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Black Male: Representations of Masculinity in Contemporary Art was a landmark [1] exhibition held at New York's Whitney Museum of American Art from November 10, 1994 until March 5, 1995. Organized by curator Thelma Golden , Black Male was a survey of the changing representations of black masculinity in contemporary art from the 1970s to the 1990s.
Al Hirschfeld was born in 1903 in a two-story duplex apartment at 1313 Carr Street in St. Louis, Missouri to Russian Jewish parents. [2] [3] He moved with his family to New York City in 1915, [4] where he received art training at the Art Students League and the National Academy of Design.
The picture juxtaposes the similarities between the soft oval white face of the model, as if she were a living mask, with the shiny black mask, also with eyes closed and a serene expression. [4] It also expresses the artist's interest in African art, which had a huge influence in the artistic movements of the first decades of the 20th century.
In Art Make-Up (1967–68) Nauman videotapes himself applying successive layers of white, pink, green and black makeup to his entire face, arms, and torso. In Flesh to White to Black to Flesh (1968) he videotapes himself applying white make-up to his face and body, then black make-up, then wiping the make-up away to re-expose his skin. [8] [9]
Artists may employ a wide-ranging palette of colors, as with Pierre-Auguste Renoir's Mme. Charpentier and her children, 1878 or restrict themselves to mostly white or black, as with Gilbert Stuart's Portrait of George Washington (1796). Sometimes, the overall size of the portrait is an important consideration.
Black and white chalk on paper: 19.5 x 23.4 cm: Nationalmuseum, Stockholm: The drawing is related to the painting W130 : Old Man Leaning on a Stick: 1632–1635: Pen and brown ink: 13.5 x 7.8 cm: Metropolitan Museum of Art, New York: The drawing is related to the etching B133 : Study for Drunk Lot: 1633: Black chalk on paper: 25.1 x 18.9 cm ...
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