Leo Dohmen

28 01 2017




Horace Pippin

10 07 2015

Horace Pippin (February 22, 1888 – July 6, 1946) was a self-taught African-American painter. The injustice of slavery and American segregation figure prominently in many of his works.

A Pennsylvania State historical Marker was placed at 327 Gay St., West Chester, Pennsylvania to commemorate his accomplishments and mark his home where he lived at the time of his death.[1]

He was born in West Chester, Pennsylvania, and grew up in Goshen, New York. There he attended segregated schools until he was 15, when he went to work to support his ailing mother.[2] As a boy, Horace responded to an art supply company’s advertising contest and won his first set of crayons and a box of watercolors. As a youngster, Pippin made drawings of racehorses and jockeys from Goshen’s celebrated racetrack. Prior to 1917, Pippin variously toiled in a coal yard, in an iron foundry, as a hotel porter and as a used-clothing peddler.[3] He was a member of St. John’s African Union Methodist Protestant Church.

Pippin served in the 369th infantry, the famous Harlem Hellfighters, in Europe during World War I, where he lost the use of his right arm after being shot by a sniper. He said of his combat experience:

I did not care what or where I went. I asked God to help me, and he did so. And that is the way I came through that terrible and Hellish place. For the whole entire battlefield was hell, so it was no place for any human being to be.

I love this guy’s work, his story telling, and his humility as an artist.





Palmer Hayden

7 07 2015

Palmer C. Hayden (January 15, 1890 – February 18, 1973) was an American painter who depicted African-American life. He painted in both oils and watercolors, and was a prolific artist of his era.

Hayden took his inspiration from the environment around him, focusing on the African American experience. He tried to capture both rural life in the South, as well as urban backgrounds in New York City. Many of these urban paintings were centered in Harlem. The inspiration for “The Janitor Who Paints” came from Cloyde Boykin, a friend of Palmer’s. Boykin was also a painter who supported himself through janitorial work. Hayden once said, “I painted it because no one called Cloyde a painter; they called him a janitor.” Many people consider this painting to be an expression of the tough times Palmer was having.

I love this guy’s story telling.





John Heartfield

30 06 2015

Of the Berlin group, John Heartfield remains the best known and revered as a result of his single-minded devotion to anti-Nazi political activism. However, his early montages were collaborative efforts that resemble the work of all the other Dadaists. He and George Grosz experimented with cut-up pieces of newspaper and photos of their fellow artists, and produced many of the early designs for Dada posters and manifestos.





Edward Burra

26 05 2015

One of the oddest and most interesting artists I have come across.





BONA TIBERTELLI DE PISIS

6 04 2015

BONA TIBERTELLI DE PISIS. 1926 – 2000. (Bona de Mandiargues) I hope I’m not talking about 2 artists. (Chalk it up to stupidity.) I was in Paris in the early 1970s which would have been this artist’s prime. Perhaps she walked by me in a book store. Or slapped my face in a cafe. Who knows how close we come to meeting each other in this world.





Joan Miro

6 03 2015

Joan Miro was a revolutionary. He did not want to change us, so much as wake us up. We were mud with eyes and we had to open them.

Joan Miró i Ferrà (Catalan: [ʒuˈam miˈɾo]; 20 April 1893 – 25 December 1983) was a Catalan, Spanishpainter, sculptor, and ceramicist born in Barcelona. A museum dedicated to his work, the Fundació Joan Miró, was established in his native city of Barcelona in 1975, and another, the Fundació Pilar i Joan Miró, was established in his adoptive city of Palma de Mallorca in 1981.

Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an “assassination of painting” in favour of upsetting the visual elements of established painting. (Wikipedia)