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ROMARE BEARDEN (1911 - 1988) Untitled (Three Figures).
ROMARE BEARDEN (1911 - 1988)
Untitled (Three Figures).
Watercolor, brush and ink on cream wove paper, 1946. 460x620mm; 18 1/8x24 1/2 inches. Signed in ink, lower right. From the Rebelais series.
Provenance: ex-collection the artist; private New York collection.
Exhibited: Challenge of the Modern, African-American Artists 1925-1945, The Studio Museum in Harlem, New York, January 23 - March, 30, 2003, with the label on the frame back.
An example from Bearden's Rabelais series, this watercolor is a masterful composition of line and color. Inspired by François Rabelais's Gargantua and Pantagruel 16th Century satire, Bearden gave this watercolor an allusion to the ribaldry of the period. A group of 18 works were shown at the Kootz Gallery from Feburary 24 to March 15, 1947. Myron Schwartzman described two kinds of scenes in the series: "drinking, carousing, and dancing on the one hand; hunting on the other" with titles drawn from Rabelais that suggest the sense of joie de vivre found in the works. Schwartzman p. 149.
Untitled (Three Figures).
Watercolor, brush and ink on cream wove paper, 1946. 460x620mm; 18 1/8x24 1/2 inches. Signed in ink, lower right. From the Rebelais series.
Provenance: ex-collection the artist; private New York collection.
Exhibited: Challenge of the Modern, African-American Artists 1925-1945, The Studio Museum in Harlem, New York, January 23 - March, 30, 2003, with the label on the frame back.
An example from Bearden's Rabelais series, this watercolor is a masterful composition of line and color. Inspired by François Rabelais's Gargantua and Pantagruel 16th Century satire, Bearden gave this watercolor an allusion to the ribaldry of the period. A group of 18 works were shown at the Kootz Gallery from Feburary 24 to March 15, 1947. Myron Schwartzman described two kinds of scenes in the series: "drinking, carousing, and dancing on the one hand; hunting on the other" with titles drawn from Rabelais that suggest the sense of joie de vivre found in the works. Schwartzman p. 149.
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