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Midway Art

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Submitted By brandia
Words 566
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Midterm Paper

A Short Paper Presented to

Professor Spencer For:
Art 315-01

By Brandi Robinson October 17, 2014
Hampton University Hampton, Virginia

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Born in Oakland, CA, Humphrey received a BFA in printmaking and painting from the California College of Arts and Crafts, Oakland, and an MFA in printmaking from Stanford University, Palo Alto, CA. Humphrey is highly regarded as an artist and master printmaker. She created The Last Bar-B-Que after three years of studying many other famous renditions of The Last Supper, by artists ranging from Leonardo da Vinci to Emil Nolde. By adding chicken, bananas, papayas, watermelons, and mangoes to the menu of bread and wine, Humphrey shifts a traditional Christian theme to one that is contemporary and humorous, with an African American perspective. The vivid yellow, sienna, and blue allude to celebration and African influences. The blue color tone also represents divinity. Romare Howard Bearden was born on September 2, 1911, to (Richard) Howard and Bessye Bearden in Charlotte, North Carolina, and died in New York City on March 12, 1988, at the age of 76. His life and art are marked by exceptional talent, encompassing a broad range of intellectual and scholarly interests, including music, performing arts, history, literature and world art.

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The Last Bar-B-Que -the ultimate satire. Portraying eleven African American figures dining at an elongated table alike the last supper. I felt as though the choice of color and contrast within the painting, could have been a little more controlled. Like traditional representations of the Last Supper, Christ is shown seated at a table, surrounded by his disciples. Humor can be found in the title and in the watermelon and chicken that join the traditional bread and wine; however, the title also indicates a shift from a European American perspective to an African American one.

The Prevalence of Ritual III by Bearden is a painting that resembles the story of Baptism. ‘It is tempting to imagine the dripping resin adhesive that Bearden poured over his clippings and cut-outs as akin to the water that pours over one’s head in a baptism ceremony, depicted here by a hand spouting water at the top of the scene. It is equally tempting to see the immersion of the paper scraps in the viscous adhesive of the collage as akin to bodies plunged into liquid, for the purpose of ritual rebirth.’ It is as if Bearden, already bent on using the physical material of the world in his work, rather than just pictorial representations of this world, wished for his weighted-down, solid pictures to embody ritual practice by approximating the literal forms and properties of the materials and instruments used in a transformative, being-reconfiguring rite: collage as ritual or incantatory object, one might say. The biblical references that each of these pieces have, are what holds them closely in similarity. Yet each artists chooses offer a twist to such common images. Each work includes full color and character of the ‘black man’. Humphrey claims the skies with a tint of blue as a full cover for his background while Bearden sets sights on more of a ‘pieced’ horizon. The background changes with each layer as Beatden proves his knowledge of variety and collage. Though Humphrey’s piece holds many bright colors while Bearden’s piece entertains dull colors, each work of art draws you near.

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