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Today we're going to Learn about the Great and Famous Ernie Barnes I hope it would be interesting and entertaining your day !
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Ernest “Ernie” Eugene Barnes, Jr. (July 15, 1938 – April 27, 2009) was an African-American painter, well known for his unique style of elongation and movement. He was also a professional football player, actor and author.
Ernest Barnes, Jr. was born during the Jim Crow era in “the bottom” community of Durham, North Carolina. His father, Ernest E. Barnes, Sr. (1900–1966) worked as a shipping clerk for Liggett Myers Tobacco Company. His mother, Fannie Mae Geer (1905–2004) oversaw the household staff for prominent Durham attorney and Board of Education member Frank L. Fuller, Jr.
On days when Fannie allowed “June” (Barnes’ nickname to his family and childhood friends) to accompany her to work, Barnes had the opportunity to peruse the art books and listen to the classical music in Fuller’s study. The young Ernest was intrigued and captivated by the works of master artists. By the time Barnes entered the first grade, he was familiar with the works of such masters as Toulouse-Lautrec, Delacroix, Rubens, and Michelangelo. When he entered junior high, he could appreciate, as well as decode, many of the cherished masterpieces within the walls of mainstream museums – although it would be a half dozen more years before he was allowed entrance because of his race.
A self-described chubby and unathletic child, Barnes was taunted and bullied by classmates. He continually sought refuge in his sketchbooks, hiding in the less-traveled parts of campus away from the other students. One day in a quiet area, Ernest was found drawing in a notebook by the masonry teacher, Tommy Tucker, who was also the weightlifting coach and a former athlete. Tucker was intrigued with Barnes' drawings so he asked the aspiring artist about his grades and goals. Tucker shared his own experience of how bodybuilding improved his strength and outlook on life. That one encounter would begin Barnes' discipline and dedication that would permeate his life. In his senior year at Hillside High School, Barnes became the captain of the football team and state champion in the shot put and discus throw.
Barnes credits his college art instructor Ed Wilson for laying the foundation for his development as an artist. Wilson was a sculptor who instructed Barnes to paint from his own life experiences. “He made me conscious of the fact that the artist who is useful to America is one who studies his own life and records it through the medium of art, manners and customs of his own experiences.”
All his life, Barnes was ambivalent about his football experience. In interviews and in personal appearances, Barnes said he hated the violence and the physical torment of the sport. However, his years as an athlete gave him unique, in-depth observations. “(Wilson) told me to pay attention to what my body felt like in movement. Within that elongation, there’s a feeling. And attitude and expression. I hate to think had I not played sports what my work would look like.”
Barnes’ first painting sale was in 1959 for $90 to Boston Celtic Sam Jones for a painting called Slow Dance. It was subsequently lost in a fire at Jones' home.
Critics have defined Barnes’ work as neo-mannerist. Based on his signature use of serpentine lines, elongation of the human figure, clarity of line, unusual spatial relationships, painted frames, and distinctive color palettes, art critic Frank Getlein credited Barnes as the founder of the neo-Mannerism movement - because of the similarity of technique and composition prevalent during the 16th century, as practiced by such masters as Michelangelo and Raphael.
Numerous artists have been influenced by Barnes’ art and unique style. Accordingly, several copyright infringement lawsuits have been settled and are currently pending.
n homage to his father, Barnes would frame his paintings in distressed wood. In his autobiography, Barnes wrote of his father “with so little education, had worked so hard for us. His legacy to me was his effort and that was plenty. He knew absolutely nothing about art.” A few weeks before Barnes' first solo exhibition, and as his father lay in the hospital after suffering a stroke, Barnes was at his parents' Durham home and noticed the unkept condition of the usually well-maintained backyard and "once-white fence." Barnes wrote, "One day, I placed a painting against the fence and stood away and had a look. I was startled at the marriage between the old wood fence and the painting. It was perfect. In tribute... Daddy’s fence would hug all my paintings in a prestigious New York gallery. That would have made him smile.”
Barnes created the painting Sugar Shack in the early 1970s. It gained international exposure when it was used on the Good Times television series and on a 1976 Marvin Gaye album.
Marvin-gaye-i-want-you.jpg
According to Barnes, he created the original version of Sugar Shack after reflecting upon his childhood, during which he was not "able to go to a dance." In a 2008 interview, Barnes said, "Sugar Shack is a recall of a childhood experience. It was the first time my innocence met with the sins of dance. The painting transmits rhythm so the experience is re-created in the person viewing it. To show that African-Americans utilize rhythm as a way of resolving physical tension.”The Sugar Shack has been known to art critics for embodying the style of art composition known as "Black Romantic," which, according to Natalie Hopkinson of The Washington Post, is the "visual-art equivalent of the Chitlin' circuit."
On the original Sugar Shack, Barnes included his hometown Durham, North Carolina radio station WSRC on a banner. He incorrectly listed the frequency at 620. It was actually 1410. Barnes confused what he used to hear WSRC's on-air personality Norfley Whitted saying "620 on your dial" when Whitted was at his former station WDNC in the early 1950s.
After Marvin Gaye asked him for permission to use the painting as an album cover, Barnes then augmented the painting by adding references that allude to Gaye's album, including banners hanging from the ceiling to promote the album's singles.
During the Motown 25: Yesterday, Today, Forever anniversary television special on March 25, 1983, tribute was paid to Sugar Shack with a dance interpretation of the painting.
Music album covers
Barnes’ work appears on the following album covers:
Sugar Shack on Marvin Gaye’s 1976 I Want You
Disco on self-titled 1978 Faith, Hope & Charity
Donald Byrd and 125th Street, NYC on self-titled 1979 album
Late Night DJ on Curtis Mayfield’s 1980 Something to Believe In
The Maestro on The Crusaders' 1984 Ghetto Blaster
Head Over Heels on The Crusaders’ 1986 The Good and Bad Times
In Rapture on B.B. King’s 2000 Making Love is Good For You
Barnes’ final public exhibition was in October 2007 when the NFL and Time Warner sponsored A Tribute to Artist and NFL Alumni Ernie Barnes in New York City. It was hosted by Donna Brazile, Susan L. Taylor, Brig Owens and his former teammate, the Hon. Jack Kemp (who died five days after Barnes in 2009).
At the time of his death, Barnes had been working on an exhibition titled Liberating Humanity From Within which featured a majority of paintings he created in the last three years of his life. Plans will continue. The exhibition will travel throughout the country and abroad.
Source : WikiPedia
Today we're going to Learn about the Great and Famous Ernie Barnes I hope it would be interesting and entertaining your day !
Thank you and there is lot of stuff coming soon so stay tuned to Toonstar6 and if you want any videos about art you can visit ouYouTube page!Check this out : https://www.youtube.com/user/toonstar6
Ernest Barnes, Jr. was born during the Jim Crow era in “the bottom” community of Durham, North Carolina. His father, Ernest E. Barnes, Sr. (1900–1966) worked as a shipping clerk for Liggett Myers Tobacco Company. His mother, Fannie Mae Geer (1905–2004) oversaw the household staff for prominent Durham attorney and Board of Education member Frank L. Fuller, Jr.
On days when Fannie allowed “June” (Barnes’ nickname to his family and childhood friends) to accompany her to work, Barnes had the opportunity to peruse the art books and listen to the classical music in Fuller’s study. The young Ernest was intrigued and captivated by the works of master artists. By the time Barnes entered the first grade, he was familiar with the works of such masters as Toulouse-Lautrec, Delacroix, Rubens, and Michelangelo. When he entered junior high, he could appreciate, as well as decode, many of the cherished masterpieces within the walls of mainstream museums – although it would be a half dozen more years before he was allowed entrance because of his race.
A self-described chubby and unathletic child, Barnes was taunted and bullied by classmates. He continually sought refuge in his sketchbooks, hiding in the less-traveled parts of campus away from the other students. One day in a quiet area, Ernest was found drawing in a notebook by the masonry teacher, Tommy Tucker, who was also the weightlifting coach and a former athlete. Tucker was intrigued with Barnes' drawings so he asked the aspiring artist about his grades and goals. Tucker shared his own experience of how bodybuilding improved his strength and outlook on life. That one encounter would begin Barnes' discipline and dedication that would permeate his life. In his senior year at Hillside High School, Barnes became the captain of the football team and state champion in the shot put and discus throw.
Barnes credits his college art instructor Ed Wilson for laying the foundation for his development as an artist. Wilson was a sculptor who instructed Barnes to paint from his own life experiences. “He made me conscious of the fact that the artist who is useful to America is one who studies his own life and records it through the medium of art, manners and customs of his own experiences.”
All his life, Barnes was ambivalent about his football experience. In interviews and in personal appearances, Barnes said he hated the violence and the physical torment of the sport. However, his years as an athlete gave him unique, in-depth observations. “(Wilson) told me to pay attention to what my body felt like in movement. Within that elongation, there’s a feeling. And attitude and expression. I hate to think had I not played sports what my work would look like.”
Barnes’ first painting sale was in 1959 for $90 to Boston Celtic Sam Jones for a painting called Slow Dance. It was subsequently lost in a fire at Jones' home.
Critics have defined Barnes’ work as neo-mannerist. Based on his signature use of serpentine lines, elongation of the human figure, clarity of line, unusual spatial relationships, painted frames, and distinctive color palettes, art critic Frank Getlein credited Barnes as the founder of the neo-Mannerism movement - because of the similarity of technique and composition prevalent during the 16th century, as practiced by such masters as Michelangelo and Raphael.
Numerous artists have been influenced by Barnes’ art and unique style. Accordingly, several copyright infringement lawsuits have been settled and are currently pending.
n homage to his father, Barnes would frame his paintings in distressed wood. In his autobiography, Barnes wrote of his father “with so little education, had worked so hard for us. His legacy to me was his effort and that was plenty. He knew absolutely nothing about art.” A few weeks before Barnes' first solo exhibition, and as his father lay in the hospital after suffering a stroke, Barnes was at his parents' Durham home and noticed the unkept condition of the usually well-maintained backyard and "once-white fence." Barnes wrote, "One day, I placed a painting against the fence and stood away and had a look. I was startled at the marriage between the old wood fence and the painting. It was perfect. In tribute... Daddy’s fence would hug all my paintings in a prestigious New York gallery. That would have made him smile.”
Barnes created the painting Sugar Shack in the early 1970s. It gained international exposure when it was used on the Good Times television series and on a 1976 Marvin Gaye album.
Marvin-gaye-i-want-you.jpg
According to Barnes, he created the original version of Sugar Shack after reflecting upon his childhood, during which he was not "able to go to a dance." In a 2008 interview, Barnes said, "Sugar Shack is a recall of a childhood experience. It was the first time my innocence met with the sins of dance. The painting transmits rhythm so the experience is re-created in the person viewing it. To show that African-Americans utilize rhythm as a way of resolving physical tension.”The Sugar Shack has been known to art critics for embodying the style of art composition known as "Black Romantic," which, according to Natalie Hopkinson of The Washington Post, is the "visual-art equivalent of the Chitlin' circuit."
On the original Sugar Shack, Barnes included his hometown Durham, North Carolina radio station WSRC on a banner. He incorrectly listed the frequency at 620. It was actually 1410. Barnes confused what he used to hear WSRC's on-air personality Norfley Whitted saying "620 on your dial" when Whitted was at his former station WDNC in the early 1950s.
After Marvin Gaye asked him for permission to use the painting as an album cover, Barnes then augmented the painting by adding references that allude to Gaye's album, including banners hanging from the ceiling to promote the album's singles.
During the Motown 25: Yesterday, Today, Forever anniversary television special on March 25, 1983, tribute was paid to Sugar Shack with a dance interpretation of the painting.
Music album covers
Barnes’ work appears on the following album covers:
Sugar Shack on Marvin Gaye’s 1976 I Want You
Disco on self-titled 1978 Faith, Hope & Charity
Donald Byrd and 125th Street, NYC on self-titled 1979 album
Late Night DJ on Curtis Mayfield’s 1980 Something to Believe In
The Maestro on The Crusaders' 1984 Ghetto Blaster
Head Over Heels on The Crusaders’ 1986 The Good and Bad Times
In Rapture on B.B. King’s 2000 Making Love is Good For You
Barnes’ final public exhibition was in October 2007 when the NFL and Time Warner sponsored A Tribute to Artist and NFL Alumni Ernie Barnes in New York City. It was hosted by Donna Brazile, Susan L. Taylor, Brig Owens and his former teammate, the Hon. Jack Kemp (who died five days after Barnes in 2009).
At the time of his death, Barnes had been working on an exhibition titled Liberating Humanity From Within which featured a majority of paintings he created in the last three years of his life. Plans will continue. The exhibition will travel throughout the country and abroad.
Source : WikiPedia
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