Bradshaw paintings

Bradshaw rock paintings, Bradshaw rock art, Bradshaw figures or The Bradshaws, are terms used to describe one of the two major regional traditions of rock art found in the north-west Kimberley region of Western Australia. The identity of who painted these figures and the age of the art are contended within archaeology and amongst Australian rock art researchers. These aspects have been debated since the works were first discovered and recorded by pastoralist Joseph Bradshaw in 1891, after whom they were named. As the Kimberley is home to various Aboriginal language groups, the rock art is referred to and known by many different Aboriginal names, the most common of which are Gwion Gwion or Giro Giro. The art consists primarily of human figures ornamented with accessories such as bags, tassels and headdresses.

Rock art in the Kimberley region was first recorded by the explorer and future South Australian governor, Sir George Grey as early as 1838. This rock art is now known as Wandjina style art.

While searching for suitable pastoral land in the then remote Roe River area in 1891, pastoralist Joseph Bradshaw discovered an unusual type of rock art on a sandstone escarpment. Bradshaw recognised that this style of painting was unique when compared to the Wandjina style. In a subsequent address to the Victorian branch of the Royal Geographical Society, he commented on the fine detail, the colours, such as brown, yellow and pale blue, and he compared it aesthetically to that of Ancient Egypt.

American archaeologist Daniel Sutherland Davidson briefly commented on Bradshaw's figures while undertaking a survey of Australian rock art that he would publish in 1936. Davidson noted that Bradshaw's encounter with this art was brief and lacked any Aboriginal interpretations; furthermore, as Bradshaw's sketches of the art were at this time the only visual evidence, Davidson argued that they could be inaccurate and possibly drawn from a Eurocentric bias. The rediscovery of the original mural after more than a century has shown that Bradshaw had a remarkable gift for reproduction without photography, and that Davidson’s criticisms were unfounded in the absence of the original. Bradshaw's figures and their existence as an artistic tradition was questioned; articles and books on these works were not published until the 1950s.

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