Friday, Dec 25, 2020 at 10:00am
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Ryan Lee is pleased to announce Herbert Gentry: Paris and Beyond 1949-1978, an exhibition of paintings and drawings by Herbert Gentry. Spanning from 1949 to 1978, the exhibition surveys the European years of a remarkable career that bridged the Atlantic and resulted in culturally important works reflecting the artist’s cultural fluidity, artistic innovation, and lifelong position as an art community leader. This will be the gallery’s first exhibition of Gentry’s work, in cooperation with the artist’s estate.
A Harlem native, Gentry was an important figure in the post-war European art scene, which he marked via his own vividly gestural canvases, and his remarkable role in fostering transcontinental relations between American artists and their European counterparts. “Gentry was among those American painters in Paris, who, beginning in the early 1950s, helped introduce the American concept of gesture, free invention, and the vivid dissonances of color to the European sensibilities,” Romare Bearden wrote in 1982, “The style was then known in Paris as ‘the school of the pacific’ and, in this country, of course, as ‘Abstract Expressionism.’”
Molded by the teachings of George Braque, jazz music and the extraordinary tempo of postwar Paris, Gentry’s art reflects the cultural crossroad on which he built his career. His own role as a significant cultural and community leader among expatriated artists, poets, philosophers, musicians and writers in Paris, and, later, Scandinavian capitals, shaped his own artistic outlook, which followed the principle that an artist, as an inherently social being, produces work that is subconsciously molded by the social impulses surrounding him or her. This tenet is recognizable in the flurry of lines mingling together in Gentry’s paintings—visual and social webs that are arguably metaphors for the vibrant community bonds that Gentry wove across the cultural avant-garde of Paris, Copenhagen, Stockholm, and New York City.
“I work with my subconscious, I don’t calculate, I’m not generalistic, and the form plays the great role. Figures come into it, faces come into my work,” Gentry said. “In my paintings (are) the people I’ve met throughout the world, American, African American. I’ve met people throughout the world, who are my friends, (whom) I love, and we’ve done things together, so this appears in my work.” Gentry’s compositions, characterized by luminous colors, undulating lines, reflect a deep and perennial appreciation for the human figure.
Figures come together organically in the swirling lines of his paintings, and appear more as unconscious reminiscences of a presence rather than an actual silhouette. They are alternatively the subject and background of the bustling activity that Gentry projects onto his canvas. These flittering profiles are a testament to the constant importance of people and human connections in Gentry’s life and career. The 1949 painting C hez H oney makes reference to the popular gallery-jazz club he opened that same year in Paris. This café-club became a multicultural and multiracial gathering place not only for fellow expatriated American artists such as Beauford Delaney, Romare Bearden, Larry Rivers, Hale Woodruff, and Ed Clark, but also eminent minds such as Richard Wright, James Baldwin, Jean-Paul Sartre, Simone de Beauvoir, Eartha Kitt, Orson Welles, James Baldwin, Benny Goodman, Roy Elridge, Louis Armstrong, Duke Ellington, Dizzy Gillespie, and Marcel Marceau, among others. Chez Honey’s ethos of transatlantic cultural exchange and spontaneous artistic camaraderie invariably became a cornerstone of Gentry’s practice, and his important friendships and artistic relationships laid the foundation for an inherently social oeuvre, considered through the prism of inner contemplation.
Exhibition Date: November 14, 2020 – January 9, 2021
Friday, Nov 27, 2020 at 5:00pm Eastern Time
Monday, Nov 30, 2020 at 10:00am Eastern Time
Monday, Nov 30, 2020 at 3:00pm Eastern Time
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