18
Barkley L. Hendricks
Two works: (i) Slave & Master II; (ii) Hearts and Flowers #3
- Estimate
- £700 - 1,000
Lot Details
(i) silver gelatin print mounted on card
(ii) tinted silver gelatin print mounted on card
(ii) tinted silver gelatin print mounted on card
(i) signed 'Barkley Hendricks' lower right; further titled, inscribed and dated '"Slave & Master II" Mystic, Conn, 1976' on the mount
(ii) titled, inscribed and dated '"Hearts and Flowers #3" 1978/79 Philadelphia, Pa.' on the mount
(ii) titled, inscribed and dated '"Hearts and Flowers #3" 1978/79 Philadelphia, Pa.' on the mount
(i) sheet 10.7 x 15.7 cm (4 1/4 x 6 1/8 in.)
mount 28 x 35.7 cm (11 x 14 in.)
(ii) sheet 14.2 x 21 cm (5 5/8 x 8 1/4 in.)
mount 27.9 x 35.5 cm (10 7/8 x 13 7/8 in.)
mount 28 x 35.7 cm (11 x 14 in.)
(ii) sheet 14.2 x 21 cm (5 5/8 x 8 1/4 in.)
mount 27.9 x 35.5 cm (10 7/8 x 13 7/8 in.)
(i) Executed in 1976.
(ii) Executed in 1978-1979.
(ii) Executed in 1978-1979.
Specialist
Full-Cataloguing
Provenance
Description
Barkley L. Hendricks
American | B. 1945 D. 2017An artist well ahead of his time, Barkley L. Hendricks radically embraced figuration in the 1960s—a time when abstraction ruled the global art world. It was whilst touring European museums that a young Hendricks was so taken aback by the lack of Black subjects in Old Master paintings that he embarked upon what is now his best known body of work: life sized portraits of Black and Latino men and women primarily from his native Philadelphia, depicted in contrapposto. The tonal subtleties and exquisite attention to light, fabric, and flesh in Hendrick’s portraits are utterly impressive, revealing Hendrick’s adoption of Old Master techniques with a Pop Art sensibility to render the full complexity of everyday people. In the commanding, towering presence and undeniable swagger of many of Hendricks’s subjects we recognize that very sense of cool detachment and defiant empowerment so characteristic of the artist’s revolutionary portraiture.
A pioneer of post-war Black figuration, Hendricks paved the way for such artists as Kehinde Wiley and others. As Trevor Schoonmaker, the curator for Hendricks’ career retrospective in 2008, said in a nutshell, “His bold portrayal of his subject’s attitude and style elevates the common person to celebrity status. Cool, empowering, and sometimes confrontational, Hendricks’ artistic privileging of a culturally complex Black body has paved the way for today’s younger generation of artists.”
Browse ArtistA pioneer of post-war Black figuration, Hendricks paved the way for such artists as Kehinde Wiley and others. As Trevor Schoonmaker, the curator for Hendricks’ career retrospective in 2008, said in a nutshell, “His bold portrayal of his subject’s attitude and style elevates the common person to celebrity status. Cool, empowering, and sometimes confrontational, Hendricks’ artistic privileging of a culturally complex Black body has paved the way for today’s younger generation of artists.”