The Linddy Hop Analysis

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The “Lindy Hop” is a painting by Mexican artist Miguel Covarrubias. The Lindy Hop is currently on display at the Philadelphia Museum of Art, as part of the “Dance: Movement, Rhythm, Spectacle” exhibition. Dance has long fascinated artists interested in capturing the human body in motion and the spectacle. Beginning in the late 1800s, new forms of dance coincided with the development of modern visual art, leading to a dynamic exchange between the two forms of creative expression. (Philamuseum.org) The image and exhibition that I researched celebrates the world of dance, which includes lively imagery of famous performers, bustling scenes of nightlife, and abstract explorations of motion, rhythm, and atmosphere. Artist have often used …show more content…

There were many types of artists represented during the Renaissance, including musicians, poets, playwrights and visual artists. The artists’ works showed the multiple variations an African American society, as works depicted differences in their social classes, where they lived, and even gender (Stuart, A. 40). The relationship that the Renaissance had with larger conceptions of the American experience was its national expansion and a direct corollary between the rise of artists and and the rise of African American society as a whole. Using art an everlasting form of expression of power and freedom, black artists were able to portray their representation of black life, in an honest way, for one of the first times in American history. African Americans soon had a larger voice in social and political matters, with Harlem representing a city of transformation and progress. Through its roots in Harlem, New York, the upward African American movement was able to move to other American cities, such as Chicago and Boston, and eventually, to European cities such as London and Paris, eventually even reaching …show more content…

Its publication in November 1937 and the publicity that preceded it inspired a brief South Seas craze. Life magazine did a story, "Mexican Covarrubias in Dutch Bali," illustrated by the artist's work, the Brooklyn Museum exhibited his paintings of Balinese dancers, and Paramount's Honeymoon in Bali capitalized on the sudden interest in the exotic South Pacific.
With such heady success, Covarrubias can hardly be blamed for losing his enthusiasm for caricature. Vanity Fair, a victim of the never-ending Depression, had folded, and neither The New Yorker nor Vogue was a dependable showcase for his caricatures. Perhaps, too, the fact that other caricaturists --Garetto, for example--were using stylistic devices similar to his own made Covarrubias feel it was time to move on. And move on he did. He packed up and took Rosa back to his family's home in Tizapan outside Mexico

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