Skip to main content

Painting Identity

  

Painting

 

I selected painting as a media and identity as a critical term to explore. Spanning four continents, Europe, North America, Africa, and Asia, and the Harvard Art Museums, I have selected six works to exemplify this media and at the same time, explore identity as a critical term. 


Painting as a medium dates back at least 20,000 years, to the striking stylized portrayals of animals painted in mineral pigments found in caves at Lascaux, France.  Painting, the practice of applying paint and other media to a surface, usually with a brush, spans all cultures and crosses many genres. Painting is both an action, and the result of the action -- the painting as an object.(1) The surfaces (or supports) for painting have evolved from cave walls to paper, wood, cloth, canvas, ceramics, and bodies. Earth and minerals, plant extracts, and modern synthetics are still used for pigments and mixed with a binder to make paint. A solvent is also a component of painting -- a solvent, or vehicle, controls the flow, viscosity, and application of the paint.(2) 


In fifteenth century Europe, linseed oil mixed with pigments produced a medium both flexible and durable, which sparked a proliferation of creativity in Western painting at the Renaissance and after. Painting occupies a privileged position in art, and painters use the medium of painting to convey subjects, ideas, emotion, history, people, and places, real and imagined. Artists use the power of paintings to connect with emotions, as well as convey and evoke psychological and spirituality in the human condition.

(1) Art Term Painting, Tate Museum, https://www.tate.org.uk/art/art-terms/p/painting (accessed 10/4/2020).

(2) Painting, Lumen Introduction to Art Concepts: Fine Art and Media Technique https://courses.lumenlearning.com/atd-sac-artappreciation/chapter/reading-painting/ (accessed 10/4/2020).


Identity

Many painters (and artists writ large) use their work to express, explore, and question ideas about identity.(3) Identity is the way we see and express ourselves, and is bound up in individual, familial, cultural, and environmental factors that shape who you are, including where you live, your cultural background(s), sex, gender, class, religion, or political beliefs. People’s identities are not fixed, and can shift over time. 


Historian Philip Gleason asserts that identity as a term came to light in the 1950s through social science. The concept of identity became qualified by specific designations and movements in the 1960s (Black power, feminism, gay liberation), which birthed identity-based political movements that had impact on art history.(4) 


My selection of paintings demonstrate a range of brushwork, color stories, cultures, and approaches to portraiture. Each painter is exploring personal or cultural identity through signs, symbols, composition, and technique.


(3) Investigating Identity, MoMALearning, https://www.moma.org/learn/moma_learning/themes/investigating-identity/#:~:text=Identity%20is%20the%20way%20we,role%20in%20defining%20one's%20identity.&text=Many%20artists%20use%20their%20work,and%20question%20ideas%20about%20identity (accessed 10/5/2020).

(4) Robert S. Nelson and Richard Shiff, Eds. Critical Terms for Art History (Chiago: University of Chicago Press, 2003) pp. 345-346.

 

Vincent van Gogh (1853-1890)

Self-Portrait Dedicated to Paul Gaugin, 1888

Oil on canvas

Unframed: 24 3/16 x 19 13/16 inches

Framed: 35 9/16 x 31 3/8 x 3 1/4 inches

Harvard Art Museums/Fogg Museum, Bequest from the Collection of Maurice Wertheim, Class of 1906 [HAM Cat. No. 1951.65]

  

Untitled, 2008

Kerry James Marshall (b. 1955)

Acrylic on PVC panel

72 ¾ x 61 ¼ inches

Museum purchase, 2008 [HAM Cat. No. 2008.233]

 



 

Figure, 1820s

Haida artist

Pacific Northwest Coast, probably Southeastern Alaska

Wood, paint, and human hair

7 1/2 x 3 1/8 x 2 3/8 in.

99-12-10/53093 (PMAE)



Henry Inman (1801-1846) after Charles Bird King after J.G. Lewis

Kit-chee-waa-be-shas (The Good Martin). Ojibwa Chief, 1832-1836

Object Description: "Kit-chee-waa-be-shas (The Good Martin)." Ojibwa Chief. 

Oil on canvas

30 3/8 x 25 3/16 inches

Gift of the Heirs of E. P. Tileston and Amor Hollingsworth, 1882,  Heirs of E. P. Tileston (1882), Heirs of Amor Hollingsworth (1882) [PMAE Cat. No. 82-51-10/28285]






Chinese artist

Album Leaf of an Ancestral Portrait, Qing Dynasty, 1644-1911

[Sketch pasted into an accordion fold book]

Ink and color on paper

Dimensions variable

Harvard Art Museums/Arthur M. Sackler Museum, Bequest of the Hofer [HAM

Cat. No. 1985.893.31]


Painted stela of Akhenatan, 18th dynasty reign of Akhenatan (1549/1550 to 1292 BC) (detail)

Egypt

Limestone and pigment

Dimensions unknown

1902.17.32 [HMANE]

Comments

Post a Comment

Popular posts from this blog

Repatriation, Repositioning, Reengagement Karen Kramer Stewardship of objects entrusted to a museum’s care requires careful, sound, and responsible management. Collection management requires legal compliance in the United States through the federal 1990 Native American Graves Protection and Repatriation Act, as well as concomitant social and ethical obligations for objects that fall outside of legal bounds, within the United States and across the globe. Some museums are contending with the legacies of colonialism through careful and considered self-reflection, recognizing that the repatriation of objects isn’t solely about returning culturally sensitive and/or illegally obtained objects. It’s also about knowledge repatriation, building relationships and the opportunities for collaborative projects, and how to maintain these ongoing relationships.   The 2018 Overview of Repatriation Report by Felwine Sarr and Bénédicte Savoy, commissioned by the French President Emmanuel Macron, ce...
Post a Comment
Read more

Hieroglyphics in the Ancient World

  Painted stela of Osiris Seter-au Painted limestone Mid-seventh century BCE Said to be from Abydos HMANE 1902.17.32 Lintel #2 from doorway of "El Temple de la Stela de las Victimus," 658AD (Late Classic Period) Piedras Negras, Usumacinta River, Peten, Guatemala Limestone Overall: 36 x 48 1/16 inches   Overall weight: 309 pounds Collected by Teobert Maler (1899-1900), Peabody Museum Expedition (1899-1900) [Cat. No. 00-36-20/C2740] Though separated in time and space by about 2,000 years and 7,500 miles, these two ancient artworks were both used in tombs to honor the deceased and both use hieroglyphics, a formal writing system, to record a story. In this context, both objects were used to help tell important narratives that shaped each ruler’s life at the respective sites of ancestor worship.  Above is a painted Egypitan stela depicting a deceased nobleman “who used to praise the god in Karnak” and his family members standing before a table of offerings in the presence...
Post a Comment
Read more

Individual Project: Week 11 Contemporary Art and Issues

Week 11: Contemporary Art and Issues Karen Kramer Collage IX: Landscape , 1974 George Morrison (Grand Portage Anishinaabe, 1919 - 2000) Wood 60 1/8 x 168 1/2 x 3 inches $75,000 Abstract Painting No. 2 , 1950 George Morrison (Grand Portage Anishinaabe, 1919 - 2000) Acrylic and oil on canvas 39.9 x 50.1 inches $65,000 Description and Importance of Work: Two rare works by George Morrison, Grand Portage Anishinaabe artist who came of age in New York in the 1950s and 60s, are available for acquisition: a large-scale wood collage (1974) and an abstract painting (1950).  Harvard Art Museum should acquire both of these phenomenal examples by this renowned artist. By doing so, HAM will begin to place Indigenous art from North America in conversation with American art, as well as painting and collage traditions across space and time.  These works, both in excellent condition, fit seamlessly into the overall HAM collection, and demonstrate that Native American artists have been producing...
Post a Comment
Read more