#blackartists — Public Fediverse posts

A portrait of “Lead Belly” Ledbetter by Charles White (1918-1979), “Good Night Irene,” 1952, oil on canvas, 47 × 24 inches (119.38 × 60.96 cm), Nelson-Atkins Museum of Art, Kansas City, MO. #art #arthistory #blackart #blackartist #blackartists #BlackHistory

From the gallery label: “Charles Wilbert White created this portrait three years after the legendary musician’s death. He painted Lead Belly in his prime playing a popular late-1800s folk song that he was the first to record in 1933. In addition to celebrating an icon of American music, Goodnight Irene is a key example of White’s socially conscious art. White aimed to affirm the humanity and beauty of African Americans throughout his career. Goodnight Irene highlights the artist’s ability to invest his subjects with steadfast dignity and universal resonance.”

A portrait of “Lead Belly” Ledbetter by Charles White (1918-1979), “Good Night Irene,” 1952, oil on canvas, 47 × 24 inches (119.38 × 60.96 cm), Nelson-Atkins Museum of Art, Kansas City, MO. #art #arthistory #blackart #blackartist #blackartists #BlackHistory

From the gallery label: “Charles Wilbert White created this portrait three years after the legendary musician’s death. He painted Lead Belly in his prime playing a popular late-1800s folk song that he was the first to record in 1933. In addition to celebrating an icon of American music, Goodnight Irene is a key example of White’s socially conscious art. White aimed to affirm the humanity and beauty of African Americans throughout his career. Goodnight Irene highlights the artist’s ability to invest his subjects with steadfast dignity and universal resonance.”

A portrait of “Lead Belly” Ledbetter by Charles White (1918-1979), “Good Night Irene,” 1952, oil on canvas, 47 × 24 inches (119.38 × 60.96 cm), Nelson-Atkins Museum of Art, Kansas City, MO. #art #arthistory #blackart #blackartist #blackartists #BlackHistory

From the gallery label: “Charles Wilbert White created this portrait three years after the legendary musician’s death. He painted Lead Belly in his prime playing a popular late-1800s folk song that he was the first to record in 1933. In addition to celebrating an icon of American music, Goodnight Irene is a key example of White’s socially conscious art. White aimed to affirm the humanity and beauty of African Americans throughout his career. Goodnight Irene highlights the artist’s ability to invest his subjects with steadfast dignity and universal resonance.”

A portrait of “Lead Belly” Ledbetter by Charles White (1918-1979), “Good Night Irene,” 1952, oil on canvas, 47 × 24 inches (119.38 × 60.96 cm), Nelson-Atkins Museum of Art, Kansas City, MO. #art #arthistory #blackart #blackartist #blackartists #BlackHistory

From the gallery label: “Charles Wilbert White created this portrait three years after the legendary musician’s death. He painted Lead Belly in his prime playing a popular late-1800s folk song that he was the first to record in 1933. In addition to celebrating an icon of American music, Goodnight Irene is a key example of White’s socially conscious art. White aimed to affirm the humanity and beauty of African Americans throughout his career. Goodnight Irene highlights the artist’s ability to invest his subjects with steadfast dignity and universal resonance.”

A portrait of “Lead Belly” Ledbetter by Charles White (1918-1979), “Good Night Irene,” 1952, oil on canvas, 47 × 24 inches (119.38 × 60.96 cm), Nelson-Atkins Museum of Art, Kansas City, MO. #art #arthistory #blackart #blackartist #blackartists #BlackHistory

From the gallery label: “Charles Wilbert White created this portrait three years after the legendary musician’s death. He painted Lead Belly in his prime playing a popular late-1800s folk song that he was the first to record in 1933. In addition to celebrating an icon of American music, Goodnight Irene is a key example of White’s socially conscious art. White aimed to affirm the humanity and beauty of African Americans throughout his career. Goodnight Irene highlights the artist’s ability to invest his subjects with steadfast dignity and universal resonance.”

By Trinidadian-American actor/dancer/musician/director/choreographer/artist Geoffrey Holder (1930-2014), portrait of his wife, actress/choreographer/dancer Carmen de Lavallade, 1976, oil on canvas, 61 × 40 ½ inches (framed). #arthistory #blackhistory #blackartists #blackart #blackartist #painting #oilpainting

From James Fuentes Gallery: “The artist’s oeuvre demonstrates a deep interest in representing the totality of black life, registered here in compositions that move from the quiet intimacy of bedrooms and parlors to the lively energy encountered in city streets and nightclubs. Anchored in portraiture, at times Holder’s images are also steeped in religious iconography and a bold reverence for nature—consummately rendered in such a way that they appear at once contemporary, historical, and thus timeless…

Holder’s attunement to beauty imbued much of his portraiture with a mysterious quality—likely amplified by the fact that most of his figures were painted from imagination rather than life. Holder engaged the body as if it were a paintbrush or pen; his choreography resembled movements like brushstrokes and, in turn, his paintings reflected an intimate physical sensibility. For Holder, painting provided fertile terrain for his astonishing experimentations in style, representation, and expression. To this day, Holder’s work remains as contemporary as when it was made.”

By Trinidadian-American actor/dancer/musician/director/choreographer/artist Geoffrey Holder (1930-2014), portrait of his wife, actress/choreographer/dancer Carmen de Lavallade, 1976, oil on canvas, 61 × 40 ½ inches (framed). #arthistory #blackhistory #blackartists #blackart #blackartist #painting #oilpainting

From James Fuentes Gallery: “The artist’s oeuvre demonstrates a deep interest in representing the totality of black life, registered here in compositions that move from the quiet intimacy of bedrooms and parlors to the lively energy encountered in city streets and nightclubs. Anchored in portraiture, at times Holder’s images are also steeped in religious iconography and a bold reverence for nature—consummately rendered in such a way that they appear at once contemporary, historical, and thus timeless…

Holder’s attunement to beauty imbued much of his portraiture with a mysterious quality—likely amplified by the fact that most of his figures were painted from imagination rather than life. Holder engaged the body as if it were a paintbrush or pen; his choreography resembled movements like brushstrokes and, in turn, his paintings reflected an intimate physical sensibility. For Holder, painting provided fertile terrain for his astonishing experimentations in style, representation, and expression. To this day, Holder’s work remains as contemporary as when it was made.”

By Trinidadian-American actor/dancer/musician/director/choreographer/artist Geoffrey Holder (1930-2014), portrait of his wife, actress/choreographer/dancer Carmen de Lavallade, 1976, oil on canvas, 61 × 40 ½ inches (framed). #arthistory #blackhistory #blackartists #blackart #blackartist #painting #oilpainting

From James Fuentes Gallery: “The artist’s oeuvre demonstrates a deep interest in representing the totality of black life, registered here in compositions that move from the quiet intimacy of bedrooms and parlors to the lively energy encountered in city streets and nightclubs. Anchored in portraiture, at times Holder’s images are also steeped in religious iconography and a bold reverence for nature—consummately rendered in such a way that they appear at once contemporary, historical, and thus timeless…

Holder’s attunement to beauty imbued much of his portraiture with a mysterious quality—likely amplified by the fact that most of his figures were painted from imagination rather than life. Holder engaged the body as if it were a paintbrush or pen; his choreography resembled movements like brushstrokes and, in turn, his paintings reflected an intimate physical sensibility. For Holder, painting provided fertile terrain for his astonishing experimentations in style, representation, and expression. To this day, Holder’s work remains as contemporary as when it was made.”

By Trinidadian-American actor/dancer/musician/director/choreographer/artist Geoffrey Holder (1930-2014), portrait of his wife, actress/choreographer/dancer Carmen de Lavallade, 1976, oil on canvas, 61 × 40 ½ inches (framed). #arthistory #blackhistory #blackartists #blackart #blackartist #painting #oilpainting

From James Fuentes Gallery: “The artist’s oeuvre demonstrates a deep interest in representing the totality of black life, registered here in compositions that move from the quiet intimacy of bedrooms and parlors to the lively energy encountered in city streets and nightclubs. Anchored in portraiture, at times Holder’s images are also steeped in religious iconography and a bold reverence for nature—consummately rendered in such a way that they appear at once contemporary, historical, and thus timeless…

Holder’s attunement to beauty imbued much of his portraiture with a mysterious quality—likely amplified by the fact that most of his figures were painted from imagination rather than life. Holder engaged the body as if it were a paintbrush or pen; his choreography resembled movements like brushstrokes and, in turn, his paintings reflected an intimate physical sensibility. For Holder, painting provided fertile terrain for his astonishing experimentations in style, representation, and expression. To this day, Holder’s work remains as contemporary as when it was made.”

By Trinidadian-American actor/dancer/musician/director/choreographer/artist Geoffrey Holder (1930-2014), portrait of his wife, actress/choreographer/dancer Carmen de Lavallade, 1976, oil on canvas, 61 × 40 ½ inches (framed). #arthistory #blackhistory #blackartists #blackart #blackartist #painting #oilpainting

From James Fuentes Gallery: “The artist’s oeuvre demonstrates a deep interest in representing the totality of black life, registered here in compositions that move from the quiet intimacy of bedrooms and parlors to the lively energy encountered in city streets and nightclubs. Anchored in portraiture, at times Holder’s images are also steeped in religious iconography and a bold reverence for nature—consummately rendered in such a way that they appear at once contemporary, historical, and thus timeless…

Holder’s attunement to beauty imbued much of his portraiture with a mysterious quality—likely amplified by the fact that most of his figures were painted from imagination rather than life. Holder engaged the body as if it were a paintbrush or pen; his choreography resembled movements like brushstrokes and, in turn, his paintings reflected an intimate physical sensibility. For Holder, painting provided fertile terrain for his astonishing experimentations in style, representation, and expression. To this day, Holder’s work remains as contemporary as when it was made.”