The primary focus of this exhibition is Archibald J. Motley’s Mending Socks, an oil painting created in 1924 currently located at the Ackland Art Museum. Depicting Motley’s grandmother across a 43.875 x 40 inches (111.4 x 101.6 cm) frame, Mending Socks provokes a sense of familiarity and comfort in its soothing imagery. Motley’s grandmother appears as the off-center grounding point of the piece, providing a strong, soothing, and familiar image of a relaxed family setting. Behind her, however, are subtle reminders or white power.
Created in the midst of the Harlem Renaissance, Mending Socks portrays, as stated by Motley himself, his grandmother Emily Motley, a former slave. Seated in a rocking chair in what appears to be a family room, Motley’s grandmother sits, looking down at the green socks she is mending in her lap. The lines are her face are deep and numerous, her skin sagging with time. With her gaze downcast, eyes lidded to the point of looking closed, and shoulders covered with a red shawl, Emily invokes a relaxing image. Despite the bright red of Emily’s shawl, the darker
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colors of her dress begin to merge with the black of the rocking chair. Motley’s grandmother melts into the furniture of the room, her small task merging her with the background of the room. Many victims of abusive situations learn how to blend into the background to avoid attracting unwanted attention. Former slaves such as Emily learned such skills, and retained them long after their slavery ended, remaining submissive and quiet while working, just as they did on plantations to avoid punishment. Emily’s position of mending socks, quiet and maternal, continues to reflect aspects of her experience as a slave. Often, female slaves reared and raised the children of their white owners through their childhood. Plantation owners designated female slaves to take on motherly tasks of watching, feeding, bathing, and clothing the children as opposed to working in the fields, something Emily Motley experiences in her time as a slave. Regardless of how menial the task of simply mending socks seems, such actions reflect the domestic labor African Americans underwent, and Mending Socks highlights this role of a, usually older, black woman maintaining such a reserved, quiet position of household chores. On the wall behind Emily, the white figure of Jesus laid upon the cross hangs. A figure of suffering and sacrifice, it is fitting she, a former slave, sits below it. Emily Motley was a slave on a Louisianan plantation until the end of the civil war, when the family that owner her freed her. A majority of freed slaves remember their slavery with many forms of abuse, long hours of labor, and extremely poor treatment. Contrary to most slave experiences, Motley’s grandmother continued to recall pleasant memories about her former owners years after her freedom. Upon her freedom, in fact, the family gifted Emily with a painting of her former mistress, and she kept it. A painting so significant to Emily that Motley depicted it in Mending Socks. By depicting this painting, Motley depicts his grandmother’s identity as one dependent on her time as a slave, while simultaneously emphasizing how her relationship with her former owners is one of great importance. Going beyond Emily’s personal relationship, by including the portrait of her former mistress, Motley expresses how former slaves’ identities tie directly to how their former owners’ treated them. Focusing on the painting of Emily’s former mistress, the portrait lays slightly cut off by the edge of the painting in the top left section of the canvas. Compared to the room depicted, the portrait retains a different painting style, and does not contain the level of detail to her face and appearance as compared to Emily or her surroundings. Instead, the portrait is somewhat unclear, fuzzy in a way, implying the memories Emily speaks so fondly of, the ones that define her time as a slave, may not be the entire story. Instead, Motley implies what his grandmother remembers is only a fraction of the entire truth. Moreover, Emily’s position as a house slave introduces a crucial factor. On average, owners treated house slaves better than field slaves. Cut off, only part of the mistress’s identity is revealed: what Emily Motley remembers of it. Complimenting Mending Socks is Elizabeth Catlett’s Sharecropper, completed in 1952, printed in 1970. Consisting of color linocut on cream Japanese paper, the linocut exposing influences of Catlett’s time in Mexico with her second husband, the 450 x 431 mm image rests on a 557 x 515 mm sheet and depicts, as the title suggests, an African American sharecropper. Surrounded by muted tones, the deep brown of the sharecropper’s face creates a striking contrast, bringing the viewer’s eye to the lines and contours of her face. Even the woman’s gray-white hair fades into her hat, suggesting the grueling work the woman must complete on the daily. Compared to what Emily Motley experienced during her slavery, the sharecropper depicted must work long hours to produce enough crops to warrant using the land. Despite her gray hair and deep lines, the woman presented in Sharecropper does not hold her eyes downcast, does not present any signs of weariness. Instead, her head is uplifted, gazing far away at something unknown. Her posture is regal, dignified, compared to the expectation of someone who works exhaustively for little reward. A figure most privileged white people would look down upon does not bow her head or lower her gaze, instead presents herself stranding straight despite backbreaking work, stands tall despite working at a constant disadvantage, defying white presumptions of her. The third and final work presented in this exhibition is Gertrude Abercrombie’s Design for Death, originally titled Charlie Parker’s Favorite Painting, located in the Ackland Art Museum.
Abercrombie’s 1946 creation, oil on Masonite, consists of a desolate, muted night landscape contrasted by a bright yellow box and noose positioned in the center, and random, ripped pieces of fabric scattered about. A ladder leans against the tree, but not figures are present under the dim light of the full moon. Previously alluding to Charlie Parker, an influential African American jazz artist who came to prominence during the Harlem Renaissance and a close friend of Abercrombie’s, the painting exudes haunting and ominous imagery in its void scenery. The image of an abandoned noose handing off a tree is a bold allusion to the illegal lynching of African Americans that occurred throughout the
country. Paintings such as Mending Socks, Sharecropper, and Design for Death accentuate the continued subjugation of African Americans by institutions created as a byproduct of slavery’s illegality to maintain white power structures. In Mending Socks, Emily’s entire demeanor and surroundings reflect her experience as a slave. Sharecropper references an institution founded in the aftermath of the civil war that drove former slaves to the same land they used to work with a promise of autonomy and plunged them into debt when they did not produce sufficient crops. Design for Death presents the haunting reality for many African Americans in the south after slavery ended- illegal lynching for real or imagined slights against white Americans. Most African American art created in the first half of the 20th century reflects the second the second-class citizen nature of their existence. Their experiences are a consequence of slavery, and thus the art they produce mirrors life defined by white Americans.
On Saturday, March 15, 2014, I visited the Metropolitan Museum in New York. The gallery #753, which is a part of so-called American Wing, features oil paintings of the revolutionary period in America. The paintings seen in this gallery celebrate heroes and hard-fought battles of the new nation. The most popular type of painting of that time remained portraiture. Portraits in extremely large numbers figured in interiors, where they were arranged to convey not only domestic, but political messages as well. Hence, it is natural, that such iconic figure like George Washington became a model for numerous artists of that era, including Gilbert Stuart and Charles Willson Peale, for whom Washington actually sat. Two exceptional portraits of Washington, the general and the the first President of the United States are highlighted in this paper.
Alice Neel’s painting Suzanne Moss was created in 1962 using oil paint on canvas. As the title suggests, the painting depicts a woman’s portrait. Now resigning in the Chazen Museum in Madison, WI, this portrait of a woman lunging is notable for the emotional intensity it provokes as well as her expressionistic use of brush strokes and color. The scene is set by a woman, presumably Suzanne Moss, dressed in dull back and blues lounging across a seat, staring off to the side, avoiding eye contact with the viewer. The unique style and technique of portraiture captures the woman’s piercing gaze and alludes to the interior emotions of the subject. In Suzanne Moss, Alice Neel uses desultory brush strokes combined with contrast of warm and cool shadows
Elizabeth Catlett`s art documents history, but particularly the experiences of the black and brown working class women.. She combined what she has learned of African art, African American art, and
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
After reviewing Jacob Lawrence’s direct and dramatic paintings, it was clear that his painting helped him express himself. The painting was and still is a product of the economic and cultural self-determination that African-American dealt in the Harlem Renaissance of the 1920s, during the migration and still evident in society today. The visual qualities in Jacob Lawrence artwork that is appealing are the vibrant colors and his clever way of self-expressing the time he was so familiar. In final analysis, his artwork expressed how he felt about his environment and what his perspective were during that time. And, how restrained his painting were, for instance, Street Scene – Restaurant, even though African- Americans had access to restaurants in the neighboring area but, he still place patriot outside the restaurant waiti...
While visiting the Nasher Museum of Art at Duke University, the works of Archibald Motley caught my attention. Two paintings by the same artist are the focus of this compare and contrast paper. Both are oil paintings during the same time period. Portrait of my Grandmother was painted in 1922 and Hot Rhythm was painted in 1934 only 12 years later. Although the paintings are by the same artist and have similarities, there are also differences which make the artist’s work interesting. Portrait of My Grandmother and Hot Rhythm are two paintings by Motley that capture different emotions (aspects would be a better word) of African Americans.
“Painting is a way to examine the world in ways denied me by the United States justice system, a way to travel beyond the walls and bars of the penitentiary. Through my paints I can be with my People—in touch with my culture, tradition, and spirit. I can watch little children in regalia, dancing and smiling; see my elders in prayer; behold the intense glow in a warrior’s eye. As I work the canvas, I am a free man.” – Leonard Peltier
The exhibition is not too large as it only contains around eighty artworks. These works all have African Americans as the main subject since Marshall believes that African Americans deserve more attention in art because they are almost “invisible” in a way. Mastry is arranged chronologically, starting with Marshall’s earlier works and then leading to galleries with themes such as beauty or the civil-rights struggle. Mastry should be visited because it allows a person to learn about African American art which is underrepresented and underappreciated. The general idea or thesis of this exhibition is that African Americans have been looked down on throughout history and viewed as subhumans, or even invisible. Marshall’s exhibition is about appreciating African Americans and viewing them as what they are: humans.
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
Kara Walker’s Silhouette paintings are a description of racism, sexuality, and femininity in America. The works of Kara Elizabeth Walker, an African American artist and painter, are touched with a big inner meaning. A highlight of the picture displayed at the Museum of Modern Art in San Francisco will be discussed and the symbolism of the sexuality and slavery during the Atlantic slavery period will be enclosed. The modern Art Museum has works of over 29,000 paintings, photos, design and sculptures among others. The use of black Silhouette is her signature in the artistic career.
The quilts were pieced together by Mama, Grandma Dee, and Big Dee symbolizing a long line of relatives. The quilts made from scraps of dresses worn by Grandma Dee, Grandpa Jarrell’s Paisley shirts, and Great Grandpa Ezra’s Civil War uniform represented the family heritage and values, and had been promised to Mama to Maggie when she married. However, Dee does not understand the love put into the making of the quilts, neither does she understand the significance of the quilts as part of her family heritage. It is evident she does not understand the significance of the quilt, having been offered one when went away to college declaring them “as old-fashioned” and “out of style”. She does not care about the value of the quilts to her family, rather she sees it as a work of art, valuable as an African heritage but not as a family heirloom. She wants the quilts because they are handmade, not stitched with around the borders. She tells Mama, “Maggie can’t appreciate these quilts!... She’d probably be backward enough to put them to everyday use… But, they’re priceless!.. Maggie would put them on her the bed and in five years they’d be in rags. Less than that!” (317). The quilt signifies the family pride and history, which is important to Mama. She makes the decision to give the quilt to Maggie who will appreciate it more than Dee, to whom she says, “God knows I been saving ‘em for long enough with
Grant Wood’s American Gothic is one of the most famous paintings in the history of American art. The painting brought Wood almost instant fame after being exhibited for the first time at the Art Institute of Chicago in 1930. It is probably the most reproduced and parodied works of art, and has become a staple within American pop-culture. The portrait of what appears to be a couple, standing solemnly in front of their mid-western home seems to be a simplistic representation of rural America. As simple as it sounds, when looking deeper into this image, it reveals something much more complex.
A Sunday Afternoon on the Island of La Grande Jatte, located in the Art Institute of Chicago, is one of the most recognizable paintings of the 19th century, a painting made by Frenchman Georges Seurat. Finished in 1886, it has gained much of its recognition over the time of its completion; the pop culture of today has played a pivotal role into the popularity of it. An example of that is being apart in one of the most recognizable scene in Ferris Bueller's Day Off, where one of the main characters is solely staring at the painting until he can’t even recognize the artwork. This painting also gets much attention because it was an early example of the style of pointillism, at the time; pointillism was becoming a new way of expressing one self with the new technique. It also brought upon about the way we saw paintings, and what we gained from the artwork as whole. In all this painting has become an icon in the art scene, due to the technique it used, and how much of an impact it has had in today culture.
Tim O’Brien made a series of important changes in “Stockings” to improve the structure and content of the story of a man whose superstition turned him into an incredible soldier. One of the changes is stated in the first sentence of the story. Instead of just saying that “Henry Dobbins was a good man,” O’Brien also characterized him as “a superb soldier.” By mentioning that Dobbins possessed this trait, O’Brien lets the reader know that Dobbins wasn’t just a regular person. This important detail emphasizes that Dobbins owned something that made him special and different from everyone else. Later in the story, O’Brien states that “more than anything, though, the stockings were a talisman for him.” This important detail demonstrates how important these stockings were for Dobbins. This
As I enter the Gioconda and Joseph King Gallery at the Norton Museum of Art the first thing that Caught my attention was a painting measuring approximately at 4 ft. by 10 ft. on the side wall in a well- light area. As I further examine the painting the first thing I notice is that it has super realism. It also has color, texture, implied space, stopped time, and that it is a representational piece. The foreign man sitting on the chair next to a bed has a disturbed look on his face and is deep into his own thoughts. It’s as if someone he loved dearly just experienced a tragic and untimely death. He is in early depression. I could feel the pain depicted in his eyes. A book titled The Unquiet Grave lying open on the floor by the unmade bed suggesting something is left unresolved. The scattered photos and papers by the bedside cause redintegration. The picture of Medusa’s head screaming on the headboard is a silent scream filled with anger and pain, yet it cannot be heard. I feel as if I am in the one sitting in the chair and I can feel the anger, and regret.