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Mgudlandlu, Gladys

Born: 1925 Peddie, Ciskei.
Died: 1979 Guguletu, Cape Province

 

A self taught painter of landscapes, figures,

flora and fauna.  Worked in gouache and oil.

 

Profile: Had some guidance from Katrine Harries.  Began painting in 1952, in a naïve style.  Wrote and illustrated original African folktales, gaineda Teachers Diploma from Lovedale College, Alice, and during 1968-78 taught art at Athlone Community School, Cape Town.

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Exhibitions: Exhibited widely in SA and

abroad; 1961 Port Elizabeth, first of several

solo exhibitions; 1979 Contemporary African

Art in SA, touring.

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Award: 1963 Prize Winner, Art SA Today

Represented: King George VI Art Gallery, Port Elizabeth; University of Fort Hare,



References: Art SA; SESA; BSAK 1&2; AASA; Artlook November 1972

Part of Mgudlandlu's rich heritage was the Eastern Cape bird lore. She knew the birds of the region intimately, called them her friends and painted them. Various birds of the Eastern Cape such as the honey bird, dove, pied crow, eagle, black-headed heron, African black oystercatcher, European oystercatcher and hawk feature in her paintings. She was even called 'uNontaka' ('the bird lady'). Although her birds appear imaginary, their habits and characteristics are identifiable. For Mgudlandlu birds become personalities. Her work suggests two viewpoints: one from below for birds and one from above for people. She said that the bird's eye-view went back to her childhood. As a child she often climbed the rock of the Zhosa mystic and seer Ntsikana. From the heights of the rock, she enjoyed the landscape and the bird's eye perspective was imprinted on her memory. 

Cattle

 

The occurrence of cattle is a fascinating aspect of Mgudlandlu's paintings. Being familiar with the customs of her people, she knew that Xhosa women were not allowed near cattle. Only men handled these animals. Yet cattle were a recurrent motif in her paintings. Initially she viewed them from a distance and small herds were shown in the landscape. Then, in the 1970s, she gave close-up portrayals of oxen in twos (Off to Plough) and threes (Cattle (plate 47)), showing their horns and lumbar portions. According to Xhosa bird lore, the lumbar portion of an ox's back was the raven's resting place.  Ibid., page 44.

 

Ref:  Elza Miles. (2002) Nomfanekiso, Who Paints at Night, The art of Gladys Mgudlandlu, Cape Town: Fernwood Press.  Page 44 and illustrated in colour on page 49, plate 47

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