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Could This Be Love (1992) je slika autora Kerry James Marshall koja privlači najviše pogleda. Nakon toga, pogled se seli na Untitled (Painter) (2010) i When Frustration Threatens Desire (1990). Među 78 dela umetnika Kerry James Marshall u našem katalogu, ovih 77 su najpoznatija, od kojih je svako jedinstveni original predstavljen sa godinom nastanka, muzejom i razlogom zbog kojeg je i danas neprocenjivo.
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…
A man sits in the quiet center of the frame. His skin is rendered in deep, saturated tones of brown and black, a presence that occupies the space with a heavy, undeniable dignity. Around his neck, a garland of yellow flowers rests against his chest, a sudden burst of color against the dark depth of his form. To his side, a banner hangs, bearing the name Jemmy Cato. The letters…
Untitled Mirror Girl is a contemporary figurative painting by Kerry James Marshall. Created in 2014, the work captures a singular moment of reflection within a cluttered, lived-in space. The figure, seen through the glass of a large mirror, wears a dark outfit and a mask-like covering that obscures the face.
In the artwork SOB, SOB by Kerry James Marshall, the composition is dominated by a central subject positioned within an interior setting. A dark-skinned individual is depicted kneeling on a rug with their head bowed. Above the figure's head, a cloud contains the word ‘sob’. The surrounding room is defined by several architectural and domestic elements, including a bookshelf, a radiator, a window, and various wall details. The perspective of…
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 · Art Institute of Chicago
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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 · Crystal Bridges Museum of American Art
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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 · The Baltimore Museum of Art
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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
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Kerry James Marshall | Slike iz ovog spiska |
|---|---|---|---|
 Museum of Contemporary Art Chicago |
Čikago | 3 | Untitled Mirror Girl, 7am Sunday Morning, Untitled (Painter) |
 Crystal Bridges Museum of American Art |
Bentonville | 2 | Our Town, Our Town |
 Birmingham Museum of Art |
Birmingham | 2 | As Seen on TV, School of Beauty, School of Culture |
 Alte Nationalgalerie |
Berlin | 1 | Portrait of the painter Bonaventura Genelli |
 Bavarske državne slikopisne kolekcije |
Minhen | 1 | Tartini's dream: the Devil plays 'The Devil's Sonata' |
 Nationalmuseum |
Стокхолм | 1 | Hildegard Thorell (1850-1930) |
 Art Institute of Chicago |
Čikago | 1 | Vignette Suite |
 Jack Shainman Gallery |
New York | 1 | Portrait of a Curator (in Memory of Beryl Wright) |
Izaberite deceniju da biste videli original koji je definiše.
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 the artwork SOB, SOB by Kerry James Marshall, the composition is dominated by a central subject positioned within an interior setting. A dark-skinned individual is depicted kneeling on a rug with their head bowed. Above the figure's head, a cloud contains the word ‘sob’. The surrounding room is defined by several architectural and domestic elements, including a bookshelf, a radiator, a window, and various wall details. The perspective of…
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). Slede Untitled (Painter) (2010) i When Frustration Threatens Desire (1990).
37 godina: Could This Be Love datira iz 1992, a Kerry James Marshall je rođen/a 1955.
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' i Hildegard Thorell (1850-1930). Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 78 dela umetnika Kerry James Marshall, datiranih od 1980 do 2015.
Većinom u Museum of Contemporary Art Chicago (Čikago), Crystal Bridges Museum of American Art (Bentonville) i Birmingham Museum of Art (Birmingham). Tabela muzeja iznad sadrži njih sve.
U 1990s: 30 od 77 dela na ovoj stranici nastalo je tada, od čega je Could This Be Love.
Na ovoj stranici, najstarije delo je iz A Portrait of the Artist as a Shadow of His Former Self (1980), a najnovije iz Satisfied Man (2015).
Black figures (3), Man (3) i Black figure (3), kroz svih 77 dela na ovoj stranici.
Oil On Canvas, za 3 od 77 dela na ovoj stranici.
Expressionism i Contemporary realism, sudeći po originalima na ovoj stranici.
Untitled Mirror Girl, 7am Sunday Morning i Untitled (Painter): Museum of Contemporary Art Chicago, Čikago čuva 3 dela sa ove stranice.
Susret sa delima koje stvara Kerry James Marshall predstavlja ulazak u prostor u kojem se istorija istovremeno suočava i ponovo prisvaja. Rođen 17. oktobra 1955. godine u Birminghamu, Alabama, Marshallov rani život oblikovali su duboki društveni potresi američkog Juga i naknadna migracija u Los Anđeles. Njegove formativne godine duboko su obeležile pobunjeničke akcije u Wattsu 1965. godine, period intenzivnih rasnih tenzija koji je u njemu potaknuo doživotnu posvećenost istraživanju složenosti crnog iskustva. Odrastajući u South Central Los Anđelesu, u blizini sedišta Partije Crnih pantera, Marshall je bio uronjen u okruženje u kojem su društvena odgovornost i vizuelni identitet bili neraskidivo povezani. Ovo odrastanje pružilo je emocionalni i politički temelj na kojem će se izgraditi njegova monumentalna karijera.
Marshallovo umetničko obrazovanje započelo je na Otis College of Art and Design, gde je 1978. godine stekao diplomu primenjenih umetnosti. Upravo tokom tih formativnih akademskih godina počeo je da rafinira vizuelni jezik sposoban da izazove dugogodišnje isključenje iz zapadne istorije umetnosti. Pod uticajem socijalnog realizma tokohova kao što je Charles White, Marshall je razvio tehniku koja koristi odvažne, tamne nijanse—preciznije, duboku crnu—kako bi predstavio crne figure. To nije bio samo estetski izbor, već radikalan politički čin; koristeći crnu boju kao primarni, strukturni element, nastojao je da odbije karikature i stereotipe koji su istorijski marginalizovali afroameričke subjekte, umesto toga potvrđujući njihovo prisustvo neospornom težinom i dostojanstvom.
Kako se njegova karijera razvijala kroz 1980-e i 1990-e, Marshallovo delo je evoluiralo u sofisticirani dijalog između savremenskog crnog života i velikih tradicija evropskih majstora. Vešto je utkao elemente Picasso i Rembrandt u svoja platna, koristeći njihove tehnike da uzdigne obične ili svakodnevne scene crnog života u domen monumentalnog. Njegova slika često prikazuju stilizovane figure postavljene na jarke, kontrastne boje, stvarajući vizuelnu tenziju koja zahteva pažnju posmatrača. Bilo da je reč o velikim uljanim slikama ili zamršenim mixed-media kolažima, Marshallova dela istražuju teme sećanja, domaćinstva i nasleđa Velike migracije.
Dubina njegovog umetničkog izraza ogleda se u raznolikosti njegovih tema:
Istorijski značaj Kerry James Marshall-a leži u njegovoj sposobnosti da naruši vizuelne hijerarhije. Decenijama je tvrdio da crne osobe zauzimaju prostor—čak i najobičnije, zanemarene prostore—na načine koji su duboko fascinantni i vredni najvišeg umetničkog razmatranja. Njegovo delo ne odražava samo istoriju; ono aktivno učestvuje u njenom rekonstruisanju, pružajući neophodnu korekciju kanonu istorije umetnosti. Postavljajući crne figure unutar okvira klasičnog portreta i istorijskog narativa, on primorava posmatrača na suočavanje sa pitanjem: ko je viđen, a ko je zapamćen?
Marshallovi priznanja odražavaju njegov status jednog od najuticajnijih umetnika svoje generacije. Koju je globalnu težinu njegov uticaj dobio 2017. godine kada je uvršten na listu Time 100 najuticajnijih ljudi sveta. Od njegovog mandata profesora na Univerzitetu Illinois u Čikagu do velikih retrospektivnih izložbi kao što je Kerry James Marshall: Mastry u Muzeju savremene umetnosti u Čikagu, njegov uticaj prožima i akademske krugove i javnu svest. Kroz svoju nepokolebljivu posvećenost istini, lepoti i ponovnom uspostavljanju identiteta, Marshall ostaje vizionarska sila, osiguravajući da se crno iskustvo prikaže sa složenošću, dostojanstvom i trajnošću koju zaslužuje.
