Jul 30 2024

Charles Mingus’ “Mingus Plays Piano”

Picture this: It’s 1963, and one of jazz’s most prolific bassists and composers decides to sit down at a piano and create magic. That’s exactly what happened when Charles Mingus recorded Mingus Plays Piano, a groundbreaking album that showcases the legendary musician in a whole new light. The album was recorded on this day July 30, 1963.

The Birth of a Unique Jazz Album

In the early 1960s, the jazz world was buzzing with innovation. Amidst this creative whirlwind, Charles Mingus – known for his thunderous bass lines and complex compositions – surprised everyone by releasing an album featuring himself solely on piano. This bold move came at a time when Mingus was already established as a jazz giant, making Mingus Plays Piano all the more intriguing.

Mingus at the Keys: A New Perspective

Imagine the hands that once plucked the strings of a double bass now dancing across the ivory keys. Mingus’ approach to the piano was as unique as his personality – raw, emotional, and utterly captivating. His piano style on this album is:

  • Intuitive: Mingus plays with a natural feel, letting his musical instincts guide him.
  • Percussive: You can almost hear the influence of his bass technique in the way he attacks the keys.
  • Melodically Rich: Despite being primarily known as a bassist, Mingus weaves beautiful melodies throughout the album.

A Journey Through the Album

Mingus Plays Piano is a tapestry of musical ideas, each track offering a new glimpse into Mingus’ creative mind. Let’s explore some standout moments:

  1. “Myself When I Am Real”: This haunting piece showcases Mingus’ ability to create atmosphere and emotion through simple, yet effective piano work.
  2. “Orange Was the Color of Her Dress, Then Silk Blue”: A reimagining of one of his earlier compositions, this track demonstrates how Mingus translates his orchestral ideas to solo piano.
  3. “Compositional Theme Story: Medleys, Anthems and Folklore”: This extended piece is like a journey through Mingus’ musical psyche, blending various themes and styles.

The Impact on Jazz

Mingus Plays Piano showed that:

  • Great composers could excel on multiple instruments
  • Jazz could be both intellectually stimulating and emotionally powerful
  • Solo piano albums could be as complex and engaging as full band recordings

The album’s influence can be heard in the work of later pianists who embraced a more free-form, emotionally charged style of playing.

From Bass to Keys: The Evolution of Mingus’ Style

Comparing Mingus Plays Piano to his bass-led compositions reveals fascinating insights into his musical evolution:

  • Rhythmic Complexity: While his bass playing often drove the rhythm, his piano work explores more fluid time signatures.
  • Harmonic Exploration: The piano allows Mingus to delve deeper into complex harmonies that were harder to express on bass.
  • Intimate Expression: The solo piano format provides a more personal, introspective view of Mingus’ musical ideas.

The Legacy Lives On

Mingus Plays Piano stands as a testament to Charles Mingus’ versatility and genius. It’s an album that continues to inspire and intrigue listeners decades after its release. For jazz enthusiasts and casual listeners alike, it offers a unique window into the mind of one of jazz’s greatest innovators.

Immerse yourself in the world of Charles Mingus and discover why this album remains a cherished gem in the jazz canon. Who knows? You might just find yourself inspired to tickle the ivories or pick up a bass!

Jul 29 2024

“Lost Generation” Abstract Expressionist Alan Fenton

Transitional Cape | Alan Fenton

Born on July 29, 1927, in Cleveland, Ohio, Alan Fenton was a middle child among three siblings. Growing up during the Depression in the rough Kinsman area, Fenton’s childhood was far from ordinary. He grew up alongside the likes of Jackie Presser, who later became a notable teamster and mob boss.

Fenton’s early life, however, was marked by an inclination towards art. Despite being a poor student, he had a knack for drawing and spent most of his time doing so. Unfortunately, his teachers, failing to recognize his talent, reprimanded him for his left-handedness, causing a tremor in his hand in the later years.

Education and Training

Alan Fenton’s career as an artist started when he attended Pratt Institute after a brief stint in the merchant marines and a boxing career in Florida. Here, he majored in Fine Arts and received private lessons from Jack Tworkov and Adolph Gottlieb, both of whom remained lifelong friends and mentors.

Fenton was a strong advocate for classical training, a principle that he drilled into his art students. He insisted on the importance of drawing as a prerequisite for painting, which was evident in his spontaneous sketch of Barney for his son, drawn with mere crayon strokes on a napkin.

Artistic Style and Influences

Fenton’s art is largely classified as “Lost Generation” Abstract Expressionism. His work, often infused with non-objective imagery, resonates with the styles of the New York School and Color Field Painting. Fenton’s style evolved over the years, moving from expressionistic brush strokes into color field lines and squares.

His art was heavily influenced by Taoist, existentialist, and absurdist philosophies, which lent a paradoxical nature to his work. For Fenton, life was about the simultaneous existence of everything and nothing, a concept that he beautifully portrayed in his art.

Career Highlights and Achievements

Alan Fenton’s career took a significant turn when he was invited by Kyle Morris to participate in a group show of the New York School in 1959. Shortly after, he was introduced to Vincent Melzac, owner of “The Vincent Melzac Collection of American Art.” By 1960, Fenton’s work was included in the Melzac Collection, positioning him among the likes of Willem de Kooning, Kenneth Noland, Morris Louis, Franz Kline, and Jackson Pollack.

Throughout the ’60s, Fenton had group exhibitions in various cities like New York, San Francisco, Boston, and Connecticut. His one-man exhibition at the Pace Gallery and Stratford, CT, received much acclaim.

In the ’70s, Fenton embarked on his mature work, the “transition series,” which were Asian-inspired landscapes of split two-color flat works. This period of his work culminated in a solo exhibition, “Washes and Drawings,” which traveled to various museums.

Fenton’s work has been reviewed in numerous publications such as Art News, Arts Magazine, The New Yorker, The New York Times, the New York Post, the Village Voice, and Art International. He even found mention in reference books like Who’s Who: In The World, In America, In the East, In Arts and Antiques and In American Art.

Legacy

Alan Fenton passed away on January 1, 2000. Despite his demise, his work continues to inspire many in the art world. His art, which was a reflection of his life and philosophy, remains a testament to his talent and creativity. His legacy as an artist, teacher, and influencer lives on, forever etched in the pages of art history.

Curated by Jennifer

Jul 27 2024

Roland L. Freeman: From the Lens to History Books

Cigar Box Fiddler Scott Dunbar, Mississippi, 1975 | Roland L. Freeman, UNC

Born on this day July 27, 1936 in Baltimore, Maryland, Roland L. Freeman’s journey as a photographer began in the tumultuous era of the Civil Rights Movement. He started his career as a freelance photographer, capturing powerful images that bore testimony to the socio-political landscape of the era. His keen eye for detail and a profound understanding of the human condition made him a unique storyteller, whose tales were told through the lens of his camera.

400 Block of East Lorraine Avenue. East Baltimore, Maryland, September 1972. | Roland L. Freeman

Freeman’s work transcended the mere act of taking pictures; he was a cultural anthropologist who used his camera as a tool for social commentary. His most notable work is perhaps his documentation of the African American experience, both in urban settings and in rural communities. Through projects such as The Mule Train: A Journey of Hope Remembered and Southern Roads/City Pavements: Photographs of Black Americans, Freeman was able to shed light on aspects of African American life that were often overlooked or misunderstood.

Bikers Take a Break. Sunday Afternoon in Druid Hill Park, Baltimore, Maryland, September 1973, from the series Southern Roads/​City Pavements | Roland L. Freeman, SAAM

Beyond his work as a photographer, Roland L. Freeman was an educator and a historian, committed to preserving and sharing the diverse narratives of African American history. His photographs have been exhibited in numerous museums and galleries around the world, from the Smithsonian Institution to the Museum of Modern Art in New York, testifying to his significant contribution to the field of photography and history.

Wednesday Night Quilting Sisters of Detroit. Wayne County, Michigan, October 1986 | Roland L. Freeman, UNC

Roland L. Freeman’s life and works offer an insightful perspective into the African American experience. His photographic narratives not only record history but also provoke thought and dialogue about culture, identity, and race. His contribution extends beyond being just a photographer; he is a historian who has effectively used his lens to write pages into history books.

Curated by Jennifer

Jul 26 2024

Signs of America: The Orange Shop in Citra

One of Florida’s vintage fruit stands, The Orange Shop in Citra provides a delightful retro shopping experience. | Joanne Dale

The Orange Shop, located in the quaint town of Citra, Florida, boasts a rich history that dates back to 1936. This unique establishment has been serving locals and tourists alike with its signature selection of citrus fruits and other Florida specialties for over eight decades. The shop originally started as a small roadside stand run by family members who were passionate about sharing the fresh taste of Florida citrus with everyone.

Over the years, The Orange Shop has evolved into a landmark destination in Citra, renowned for its high-quality citrus products. The shop prides itself on offering an array of citrus varieties including the world-famous Indian River Grapefruit and Honeybell Tangelos. The Orange Shop also houses a collection of gourmet foods, jams, jellies, and honey sourced from local farms, demonstrating its commitment to supporting local agribusinesses.

The history of The Orange Shop is interwoven with the history of Citra, a town known as the home of the Pineapple Orange. This symbiotic relationship has contributed to the growth and development of both the shop and Citra. Today, The Orange Shop stands as a testament to Florida’s rich citrus heritage and continues to share the taste and history of Citra with every visitor.

Jul 25 2024

Maxfield Parrish: The Master of Make-Believe

Daybreak | 1922 | Maxfield Parrish

In the realm of American art and illustration, few names shine as brightly as Maxfield Parrish. His enchanting works, characterized by vibrant colors and dreamlike landscapes, captivated the public imagination throughout the early 20th century and continue to inspire artists today.

Maxfield Parrish

The Making of a Visionary

Born in Philadelphia on this day July 25, 1870, Maxfield Parrish showed early promise in the arts. His father, Stephen Parrish, a renowned etcher, nurtured young Maxfield’s talent. The artist’s formative years at Haverford College and later at the Pennsylvania Academy of the Fine Arts laid the foundation for his unique artistic vision.

“It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color.”

-Maxfield Parrish
The Lantern Bearers (1908) | Maxfield Parrish

A Career Painted in Gold

Parrish’s career took flight in the 1890s when he began illustrating for magazines and books. His breakthrough came with the publication of Mother Goose in Prose by L. Frank Baum in 1897, featuring Parrish’s whimsical illustrations.

Some of his most notable works include:

  • The Lantern Bearers (1908)
  • Daybreak (1922) – arguably his most famous painting
  • Murals for the Curtis Publishing Company in Philadelphia

Parrish’s art graced everything from magazine covers to calendars, making him a household name. His 1922 painting Daybreak became so popular that it’s estimated one in four American households owned a copy!

The Parrish Blue: A Signature Style

Parrish’s artistic style was unmistakable. He developed a technique of applying multiple thin layers of oil paint and varnish, creating a luminous effect that seemed to make his paintings glow from within. This technique, combined with his use of vivid colors, particularly the iconic “Parrish blue,” set his work apart.

Key elements of Parrish’s style included:

  • Vibrant, saturated colors
  • Fantastical landscapes
  • Idealized human figures
  • Meticulous attention to detail
Early Morning, First Snow | Maxfield Parrish

Shaping the Golden Age of Illustration

Parrish’s influence on commercial art and illustration was profound. His work bridged the gap between fine art and commercial illustration, elevating the latter to new heights of respectability and artistry.

His impact can be seen in:

  1. Advertising art of the early 20th century
  2. The development of fantasy and science fiction illustration
  3. The Art Nouveau and Art Deco movements

A Lasting Legacy

Even decades after his death in 1966, Maxfield Parrish’s work continues to captivate audiences. His paintings fetch high prices at auctions, and his influence can be seen in contemporary fantasy art, digital illustration, and even in the world of cinema.

Maxfield Parrish’s journey from a young art student to one of America’s most beloved artists is a testament to the power of imagination and technical mastery. His ability to create worlds of wonder and beauty continues to inspire artists and art lovers alike, ensuring his place in the pantheon of great American artists.

Jul 24 2024

Eugene J. Martin: A Trailblazer in Abstract Expressionism and Mixed Media Art

Untitled | Eugene J. Martin

Eugene J. Martin, an American visual artist known for his distinct style and innovative techniques in the realm of abstract expressionism and mixed media art, has left a lasting impression on the world of contemporary art. Born on this day July 24, 1938, Martin’s journey as an artist was not a conventional one. His works, a blend of abstract expressionism and surrealism, are characterized by complex geometrical patterns, intricate line work, and a rich, nuanced color palette. He navigated through the art world with a unique perspective and a relentless pursuit of creative freedom, becoming a trailblazer in his chosen field.

Martin’s early works were primarily oil paintings that expressed his interpretation of nature and the world around him. However, it was his later explorations into mixed media collages that truly set him apart. Using various materials such as paper, fabric, and even found objects, Martin created visual art pieces that were both visually stunning and thought-provoking. He would often incorporate elements from his earlier abstract expressionist works into these collages, creating a layered effect that added depth and complexity to the final piece.

The essence of Eugene J. Martin’s art lies in its fluidity and its refusal to be boxed into any one genre or style. His pieces are not just mere representations of the visible world, but rather they are expressions of his inner thoughts and emotions. They invite the viewer to embark on a journey of exploration and discovery, to delve deeper into the layers of meaning that lie beneath the surface.

Martin’s contribution to the field of visual art extends beyond his own personal body of work. He was also an influential figure in promoting the use of mixed media as a legitimate form of artistic expression. His innovative approach to collage-making transformed what was once considered a craft into a respected art form. This not only opened up new avenues for artistic exploration but also paved the way for future artists to experiment with unconventional materials and techniques.

Eugene J. Martin was not just an artist, but a visionary who expanded the boundaries of what could be achieved in visual art. His pioneering work in abstract expressionism and mixed media collages has left a lasting legacy that continues to inspire artists today. His legacy is an affirmation of his belief in the transformative power of art and its ability to evoke profound emotional responses.

Curated by Jennifer

Jul 23 2024

The Artistry of Nassos Daphnis: A Different Perspective

E.M.E (1994) | Nassos Daphnis

Born on this day July 23, 1914 in Krokeai, Greece, Nassos Daphnis, a renowned abstract painter and sculptor, offers a unique perspective in the realm of visual art. His body of work, spanning over seven decades, represents a significant contribution to the abstract and geometric art movements of the 20th century. Daphnis’ artistry can be defined by his innovative approach to spatial relationships, color, and form. Utilizing simple geometric shapes and a limited yet vibrant color palette, he created compositions that were both minimalistic and complex. His oeuvre is marked by a boldness of expression and an uncompromising commitment to his aesthetic vision.

However, a different perspective on the artistry of Nassos Daphnis can be gleaned through his lifelong passion for the peony. An avid horticulturist, Daphnis cultivated and hybridized hundreds of peony varieties at his nursery. He saw in the peony a reflection of his artistic principles – simplicity, beauty, and purity of form. The peony became a recurring motif in his sculptural works, providing a tangible link between his abstract paintings and his passion for horticulture.

This intersection between botany and visual art is not often explored in discussions about Daphnis’ work. Yet it offers a profound understanding of his artistic sensibility. His dedication to the peony reveals an artist deeply connected to nature and the organic world, even as his paintings embodied an aesthetic of stark geometric abstraction. It is this paradox that makes Nassos Daphnis’ artistry truly fascinating.

Nassos Daphnis was not only an abstract painter and sculptor but also a lover of nature whose artistry transcends traditional categorizations. His work embodies an interesting dichotomy between the natural world and abstract forms, offering a different perspective on the interplay between these two realms. Through this lens, we may gain a deeper appreciation for the complexity and depth of Daphnis’ artistic legacy. The exploration into this aspect of Daphnis’ work allows us to understand him not just as an artist but also as a passionate horticulturist, providing a holistic view of his creative endeavors.

Curated by Jennifer

Jul 22 2024

Walter Ufer: A Remarkable Journey Through Art and Activism

Near The Waterhole | Walter Ufer

Walter Ufer, a distinguished American artist, is celebrated for his captivating depictions of Native American life, particularly the Pueblo Indians. Born on this day July 22, 1876 and hailing from Germany, Walter Ufer’s life is a compelling tale of artistic exploration, social activism, and enduring legacy.

The Early Years

Raised in Louisville, Kentucky, Ufer displayed an innate talent for painting from a young age. He began his artistic journey as an apprentice to a lithography firm, a process of printing that involves creating images on a stone or a metal plate with a smooth surface. This early exposure to the world of art had a profound impact on Ufer, shaping his future career as a renowned artist.

European Sojourn

In pursuit of honing his artistic skills, Ufer traveled to Europe, where he studied at the Royal Academy in Munich. His time in Europe was transformative, providing him an opportunity to learn from masters of the craft and refine his style.

The period was also significant as he met Joseph Henry Sharp and Ernest Blumenschein, future fellow members of the Taos Society of Artists, during his studies. His European journey also included a visit to Paris, Italy, and North Africa, widening his artistic perspective and adding a nuanced diversity to his work.

Move to America and Chicago Years

Upon his return to America, Ufer worked as an illustrator in Chicago, where he found a supportive patron in Carter Harrison, the city’s mayor. Walter Ufer’s association with Harrison presented him the opportunity to visit Taos, New Mexico multiple times, starting in 1914. This exposure to the vibrant culture and scenic beauty of Taos left a deep imprint on Ufer’s artistic sensibilities.

Taos Society of Artists

In 1917, Ufer permanently relocated to Taos and became part of the esteemed Taos Society of Artists. The society, formed in 1915, aimed to promote the Taos art colony and establish it as a globally recognized art center.

The original founders of this remarkable group, known as the “Taos Six”, included Eanger Irving Couse, Joseph Henry Sharp, Oscar Berninghaus, Bert Geer Phillips, W. Herbert Dunton, and Ernest Blumenschein. Ufer, along with E. Martin Hennings, joined this group later, further adding to the collective’s artistic diversity.

Artistic Style and Influence

Ufer’s art primarily centered on realistic, non-dramatized portrayals of Native American life. His work stood out for its high-keyed palette and genre scenes of Native American life. One of his favorite subjects was a Taos Indian known as Jim Mirabal, who was often referred to as “Ufer’s Jim.”

Social Activism

Apart from his artistic endeavors, Ufer also stood out for his commitment to social justice. He was an active supporter of the local Native Americans, empathizing with their struggle to preserve their cultural identity amid oppression.

A socialist at heart, Ufer was a friend of Leon Trotsky and was known for his participation in picket lines and labor group protests. His activism extended to helping during the 1918 flu epidemic and raising funds for miners on strike in Madrid, New Mexico.

Career Heights and Challenges

Despite personal struggles with alcoholism, Ufer’s art continued to earn critical acclaim. He became an Associate Member of the National Academy of Design in New York in 1920 and was inducted as a full National Academician in 1926.

However, the Stock Market crash of 1929 adversely affected the market for his work, causing a financial setback. Despite these challenges, Ufer found a supportive patron in William Henry Klauer, a businessman from Dubuque, Iowa, who provided financial backing that allowed Ufer to continue his artistic pursuits.

Legacy

Ufer’s health deteriorated over the years, leading to his death in 1936. However, his legacy lives on through his remarkable body of work. His paintings are held in the permanent collections of several major museums, including the Metropolitan Museum of Art, the Brooklyn Museum, the Art Institute of Chicago, and the Corcoran Gallery in Washington D.C.

Remembering Walter Ufer

Walter Ufer’s life and work serve as a testament to the power of art to capture the richness and diversity of human experience. His journey from a lithography apprentice to a celebrated member of the Taos Society of Artists epitomizes the transformative potential of art. He remains an inspiring figure in the annals of American art history.

For More Information

To learn more about Walter Ufer and his artwork, visit the following resources:

Jul 21 2024

Discover the Transformative Designs of Eero Aarnio: From Playful Chairs to Iconic Bubble Lamps

Mexico City, Silhouette of a Girl with Background Lighting Installation Double Bubble by Designer Eero Aarnio | Norma Goro

Born on this day July 21, 1932, Eero Aarnio, a Finnish interior designer known for his innovative and playful designs, has undoubtedly left a significant mark in the world of design. Aarnio’s groundbreaking use of plastics and fiberglass in furniture design ushered in a new era of modernism, while his whimsical aesthetics brought an element of joy and playfulness to the often serious world of design.

Perhaps the most iconic of Aarnio’s designs is the Ball Chair, a globe-shaped chair made from fiberglass that encapsulates the sitter in a private space while still allowing for interaction with the outside world. Its unique design and innovative use of materials made it an instant classic and a symbol of 1960s futuristic design.

Another notable creation by Aarnio is the Pastil Chair. It is a playful masterpiece that showcases his adeptness at creating functional yet stylish pieces that defy conventional design norms. Made entirely of plastic, this chair is not only visually striking but also incredibly versatile, doubling as both a chair and a float.

However, Eero Aarnio’s genius extends beyond furniture. His Bubble Lamp, for instance, is renowned for its distinctive design. Suspended from the ceiling, this transparent acrylic lamp encapsulates the light source within a spherical ‘bubble’, creating an ethereal glow that adds warmth and intrigue to any space.

Aarnio’s designs are transformative in their ability to challenge traditional design norms and materials while simultaneously injecting a sense of fun and whimsy into everyday objects. His playful chairs and iconic bubble lamps not only exemplify his creative genius but also his ability to create designs that are both aesthetically pleasing and functionally sound. Eero Aarnio’s designs continue to inspire and influence designers worldwide, cementing his legacy as one of the pioneers of modern design.

Jul 19 2024

Tom A. Robertson: Captivating the Senses and Inspiring the Soul

The Orange Point (1940) | color screenprint on paper | Tom A. Robertson

Tom A. Robertson’s works continue to charm their beholders, with their presence being felt in numerous public and private art collections. Three of his distinguished works – the watercolor ‘Anthurium’ and the serigraphs ‘The Orange Point’ and ‘Flight’ – have earned a revered place in the permanent collection of the Smithsonian American Art Museum, Washington DC.

Early Life and Education

Born on this day July 19,  1911 in Little Rock, Arkansas, Robertson’s initial footsteps seemed to follow the path of his father, Thomas N. Robertson, a respected attorney and secretary of the Arkansas Law School. Upon graduating from Little Rock High School, the young artist enrolled in law school and commenced studies in contract and real estate law. However, his heart belonged elsewhere. With his father’s support, he decided to pursue his passion for art and left the law field behind.

Despite his late start and doubts about his ability to draw, Robertson took a bold step in 1931 when he enrolled in a summer art class. The class was conducted by May Danaher, a renowned Little Rock teacher known for her portraits and studies of the Ozark Mountains. This marked the beginning of Robertson’s formal education in art.

Artistic Journey

In the fall of the same year, Robertson advanced his studies at the Adrian Brewer School of Art in Little Rock. His talent was soon recognized as he was awarded the George B. Rose scholarship in 1933, offering him a year’s free tuition. This recognition was followed by a grand prize at the first Spring Amateur Art Exhibit, sponsored by the Fine Arts Club of Arkansas. His winning oil painting, ‘Girl in Green,’ was selected from hundreds of entries, a testament to his evolving artistry.

Robertson’s remarkable contribution to the art community began when he co-founded the Little Rock Art League in 1933 and became its first president. Modeled after the Art Students League of New York, this non-profit organization offered art instruction and organized annual exhibitions.

Influence and Inspiration

Robertson’s artistic journey was influenced by several individuals. One such influential figure was Howard Simon, an adept woodcut and graphic artist. Under his guidance, Robertson explored the realm of printmaking.

His painting ‘Summer Interlude’ was displayed at the 130th Annual National Exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia in 1935. This institution, being the oldest art museum and school in the United States, provided a significant platform for Robertson’s work.

New Orleans: The Turning Point

Later in 1935, Robertson relocated to New Orleans, Louisiana, to study under Paul Ninas, a pioneer modernist. This move marked a turning point in his career as he swiftly established himself as a portraitist. His studio on Toulouse Street was home to a variety of exquisite works, including a portrait of his father and a painting titled ‘Glory, Glory,’ which captured a religious group’s deep emotional expression.

Exhibitions and Recognition

Robertson frequently exhibited his work at the Isaac Delgado Museum of Fine Arts (now known as the New Orleans Museum of Art – NOMA) during its annual show. In January 1937, he exhibited thirteen oil portraits and still-life studies under the Art Association of New Orleans. Two of these pieces, including ‘Albert Rieker,’ a portrait of a German-born sculptor, were showcased at the National Exhibition of American Art in New York City later that year.

Personal Life and Teaching Career

On April 7, 1937, Robertson married Virginia Kumbler in New Orleans. The couple soon relocated to Little Rock. In 1940, Robertson became the art instructor at Little Rock Junior College, now known as the University of Arkansas at Little Rock, replacing Harry Louis Freund.

Abstraction and Screenprints

After his return to Little Rock, Robertson began producing a remarkable series of screen prints, also known as serigraphs. These works mirrored his abstract watercolors in style and color palette. ‘Sweet Boy,’ ‘The Orange Point,’ ‘The New Apprentice,’ and ‘Little Willie’ were four serigraphs that earned a place in his 1941 exhibition at the Delgado Museum.

Robertson’s painting style underwent a significant transformation during the 1940s as he ventured into complete abstraction. He drew inspiration from Native American art themes that did not carry any recognizable meaning. His designs, adorned with arcs, circles, slashes, and lines, were derived from the ancient decorative pottery of the Caddo Indians, who once inhabited land in what is now southwestern Arkansas.

World War II and Subsequent Career

During World War II, in 1942, Robertson began working as a civilian draftsman for the U.S. Army Corps of Engineers (USACE) in Little Rock. Despite his demanding job, he continued his artistic pursuits by focusing on smaller watercolors and tempera paintings. Twenty of his non-objective watercolors were exhibited at the Addison Gallery in 1945, and along with his serigraphs, they composed a one-man exhibition at the Little Rock Public Library later that year.

Later Life and Legacy

In the mid-1940s, Robertson was transferred to the American Graves Registration Command in Paris, France, as a civilian employee of the USACE. While in France, he appears to have temporarily abandoned his passion for painting. He returned to the United States in 1957 and settled in California. He worked for the USACE until his retirement around 1960 and then spent the remainder of his life in Albion, California. The life journey of this remarkable artist came to an end on May 25, 1976.

Tom A. Robertson’s art continues to inspire and captivate, leaving a lasting legacy that transcends generations. His journey, filled with exploration, transformation, and innovation, serves as an inspiration for aspiring artists worldwide.

References

  1. Acton, David. A Spectrum of Innovation: Color in American Printmaking, 1890-1960. New York: Norton, 1990.
  2. Federal Writers Project. WPA Guide to 1930s Arkansas. Lawrence: University Press of Kansas, 1987.
  3. Hudson, Ralph. “Art in Arkansas.” Arkansas Historical Quarterly 3 (Winter 1944): 299-350.

Curated by Jennifer