学生作品ガイド
著作権 この作品はパブリックドメインです。Horace Pippinは1946に没し、著作権は没後70年まで保護されるため、2016に終了しました。
文脈に合わせて
School Studies — Horace Pippin
原寸は 81 × 98 cm (高さ × 幅) で、ここでは平均的な身長の成人と並べて表示しています。
上の行：年。下の行：各期間の開始時と終了時の年齢 — 出生時は0、没時は 58。
作家が 56 歳の時に制作。 そのアーティストは58歳で亡くなりました。 3 の当カタログにおけるこの作家の制作年が判明している 4 点の作品のうち、これよりも以前に制作されたものがあります。
背景色：Horace Pippinの生涯 (1888–1946) ▲ 本作品、1944 年代ごとに記された、すべての絵画作品
上記の作品を一つ選んでください。この作品と共通する点を2つ、そして異なる点を1つ挙げてください。
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画像から抽出したパレット
主要色
Rosy Brown #aeb1ac
カタログ済みパレット
アーティストのパレット全体に含まれるこれらの色彩 色から他の絵画を探す
これらの作品は、このアーティストの絵画が過去12か月間に受けた注目全体の 100.0% を占めています。カタログにはこのアーティストによる 4 点の作品が収められており、そのうち 1 点は少なくとも一度は閲覧されました。 この絵画は、その中での注目度が 1 位で、その注目の 100.0% を占めています。 月ごとの集計結果は同一です
バーは注目度を示すものであり、品質を示すものではありません。リストの最上部にある作品と、こちらの作品を選んでください：絵画がその技術的な巧拙を超えて有名になる要因として、考えられることを一つ挙げてください。
この作品について
School Studies — Horace Pippin
Painted with small areas of mostly flat color, this horizontal painting shows three brown-skinned people in the room of a home with pale gray walls and wood floors. To our right, a woman wears slate-gray skirt, a white apron and shawl, and a red headscarf with black and white polka dots. She sits in a black wooden chair facing our right in profile, smoking a pipe. A steaming kettle and bright green coffee pot sit on a black wood stove behind and to the right of the woman, with firewood stacked to the right. A clock or timer and an oil lamp sit on a red shelf above the stove and the woman’s head. Beneath her feet is one of three rectangular area rugs with a pattern of green, black, white, and red stripes. A window at the center of the back wall of the room is mostly covered by a dark green curtain. The panes along the bottom are black and lined with white, suggesting snow or frost. A bucket and pewter-colored, shallow bowl sit on a bench on the second striped rug under the window. To our left, a small person standing on the third patterned rug wears short black pants, stockings, and suspenders over a white shirt. That person turns away from us and rests elbows near a lit candle on a table with a red and gray checkered tablecloth. The third person, possibly a young girl, sits on a blanket or a fourth rug patterned with yellow, red, black, and green triangles. That young girl wears a gray dress and black shoes. She cradles a baby doll, and a white dog, perhaps a stuffed animal, sits next to her. A few cracks in the wall near the window expose horizontal bands, perhaps narrow wooden boards under damaged plaster. The artist signed the work with black letters in the lower right corner: “H. PiPPiN.”
アーティストと美術館
生誕地 West Chester, United States of America
Horace Pippin (February 22, 1888 – July 6, 1946) remains a profoundly resonant figure in American art history—a testament to resilience, self-taught artistry, and the power of visual storytelling. Born in West Chester, Pennsylvania, into a family grappling with the legacy of slavery, Pippin’s journey from a young boy sketching racehorses to a celebrated painter is one of remarkable determination and artistic evolution. His work transcends mere representation; it embodies the spirit of his time, reflecting both the horrors of World War I and the burgeoning struggle for racial equality in America.
Pippin's early life was marked by hardship and limited formal education. Growing up in Goshen, New York, he largely taught himself to draw, fueled by a natural talent and an insatiable curiosity about the world around him. His family’s history—rooted in slavery and domestic service—shaped his perspective and informed the themes that would later dominate his art. Despite lacking traditional training, Pippin developed a distinctive style characterized by bold outlines, vibrant colors, and a remarkable ability to capture emotion and movement. This unique approach stemmed from an intuitive understanding of composition and color theory, honed through countless hours of observation and practice.
Horace Pippin’s artistic trajectory took a dramatic turn during World War I when he enlisted with the 369th Infantry Regiment—the Harlem Hellfighters—an all-Black unit that served with distinction in France. His experiences on the front lines, including being shot and severely wounded in his right shoulder, profoundly impacted his art. The injury, initially debilitating, became a catalyst for creativity; Pippin adapted to painting primarily with his left hand, developing an innovative technique of guiding the brush with his wrist—a testament to his unwavering spirit.
His war paintings are not romanticized depictions of heroism but stark and unflinching portrayals of combat. Works like “The End of the War: Starting Home” (1930-33) capture the chaos, exhaustion, and psychological toll of trench warfare with a raw honesty rarely seen in contemporary art. These pieces, imbued with a deep sense of empathy and understanding, stand as powerful indictments of war’s brutality and a poignant reflection on the experiences of Black soldiers fighting for their country.
Following his return to America, Pippin continued to explore a diverse range of subjects in his art. While his wartime paintings remain central to his legacy, he also produced compelling depictions of African American family life, historical events, and biblical scenes. His work frequently addressed themes of social justice, particularly the lingering effects of slavery and racial segregation in the United States. “Giving Thanks” (1942), for example, offers a tender portrait of a Black family gathered around a table, celebrating a bountiful harvest—a powerful symbol of resilience and hope amidst adversity.
Pippin’s artistic vision extended beyond mere representation; he sought to capture the essence of his subjects – their emotions, their struggles, and their humanity. His use of color was particularly striking, employing bold hues and dynamic compositions to create visually arresting images that resonated deeply with viewers. He skillfully blended elements of folk art—characterized by simple forms and expressive brushwork—with a more sophisticated understanding of artistic technique.
Despite facing significant challenges as a self-taught Black artist in a predominantly white art world, Horace Pippin achieved considerable recognition during his lifetime. He was the first African American to be the subject of a full-length monograph, “Horace Pippin, A Negro Painter in America” (1947), by Selden Rodman—a landmark achievement that brought attention to his work and challenged prevailing racial biases within the art community. The New York Times famously hailed him as "the most important Negro painter" in American history.
Today, Pippin’s paintings are celebrated for their emotional depth, artistic innovation, and historical significance. His legacy continues to inspire artists and art enthusiasts alike, serving as a reminder of the transformative power of creativity and the importance of amplifying marginalized voices. His work can be found in prestigious collections such as the New Hope Museum of Art and is documented extensively online through platforms like wahooart.com, offering viewers a window into the life and artistry of this remarkable American painter.
Pippin’s story stands as an enduring testament to the human spirit—a celebration of resilience, creativity, and the unwavering pursuit of artistic expression in the face of adversity. His paintings remain powerful symbols of hope, justice, and the beauty found within the complexities of the American experience.
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School Studies — Horace Pippin
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「School Studies」の明暗のコントラストはStatementと記録されています。コントラストとは、明るい部分と暗い部分がどの程度強く異なっているかを表す指標です。
Horace Pippin作「School Studies」はパブリックドメイン（著作権消滅）です。著作権の保護期間は、1946年に亡くなった作家の没年から起算されます。
Horace Pippin作「School Studies」に関する統計情報は、作品の統計情報ページでご確認いただけます。こちらでは、作品の月間訪問数、アーティストの作品への訪問数、および最近の訪問者の国別・言語別の内訳をご覧いただけます。