Juxtapositions: Dutch and African American Parallels in the Work of Kehinde Wiley

Details
Title
Juxtapositions: Dutch and African American Parallels in the Work of Kehinde Wiley
Usage & Reproduction Rights
http://rightsstatements.org/vocab/InC/1.0/
Type
Video recordings
URI / Handle
http://hdl.handle.net/1961/muislandora:3029
Created
2016-01-01T00:00:00Z
Abstract
A painting is worth a thousand words, and Kehinde Wiley’s portraiture extends a discussion far beyond simply subject matter. His seven-foot color bursting canvases present the everyday African American figure, posed after figures seen in 17thcentury Dutch portraits. Wiley understands his subjects as symbols worthy of admiration in the same way that Anthony van Dyke portrayed King Charles I in Three Positions. This paper explores the purpose of portraiture, and how it functions as a method to communication the pride, personality, and status of the individual to behold. Wiley is traditionally trained professional artist and is well versed in the work of master works throughout history. My interest in Dutch portraiture has influenced my own research in this paper, and I have made connections between the symbolisms and meanings within Wiley’s work which he shares with the Dutch. Culture is a major determinant of said symbolism and meaning, and portrait painting translates this into reception. Wiley’s work provides commentary on the common individual that is unique and rare, and pleads a second look into the nature of that individual’s existence. It also breaks stereotypes, and allows an uncommon reverence for the black figure—equal to the gallant Dutch general after which Wiley has modeled him. Through an overall analysis of gesture, facial expression, and body posture within Wiley’s portraiture I have drawn many parallels. My research has proven that influence of artists like Van Dyke on Wiley are clearly apparent, however the essence of Wiley’s paintings are irresistibly spirited and worthy of contemplation.

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