites of San rock art at this Cederberg rock art site, some of them 10 000 years old. -
Period: to
'New Group' Exhibitions
Battiss was one of the influential members of the South African modern art group the New Group. The New Group began in 1937 when a number of young artists had returned from study in Europe. In order to encounter stultifying inertia in the artistic activity in South Africa. Battiss was one of the first artists to spread the group to the Transvaal. On the 4th of May 1938 was their first exhibition with 17 South African modern artists. tThe show was a huge success as over 400 people had attended. -
The Amazing Bushman
Battiss displayed an unquenchable thirst for knowledge, his travels and research extended in all directions. From his research Battiss published many books, one being ' The Amazing Bushman '. The book covers his discoveries of rock art treasury at Zastron in the Free State. His other books including SA Paint Pot, Homecomings, Arts in SA, Bushman Art, Limpopo, Nesos, as well as many written journal articles in local and international publications. -
Exhibits copies of rock paintings shown in Johannesburg;
This exhibition was of art-historical importance in South Africa, as it is the first presentation of this art form from an aesthetic viewpoint, which followed Battiss' understand and appreciation for the art form. -
Undergoes expedition to the Namib Desert
Battiss lived among Bushmen during an expedition to Namibia. On his trip he made many sketches that he used as references for his other art works -
Venice Biennale
The 24th Biennale exhibition in 1948 was particularly significant due to its reconsideration of the avant-garde, also made possible thanks to the commitment of the foreign pavilions. Battiss refers to this in his letter to Paris on the 26th of Feb 1950, and its importance and the impact it had on Battiss. -
Tate Gallery.
The exhibition was titled Exhibition of South African Art. It feathered many well know South African artists of the time including Battiss and the likes of Irma Stern. South Africa was slowly entering the international art market, gaining international fame. -
Post Office Telegraph to Walter Battiss
Telegraoph sent to Battiss from John Paris -
Letter to John Paris
page 1
Regarding the Biennale, Quote from Battiss to Paris
"Artists are not slaves of the people but the guardians of time
because - chest- the guardians of today and tomorrow." page 2
"Now to business"
Battiss will be railing 6 works to Paris or even by air. Battiss states that the work does not have to be insured and he will share the transport costs. page 3
Battiss wites to Paris: "I like to look at my own work as if I am a stranger viewing it critically" -
Letter to John Paris in response to Telegraph
Battiss responded to John Paris' letter. One of the most interesting aspects of the letter is the drawing attached. It shows his rock art influences, and his quick-handed sketch is added as an explnation to a quote Battiss came across that he wanted to share with Paris. -
Letter to Walter Battiss
John wrote to Battis in reference to the return of his Biennale pictures and how it would travel to him via good train. He also thanks Batiss for the valuable and successful exhibition, stating that; he will write a proper letter at some point, as this is just an informal letter rather than to do with National Gallery affairs. These letters show the perosnl relationship that also existed with Battiss and Paris, beyond their professional working relationship. -
Letter to Walter Battiss
John Paris wrote a letter to Battiss regarding his visit from Hahadlock about the Galerie Vincent and his disinterest in the opening. -
Letter to Walter Battiss
Letter from Paris to Battiss referring to the payment of railway travel. -
Period: to
Venice Biennale
Battiss did his first Venice Biennale 1952 and then again in 1956 and 1960 where he exhibited 'African Rocks and Figures.' -
Letter to John Paris
Battiss thanks Paris for the invitation to exhibit at the National Gallery and that it would be an honour. He will deliver 2-3 works for Paris to consider when he is in Cape Town again. -
Walter Batttiss Arived in Cape Town
He came to Cape Town with six pieces of work for Van Essche to be part of his Argus Show, 6 works for John Paris - he was going to try to bring another 2 or 3 works as Paris was planning to exhibit in an exhibition that Battiss wanted to be part of. - he had intended to meet with Paris before he left for London -
Walter Battiss went to London
As stated in his letters he was on his way to London. He was invited to lecture on South African art at the University of London. -
Letter to John Paris
Battiss thanks Paris in this letter for showing his work at the SANG. However, he argues with Paris and challenges the purchasing committee in relation to his lack of representation in the national gallery, for he is a South African Painter and deserves to have more works in the gallery. -
John Paris Reply
Paris writes in response to Battiss' argument of his ill representation in the national gallery and found it a considerable annoyance, but later understood his argument. He assures Battiss that he has not be overlooked by the committee. Their aim is to acquire the very best of South African artworks and that no-one is trying to belittle him. He should consider that even having one work in the gallery is an everlasting achievement. -
Battiss Painted African Rocks and figures
The date Battiss completed the painting; "African Rocks and figures". -
Period: to
Sao Paulo Beinnale
Battiss exhibted at the Sao Paulo Beinnale in 1958, 1963 and 1965. -
Battiss exhibited at the Venice Bienalle.
Label behind Battiss' African Rocks and figures painting. The lable was put at the back of the painting when it was being exhibited at the Venice Biennale. The label states the title, artist, artist address and value of the painting. -
Work African Rocks and Figures entered the South African Collection
The label behind African Rocks and figures, which was put on when the work entered the South African National gallery. The paintings title, artist and paintings accession number is stated. -
Letter to Walter Battiss
Paris writes in connection to a catalogue he is putting together that included Battiss' and his work and just needs clarification of information. This includes his professorship of Fine Arts at the University of South Africa and his gold medal awared for painting by the SOuth African Academy of Arts and Science.
