Exhibition at Frye Art Museum will adjust the way you imagine about Romare Bearden’s operates

Yoshiko Yap

Exhibition review

Romare Bearden (1911-1988) is beloved for his big-scale collages that testify to the everyday encounters of Black Americans. They are vivid, complicated and essential is effective of art that are penned about in artwork record publications, prized in art collections and instantaneously recognizable as Beardens.  

A traveling exhibition of Bearden’s abstract paintings, now showing at the Frye Art Museum — the previous prevent on a countrywide tour — will modify the way you think about these iconic collages. 

Are there collages in the clearly show? Yes. There are some great illustrations of his signature, figurative collages these types of as “La Primavera” from 1967. Dependent on the route you consider, these significant, lovely functions both entire a chronological walk-via or welcome you with an introduction to his greatest-recognised perform. 

And — spoiler! — there are very a number of nonfigurative collages that he developed in the earlier decade of abstract portray that is the target of this clearly show. These collaged paintings from the 1950s and early ‘60s straight contradict the oft-told tale that Bearden only turned to collage in 1963 when he made a decision to element Black figures and tales. 

In “River Mist” from around 1962, for example, Bearden minimize and tore his canvas and remounted it on a painted board to build a raggedly flowing composition of mottled blue and gentle white, with glimpses of glowing orange. 

These summary paintings are both equally radically various from his later collages and total of foreshadowing, holding hints of Bearden’s compositional virtuosity and materials experimentation. This exhibition sets out to show a place and it does so brilliantly: These paintings had been essentially vital to Bearden’s advancement as a collage artist.

From the mid-1950s to 1963, Bearden embraced nonfigurative portray, exploring unique arrangements of colour, texture and painterly strategies. This is a display to see in particular person, to review the brushed, dripped, stained and scumbled surfaces. 

The dreamy, marblelike surfaces of 1961’s “Heart of Autumn” clearly show proof of paint soaking into the canvas, splattered and dabbed across it, and softly brushed on to build bursts of shapes. New techniques to the age-aged medium of paint were celebrated all through this time when summary expressionism reigned. But appear even closer and you will see pencil marks wherever Bearden plotted out and emphasised his compositions. Even in the midst of all this seemingly spontaneous abstraction, Bearden was thoughtfully placing the parts jointly. 

The exhibition is full of revelations and insight. But this isn’t an extremely simplified, clickbaity story of recovering long-missing paintings for the globe to see for the 1st time. Bearden in fact exhibited and sold fairly a handful of of them in the 1950s and ‘60s. 

So, if Bearden was finding achievement with these paintings, why did he abandon them in 1963? 

Keenly interested in the civil rights debates that had been thundering throughout the country, Bearden was essential of the inclination to stereotype and generalize the experiences of African Us citizens. Together with his close friend William Baldwin, Bearden felt that the specificity and individuality of the varied life of Black persons ought to be acknowledged. For Bearden, the language of abstraction couldn’t say what necessary to be explained. 

A museum wall panel offers Bearden as saying, “I did the new do the job out of a reaction and have to have to redefine the impression of guy in the expression of the Negro practical experience I know most effective. I felt that the Negro was getting to be much too considerably of an abstraction, instead than the reality that art can give a subject.”

And so Bearden turned toward recognizable figures and stories, applying collage to construct scenes drawn from his own and others’ ordeals. But the classes he acquired through his decade of painterly experimentation are obvious in these collages. When there are in-depth allusions to locations and tales, there is an in general, formally abstract technique to the way the backgrounds and figures are assembled from simplified designs and excerpted supplies. In reality, Bearden recycled some of his older works, chopping up painted or photocopied paper to use as foundational things. 

What he tried to do, he said, was to “establish a entire world by means of art” in which the validity of his African American expertise “could stay and make its personal logic.” Bearden’s prior exploration of materials, strategy and composition led to this logic, a method for setting up kind and story that validated and celebrated existence.

“Romare Bearden: Abstraction”

By Sept. 18 Frye Art Museum, 704 Terry Ave. 11 a.m.-5 p.m. Wednesdays-Sundays absolutely free 206-622-9250, fryemuseum.org

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