Kerry James Marshall: History of painting
Kerry James Marshall, the American artist, is increasingly being recognised as a significant painter and modern master. He studied a wide range of art from the great masters from European history to abstract expressionism and pop art and all the essential work in-between. As a result of Marshall devouring and truly penetrating what had gone on before, he has developed a broad theoretical understanding and technical skills. His work confronts questions about what is represented in art and more importantly what has been left out. In this review of Kerry James Marshall: History of Painting at David Zwirner’s gallery in London, I want to look at the way Marshall uses in-depth knowledge and understanding of art history to inform his work and inspire a new generation of artists.
Kerry James Marshall was born in Birmingham, Alabama and grew up in Los Angles. He currently lives in Chicago. At the beginning of Marshall’s journey to becoming a successful artist, he started, like most students by learning to copy. When it came to choosing his style Marshall had an informed understanding. He decided to work with a deeply felt, intense narrative style that he learnt from grand European history paintings. Marshall felt this style of picture-making is familiar to many people and would be the best way for him to help derive meaning from our lives.
Stuart Bush Studio Notes
The painting titled, ‘Untitled (Underpainting)’ 2018 highlights how Marshall has learnt to evaluate art. It is a painting of African Americans children enjoying and learning about art in a museum. Referencing many great works like Samuel Morse’s, ‘Gallery of the Louvre’ (1831-3). It is painting with rich, white people are enjoying a rich visual field of pictures in a gallery. The African Americans figures in the picture are having a great time, enjoying looking at grand paintings made by American Africans. The narrative blatantly challenges how the identity of African Americans are displayed.
Kerry James Marshall said, “When most people go to a big museum like the Louvre, it reaffirms their idea of what real art is supposed to look like. And if you keep going to the Louvre and Tate Britain and you don’t see black people in those pictures, then you don’t think black people belong in these kinds of pictures… People need to start thinking that these pictures belong in those places, too.”
Related post: Kerry James Marshall: History of painting
Portrait painting is often intertwined with character, wealth and status. In Marshall’s portrait paintings we see the world with fresh eyes. In ‘Day and Night’ 2018, he asks us to stop and consider our oversimplified misconceptions. Marshall’s paintings, ask the viewer to look into the eyes of African Americans, to reconsider the opinions, stories and stereotypes they have been given. To re-evaluate what is valuable, neglected and demeaned.
Marshall’s auction series of works is about the commercial value of art. It is based on the prices of art at auction. Marshall is understandably asking questions about the importance of art considering he recently sold a painting for £15.6 million at auction.
Stuart Bush Studio Notes
Marshall leads the way, encouraging a belief that upcoming artist too can be successful and have their work in these critical artistic establishments. He steps forward as an inspirational artist trying to rebalance the objectivity of art intuitions. Leading the way to change the way art and art establishment conducts its view of the world.
Kerry James Marshall: History of painting – review
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