नवमबर 2026 में अपडेट किया गया · हमारे लोकप्रियता स्कोर (प्रत्येक कृति के लिए खोज, विज़िट और ऑर्डर) के आधार पर रैंक किया गया · 78 कृतियाँ केरी जेम्स मार्शल की हमारे कैटलॉग में
संक्षेप में
Could This Be Love (1992) वह केरी जेम्स मार्शल की पेंटिंग है जो सबसे अधिक ध्यान आकर्षित करती है। इसके बाद, दृष्टि Untitled (Painter) (2010) और When Frustration Threatens Desire (1990) पर जाती है। हमारे कैटलॉग में केरी जेम्स मार्शल की 78 कृतियों में से, ये 77 सबसे प्रसिद्ध हैं, जिनमें से प्रत्येक को उसके वर्ष, उसके संग्रहालय और उसके चिरस्थायी होने के कारण के साथ एक अद्वितीय मूल कृति के रूप में प्रस्तुत किया गया है।
In the quietude of 1992, Kerry James Marshall brings us into a private, suspended moment with Could This Be Love. The scene unfolds within the intimate confines of a bedroom, where two Black figures exist in a state of profound closeness. They are caught in the soft, transitional act of undressing for bed, a gesture that strips away the external world to reveal a core of human connection. This is…
In this 2010 oil on canvas, we find ourselves in the intimate, somewhat cluttered sanctuary of an artist's studio. A man sits before us, his presence commanding the space with a steady, direct gaze that feels both introspective and profoundly certain. He is positioned slightly off-center, a choice that lends a natural, unforced balance to the composition. Behind him, the scene unfolds in layers; a large canvas rests in the…
In "When Frustration Threatens Desire" by Kerry James Marshall, the space is held by an asymmetrical tension. A man in a sharp, black plaid suit stands over a prone female figure. He extends an arm toward her, a gesture of control that anchors the off-center arrangement. The figures occupy a flattened perspective where depth is limited, pushing the subjects toward the viewer. Around them, several circular motifs are scattered, each…
Kerry James Marshall’s work often explores themes of racial identity, community, and belonging. Our Town is part of his Garden Project series, in which low-income housing projects are ironically rendered as idyllic places. The carefully painted houses, manicured lawn, and bright sky coexist uneasily with graffiti scribbles and trees tied with yellow ribbons, suggesting war or tragedy.Marshall contrasts the tidy scene, dominated by red, white, and blue, with deep black…
7am Sunday Morning2003 · Museum of Contemporary Art Chicago
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A Portrait of the Artist as a Shadow of His Former Self1980
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Two Invisible Men (The Lost Portraits)1985
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Invisible Man1986
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Silence is Golden1986
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The Ecstasy of Communion1990
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Woman with Death on Her Mind1990
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Chalk Up Another One1992
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The Land That Time Forgot1992
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Stigma Stigmata1992
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Voyager1992
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Self-Portrait of the Artist as a Super Model1994
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Untitled (Altgeld Gardens)1995
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Bang1994
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Many Mansions1994
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The Lost Boys1993
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Lost Boys: AKA Lil Bit1993
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Scout (Girl)1995
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Cub Scout1995
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Brownie1995
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Watts 19631995
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Souvenir I1997
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Memento #52003
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Gulf Stream2003
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Study for Vignette2004
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Vignette IV2005
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Vignette Suite2006 · आर्ट इंस्टीट्यूट ऑफ शिकागो
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Black Painting2006
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Portrait of a Curator (in Memory of Beryl Wright)2009 · Jack Shainman Gallery
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Untitled2008
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Untitled (Painter)2008
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Bride of Frankenstein2009
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Frankenstein2009
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Portrait of a Curator (In Memory of Beryl Wright)2009
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Untitled (Painter)2009 · Museum of Contemporary Art Chicago
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Portrait of Nat Turner with the Head of his Master2011
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the Academy2012
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Stono Group; "J.C. Kato"2012
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Stono Group; "Jemmy"2012
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Small Pin-Up (Fingerwag)2013
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Untitled (Club Couple)2014
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Untitled (Beach Towel)2014
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Satisfied Man2015
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Still-Life with Wedding Portrait2015
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As Seen on TVBirmingham Museum of Art
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Portrait of the Artist & a Vacuum1981
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The Face of Nat Turner Appeared in a Water Stain (Image Enhanced)1990
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So This Is What You Want?1992
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Our Town1995 · क्रिस्टल ब्रिजिस म्यूजियम ऑफ अमेरिकन आर्ट
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Beauty Examined1993
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De Style1993
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Campfire Girls1995
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Slow Dance1993
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Past Times1997 · McCormick Place
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The Ladder of Success2004 · द बाल्टीमोर म्यूजियम ऑफ आर्ट
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Scipio Moorehead, Portrait of Himself, 17762007
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The Actor Hezekiah Washington as Julian Carlton Taliesen Murderer of Frank Lloyd Wright Family2009
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Untitled2009
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Untitled, Red (If They Come in the Morning)2011
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Black Star 22012
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School of Beauty, School of Culture2012 · Birmingham Museum of Art
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Untitled (Studio)2014
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Untitled (policeman)2015
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Untitled (Blot)2015
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Voyager1992
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At the End of the Wee HoursModern Art Oxford
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Great America1994
इन मूल कृतियों में बार-बार आने वाले चार विषय, जिनमें से प्रत्येक का सबसे उत्कृष्ट उदाहरण यहाँ प्रस्तुत है।
वे 8 संग्रहालय जिनमें इस पृष्ठ की सर्वाधिक पेंटिंग्स मौजूद हैं।
| संग्रहालय | शहर | केरी जेम्स मार्शल की कृतियाँ | इस सूची की पेंटिंग्स |
|---|---|---|---|
 Museum of Contemporary Art Chicago |
शिकागो | 3 | Untitled Mirror Girl, 7am Sunday Morning, Untitled (Painter) |
 क्रिस्टल ब्रिजिस म्यूजियम ऑफ अमेरिकन आर्ट |
बेंटनविल | 2 | Our Town, Our Town |
 Birmingham Museum of Art |
बर्मिंघम | 2 | As Seen on TV, School of Beauty, School of Culture |
 Alte Nationalgalerie |
बर्लिन | 1 | Portrait of the painter Bonaventura Genelli |
 Bavarian State Painting Collections |
म्यूनिख | 1 | Tartini's dream: the Devil plays 'The Devil's Sonata' |
 Nationalmuseum |
स्टॉकहोम | 1 | Hildegard Thorell (1850-1930) |
 आर्ट इंस्टीट्यूट ऑफ शिकागो |
शिकागो | 1 | Vignette Suite |
 Jack Shainman Gallery |
न्यूयॉर्क | 1 | Portrait of a Curator (in Memory of Beryl Wright) |
उस दशक को चुनें जो उसकी पहचान है और उसकी मूल कृतियाँ देखें।
In the quietude of 1992, Kerry James Marshall brings us into a private, suspended moment with Could This Be Love. The scene unfolds within the intimate confines of a bedroom, where two Black figures exist in a state of profound closeness. They are caught in the soft, transitional act of undressing for bed, a gesture that strips away the external world to reveal a core of human connection. This is…
In this 2010 oil on canvas, we find ourselves in the intimate, somewhat cluttered sanctuary of an artist's studio. A man sits before us, his presence commanding the space with a steady, direct gaze that feels both introspective and profoundly certain. He is positioned slightly off-center, a choice that lends a natural, unforced balance to the composition. Behind him, the scene unfolds in layers; a large canvas rests in the…
Could This Be Love (1992)। इसके बाद Untitled (Painter) (2010) और When Frustration Threatens Desire (1990) आते हैं।
37 वर्ष की आयु: Could This Be Love 1992 का है, और केरी जेम्स मार्शल का जन्म 1955 में हुआ था।
Could This Be Love, Untitled (Painter), When Frustration Threatens Desire, Stono Group; "Jemmy Cato", Untitled Mirror Girl, SOB, SOB, Our Town, Portrait of the painter Bonaventura Genelli, Tartini's dream: the Devil plays 'The Devil's Sonata' और Hildegard Thorell (1850-1930)। ऊपर दी गई रैंकिंग में प्रत्येक का वर्ष और संग्रहालय दिया गया है।
हमारे कैटलॉग में केरी जेम्स मार्शल की 78 कृतियाँ हैं, जो 1980 से 2015 तक की हैं।
अधिकतर Museum of Contemporary Art Chicago (शिकागो), क्रिस्टल ब्रिजिस म्यूजियम ऑफ अमेरिकन आर्ट (बेंटनविल) और Birmingham Museum of Art (बर्मिंघम) में। ऊपर दी गई संग्रहालय तालिका में उन सभी की सूची दी गई है।
1990s में: इस पृष्ठ पर मौजूद 77 कृतियों में से 30 उस समय बनाई गई थीं, जिनमें से Could This Be Love इनमें से हैं।
इस पृष्ठ पर, सबसे पुरानी कृति A Portrait of the Artist as a Shadow of His Former Self (1980) है और नवीनतम Satisfied Man (2015) है।
इस पृष्ठ पर 77 कृतियों में Black figures (3), Black figure (3) और Man (2)
इस पृष्ठ पर मौजूद 77 कृतियों में से 2 के लिए Mixed Media।
इस पृष्ठ पर मूल कृतियों को देखते हुए, Expressionism और Contemporary realism।
Untitled Mirror Girl, 7am Sunday Morning और Untitled (Painter): Museum of Contemporary Art Chicago, शिकागो में इस पृष्ठ पर मौजूद कृतियों में से 3 मौजूद हैं।
To encounter the work of Kerry James Marshall is to enter a space where history is both confronted and reclaimed. Born on October 17, 1955, in Birmingham, Alabama, Marshall’s early life was shaped by the profound social tremors of the American South and the subsequent migration to Los Angeles. His formative years were deeply etched by the 1965 Watts riots, a period of intense racial friction that instilled in him a lifelong commitment to exploring the complexities of the Black experience. Growing up in South Central Los Angeles, near the headquarters of the Black Panther Party, Marshall was immersed in an environment where social responsibility and visual identity were inextricably linked. This upbringing provided the emotional and political bedrock upon which his monumental career would be built.
Marshall’s artistic education began at the Otis College of Art and Design, where he earned his BFA in 1978. It was during these formative academic years that he began to refine a visual language capable of challenging the long-standing exclusions of Western art history. Influenced by the social realism of figures like Charles White, Marshall developed a technique that utilized bold, dark hues—specifically deep blacks—to represent Black figures. This was not merely an aesthetic preference but a radical political act; by utilizing black as a primary, structural element, he sought to reject the caricatures and stereotypes that had historically marginalized African American subjects, instead asserting their presence with undeniable weight and dignity.
As his career progressed through the 1980s and 1990s, Marshall’s work evolved into a sophisticated dialogue between contemporary Black life and the grand traditions of European masters. He skillfully wove elements of Picasso and Rembrandt into his canvases, using their techniques to elevate mundane or everyday scenes of Black life into the realm of the monumental. His paintings often feature stylized figures set against starkly contrasting colors, creating a visual tension that demands the viewer's attention. Whether through large-scale oil paintings or intricate mixed-media collages, Marshall’s work explores themes of memory, domesticity, and the legacy of the Great Migration.
The depth of his artistry can be seen in the diverse range of his subject matter:
The historical significance of Kerry James Marshall lies in his ability to disrupt visual hierarchies. He has spent decades asserting that Black people occupy space—even the most ordinary, overlooked spaces—in ways that are profoundly fascinating and worthy of the highest artistic consideration. His work does not merely reflect history; it actively participates in the reconstruction of it, providing a much-needed corrective to the canon of art history. By placing Black figures within the frameworks of classical portraiture and historical narrative, he forces a confrontation with the viewer regarding who is seen and who is remembered.
Marshall’s accolades reflect his status as one of the most influential artists of his generation. In 2017, his impact was recognized globally when he was included on the Time 100 list of the world's most influential people. From his tenure as a professor at the University of Illinois at Chicago to major retrospective exhibitions like Kerry James Marshall: Mastry at the Museum of Contemporary Art, Chicago, his influence permeates both the academy and the public consciousness. Through his unwavering dedication to truth, beauty, and the reclamation of identity, Marshall remains a visionary force, ensuring that the Black experience is rendered with the complexity, dignity, and permanence it deserves.
