Benjamin Landara (Ebatarinja) was painting in his own somewhat naïve and engaging style, when his father-in-law Albert Namatjira intervened and demonstrated his own approach to composing a painting. In Benjamin’s first stage he had already evolved his capacity to portray his view of the essence of a mellow rhythmic country. After the guidance Albert’s influence was increasingly apparent as his more detailed approach was absorbed by Benjamin.
After Albert died in 1959 Benjamin resumed his earlier style in a succession of paintings about the vibrancy of country through mellow colour and fine marking. He became a prominent artist and helped reinforce the impact of the Hermannsburg School.
Benjamin Landara was born ‘Ebatarinja’ in 1921 and was the brother or half-brother of Eric Ebatarinja (they may not have had the same mothers). (Eric Ebatarinja ‘grew up’ Lindsay Imbarndarinja, who was born at Santa Theresa and was Eastern Arrernte.) Benjamin was Western Arrernte, Subsection (Skin) Perrurle.
On 9th August 1942 Benjamin married Maisie, daughter of Albert and Rubina Namatjira, at Hermannsburg and so became a son-in-law to Albert and Rubina. He died in 1985 having painted until at least around 1977.
He is said to have started painting in 1945. He was painting seriously from around 1952 and created a number of paintings in 1954. The earliest paintings seen by the author are dated 1954. One is at Araluen and the others are Glen Helen, MacDonnell Ranges and Mt Sonder in the author’s collection. After 1968, Benjamin’s paintings did not change much – hence the broad estimation of 1970s.
Albert encouraged Benjamin in his painting and there are two fine and elaborate examples of ‘teaching’ paintings in the author’s collection. In these ‘teaching’ paintings Albert painted the distant ‘iconic’ areas as a sort of demonstration and gift for his son-in-law to complete, and then sign with his own name.
After Albert’s death, Benjamin expanded his individual style of watercolour painting and created many fine paintings that would have had broad appeal. He did not seem to attempt to demonstrate increasing attitudes of aboriginality in his watercolours. However, in around 1977, Benjamin created at least one painting in the Western Desert (Papunya) style: Honey ant Dreaming at Ellery Creek. He did not seem to continue in watercolour after around 1977.
In the mid-1960s Benjamin, however, created an unusually emphatic and expressive painting centred on discomfort with the Mission or on the clash of cultures possibly produced by the then perceived incompatibility of traditional religion to live alongside Christianity. Until 1976, the Lutheran Missionaries considered that if they accepted traditional religion alongside Christianity they would violate the first commandment: ‘Thou shall have no other god before me.’ 
As at June 1966, Benjamin was at No 2 Artists Camp in Alice Springs but his wife Maisie and two children were at Hermannsburg. At the same camp in Alice Springs were Keith Namatjira and Gabriel Namatjira. In this period Pastor Albrecht was concerned that many artists were spending time in Alice Springs camps with the attractions of alcohol.