Reuben Pareroultja cleverly established a subtle delicacy of stylisation that exceeded that of most of the artists. Reuben was a founder of the Hermannsburg School and is notable for his distinctive, sensitive and smoothly detailed style. Perhaps encouraged by his brothers’ individual approaches, Reuben adapted the principles of Edwin’s transparent colour fields and Otto’s rhythmic hill patterning so that he could emphasise that all features of the country were as important as dominant looking iconic sites like Mt Sonder.
He was an important, if not a prolific painter and after he went to live ‘out west’ in his wife’s country he painted only occasionally from the mid-1950s to 1962 and again in 1968.
Reuben married Janice, a Loritja (Kukatja) woman, who is said to have been the sister of Rubina Namatjira. As at 1957 they had seven children, including Helmut, born 1939 and Hubert, born 1954. Helmut and Hubert painted in watercolour. Helmut did not have a career as a painter and remained at a distance from the church.  Hubert is continuing to paint prominently. Reuben was Western Arrernte language group, Subsection (Skin) Kngwarreye. Reuben was a man recognised as having significant [traditional] knowledge. 
Reuben started to paint seriously in late 1946. He was discharged from the army labour force in 1943 due to ill health. He had created, apparently as early as late 1943, a delicate painting influenced by Edwin’s horizontal composition of colour fields. It is unclear whether Rex Battarbee saw this when it was created.
This painting is Untitled landscape Western MacDonnell Ranges, 1943 (watercolour on paper; 24.5 x 30.5 cm; The Araluen Collection at Alice Springs: AC 1992:040). The painting is sensitive, yet has a touch of drama in the dark distant hills. The author considers that it was probably created in late 1943 after Edwin produced his first few paintings. Reuben’s early paintings employ separate colour fields of under wash, reflecting Edwin’s methods.
Reuben developed an inconspicuous all over system, appearing (in Battarbee’s view) the most European in style of the three brothers. His style was more harmoniously gentle and the traditional elements, especially of infill and rhythmic stylisations of the landscape, were less conspicuous, as traditional patterning was subordinate to the pictorial view.
In many ways, his work resembled that of Albert Namatjira, more so than did his brothers’ paintings. Rueben’s personal interest in the totemic landscape was arguably no less traditional than his brothers. Reuben was a spasmodic painter and he seems to have been busiest from 1946 to 1956.