Robert H. Colescott was born in 1925, and enjoyed a long painting career in the United States. His earliest painting and latest painting were almost 50 years apart.[1] Throughout his long career he depicted culturally charged pieces that involved racial themes.
Colescott became most known for his work in the 1970s, where he brought the matter of race to the forefront of the art world. His work, the painting on the left (George Washington Carver Crossing the Delaware: Page from an American History), could not be ignored.
This painting is considered a “black-face” take on the famous George Washington crossing the Delaware, which was painted in 1851 by Emmanuel Leutze [2]. The painting replaces George Washington with George Washington Carver, who was a former slave who became one of the most prominent scientists and inventors of his time [3]. Stereotypical African-American blackface characters surround Carver. Colescott uses this painting to comment on cultural racism and to demonstrate the social perception of black Americans throughout history compared to white Americans. He was the first to attempt this technique, and successfully addressed racial inequality with no regard for political correctness.
The painting was one of many “black-face” takes on classic paintings. These paintings replaced white subjects with stereotypical “black-face” depictions. Colescott’s collection of “black-face” renditions was met with mixed emotions. Some people, white and black, felt that the collection was overly racist and hurtful. Others appreciated the harsh view into America’s past concerning race relations.
This painting was created in 1975 in Oakland, California. Oakland was the birthplace of the Black Panther party in 1966, and although they peaked as an organization in the late 60s, they were still prominent in 1975. Colescott was not directly working with any black political groups; however, his works’ messages coincided with the messages sent out by black political groups and his art was often featured in the party newspaper.
Colescott’s painting was first displayed in San Francisco along with some of his other work. He had an entire collection of parody art. He “black-faced” multiple Western classics in order to highlight the “revival of Jim Crow stereotypes in America”.[4] Colescott takes an American symbol of liberty and converts it into a symbol of racism and inequality that was taking place in 1970s America.
[1] Americana: The Journal of American Popular Culture (1900-present), Fall 2009, Volume 8, Issue 2 http://www.americanpopularculture.com/journal/articles/fall_2009/cutler.htm
[2] Americana: The Journal of American Popular Culture (1900-present), Fall 2009, Volume 8, Issue 2 http://www.americanpopularculture.com/journal/articles/fall_2009/cutler.htm
[3] George Washington Carver. (2014). The Biography.com website. Retrieved 09:43, Nov 10, 2014, from http://www.biography.com/people/george-washington-carver-9240299.
[4] Americana: The Journal of American Popular Culture (1900-present), Fall 2009, Volume 8, Issue 2 http://www.americanpopularculture.com/journal/articles/fall_2009/cutler.htm
Colescott became most known for his work in the 1970s, where he brought the matter of race to the forefront of the art world. His work, the painting on the left (George Washington Carver Crossing the Delaware: Page from an American History), could not be ignored.
This painting is considered a “black-face” take on the famous George Washington crossing the Delaware, which was painted in 1851 by Emmanuel Leutze [2]. The painting replaces George Washington with George Washington Carver, who was a former slave who became one of the most prominent scientists and inventors of his time [3]. Stereotypical African-American blackface characters surround Carver. Colescott uses this painting to comment on cultural racism and to demonstrate the social perception of black Americans throughout history compared to white Americans. He was the first to attempt this technique, and successfully addressed racial inequality with no regard for political correctness.
The painting was one of many “black-face” takes on classic paintings. These paintings replaced white subjects with stereotypical “black-face” depictions. Colescott’s collection of “black-face” renditions was met with mixed emotions. Some people, white and black, felt that the collection was overly racist and hurtful. Others appreciated the harsh view into America’s past concerning race relations.
This painting was created in 1975 in Oakland, California. Oakland was the birthplace of the Black Panther party in 1966, and although they peaked as an organization in the late 60s, they were still prominent in 1975. Colescott was not directly working with any black political groups; however, his works’ messages coincided with the messages sent out by black political groups and his art was often featured in the party newspaper.
Colescott’s painting was first displayed in San Francisco along with some of his other work. He had an entire collection of parody art. He “black-faced” multiple Western classics in order to highlight the “revival of Jim Crow stereotypes in America”.[4] Colescott takes an American symbol of liberty and converts it into a symbol of racism and inequality that was taking place in 1970s America.
[1] Americana: The Journal of American Popular Culture (1900-present), Fall 2009, Volume 8, Issue 2 http://www.americanpopularculture.com/journal/articles/fall_2009/cutler.htm
[2] Americana: The Journal of American Popular Culture (1900-present), Fall 2009, Volume 8, Issue 2 http://www.americanpopularculture.com/journal/articles/fall_2009/cutler.htm
[3] George Washington Carver. (2014). The Biography.com website. Retrieved 09:43, Nov 10, 2014, from http://www.biography.com/people/george-washington-carver-9240299.
[4] Americana: The Journal of American Popular Culture (1900-present), Fall 2009, Volume 8, Issue 2 http://www.americanpopularculture.com/journal/articles/fall_2009/cutler.htm