In this essay, I defined that a historical painting is not pretty pictures of family portraits and landscapes, but can document events that spark the imagination, awaken emotion and capture truths about the black female body. I have highlighted two paintings by historical painters whose artwork offers a way of rethinking how the black…
As soon as I walked past this painting in the Chrysler, I was immediately stricken by it and knew it would be the perfect candidate for my summer assignment. Barkley L. Hendricks’s “Slick” is visually stunning. The stark contrast between the white of the suit and the brown of the man’s skin easily grab the viewer’s attention. The contrast between black and white is not only a visual one, but also reflects the social and political conditions of the era it was created in.1 Despite the contrasts in the image, a sort of unity is also suggested. In the painting, Hendricks wears both a hip white suit and a traditional African cap. This combination suggests a marriage between the old and the new, unity between the past and the present.…
1. Compare and contrast two sculptures from the African chapters in your textbook. Be sure to include an iconographic and iconological analysis in your response. Do not forget to write in your own words. (5 points)…
Kara Walker’s work has received international attention since the early 1990’s for utilizing an iconic, but mostly forgotten, form of portraiture – the cutout silhouette. It has been a target of violent controversy, due in part to the obscenity of the portraits and to the reviving of deep-seated racial stereotypes. This controversy is, I argue, only partly a response to her body of work and more to her medium of choice: life size black cut-paper figures.…
The Brooklyn Museum’s view of the portrait shows eighteenth-century mixed-race colonial elite of the island of Dominica in the West Indies. When first seeing this painting you can see the fine detail of how it was painted. Brunias was sure to pay attention to detail of clothings and face and yet still keep in mind the body language in which everyone was protrayed. The two women are shown accompanied by their mother and their children, along with eight African servants, as they walk on the grounds of a sugar plantation, one of the agricultural estates that were Dominica's chief source of wealth . Brunias documented colonial women of color as privileged and prosperous. The two wealthy sisters are distinguished from their mother and servants…
The painting in the Mint Museum of Art Collection that I have chosen for my paper is titled Philip the Fair, by Kehinde Wiley. He painted this piece in 2006. He portrays a naturalistic style of an anonymous young African-American male model. It’s a larger than life painting standing one hundred and twelve inches by eighty-six inches tall. One must look up at the painting if not standing far enough away to view it entirely. This piece is an oil and enamel on canvas resulting in intense colors with a lustrous surface.…
First looking into one of Missals figure paintings, he paints a nude woman kneeling on the floors, shifting her body weight to her right, wearing a red and purple cloak wrapped onto her back, over her left shoulder and arm (Plate 5). This painting is an example of the art style realism since the piece is painted in nonlocal color, but more specifically arbitrary colored representation of the nude woman. Arbitrary color involves selected colors used without reference to those found in reality. In this case Missal’s choice of color is used to be expressive and not as the portrayal of the real thing, a person. It is interesting how the color palette contrasts with that of the Straub and the natural color of skin with the use of local color. Since the woman is expressed with florescent yellow skin with exaggerated highlights that make her appear white the piece would be arbitrary, but still entails specific attention to details which shows the realistic aspect. Meanwhile, the portrait of Straub still has the same level of detail while depicting him as an realistic human with local…
In Palmer Hayden’s painting, “Fetiche et Fleurs,” (1926), he expresses the culture and traditions of the African and African-American culture. Hayden’s painting connects with the…
Certain views, like that of Blythe, a nineteenth century African writer and supporter of African rights challenged the common perceptions of the era but they did not change them. Blythe talks about scientific Europeans ‘giving academic study to the Negro’ but his overall suggestion is that there is a general ‘opinion of some God is everywhere except in Africa.’ (Blythe 1903 in Brown, 2008) Read and Dalton They described both their perception of Benin society and the objects they were studying in a very ambivalent way at the first sight of these remarkable works of art were at once astounded….and puzzled to account for so highly developed an art amongst a race so entirely barbarous as the Bini’ (Read and Dalton 1897 in Brown, 2008).This negative and perception of Benin was a common perception of the whole of Africa at this time . Anthropologists in general struggled to fit explanations of such sophisticated works of art into these commoner held opinions which circulated throughout all major establishments of newspapers, museums and Encyclopaedias. This meant that stereotypical notions were gaining credibility over real facts. Read and Dalton were unfazed and presented their historical version as a prejudiced one, shaped by the society in which they lived, hence they form the conclusion that ‘no hope that a…
1900’s world fair had an American negro exhibit with 500 images of well dressed and proper African Americans in Europe. Instead of the horrific images of African Americans that Americans had shown, there were good and well taken…
In Suzanne Preston Blier’s article Enduring Myths of African Art, she articulates seven of the most common myths believed around the world surrounding African art. Of those seven myths, one that stands most true is the myth that African art is bound by place; the idea that African art in particular travels nowhere and its ideas are constrained to just the cultures they are sculpted in. Blier states, “The African art of myth is also frequently presented, incorrectly again, as an art rigidly bound by place.”1 She continues to express how most of the African art objects and styles studied are judiciously ascribed to particular regions and cultures as if they have no ability to circulate…
One of the fetish sculpture she collects is described as a male figure with nails pounded into the form’s chest. Along with nails, the male is poked with needles. Not knowing the background meaning behind this piece, it is known to hold a negative entity. McClusky goes into detail about the history of Africa and these fetishes. These beliefs weren’t exactly African driven, but a belief that Christian European explorers interrupted because the African culture did not follow what the western world believed as true. Not only did this…
For Iliffe, the factor which most strongly shapes the character of African cultures is the African environment. Iliffe believes that Africans inhabit an environment whose aridity, infertile soils and profusion of diseases create particularly difficult challenges for humans. He sees the history of Africa as a process by which Africans surmount these challenges through agricultural innovation and sheer hard work. Of course, other historians disagree with the views of Davidson and Iliffe, and instead seek other factors which help to explain differences between Africans and other human societies. Thus part of the task of students who study African art is to ask themselves whether they see in it expressions of values and ideas which are unique, or whether they see manifestations of a common human…
Bibliography: 1.Abiodun, Rowland, Henry John. Drewal, and John Pemberton. The Yoruba Artist: New Theoretical Perspectives on African Arts. Washington: Smithsonian Institution, 1994. 9 Sept. 2013. Web. 9 Dec. 2013.…
Bibliography: E. Schneider: Paint, Pride and Politics: Aesthetic and Meaning in Transvaal Ndebele Wall Art (diss., Johannesburg, U. Witwatersrand, 1986)…