When was jeunesse painted

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Their movements are bigger and more flowing than the older couples behind them. They are more free and have the room to do what they like, where the couples in the back are cramped and dancing in a restricted traditional way.

This could also be seen as an example for the theme of determination to fight against oppression. I quite like this painting. When I was designing the look for my blog I knew I wanted a painting from the Harlem Renaissance as my background, and I found this one.

I liked it so much I used it both as my background and as one of my pieces to analyze. They called him the janitor. Initially self-taught, Hayden sought training in New York and Paris, yet his style has frequently been described as primitive. Actually, these elements owe as much to the broader influences of African and modern art that Hayden encountered in Paris as to his highly personal approach to interpreting the vitality and challenges of African-American life. Washington, D. Palmer Hayden was an artist whose association with the Harlem Renaissance was more spiritual than stylistic.

His first formal contact with art did not occur, however, until his enlistment in the army during World War I, when he enrolled in a drawing correspondence course. During his early years Hayden also studied painting with Asa G. Randall at the Boothbay Art Colony in Maine in Hayden was awarded a working fellowship to Boothbay, and devoted most of his time to painting boats and marine subjects. My current paintings describe a transitional phase in which college students are navigating social order and individual identity as they move into adulthood.

The painting Triumph 48 slide 1 depicts a scene in which students are performing a keg stand, which is a ritual emblematic to this Phase. Students often document these activities through digital photography, but give little aesthetic consideration to the photos they post online. These photos are casual in nature, meant to be easily accessible, and focus on documentation. In contrast, I seek to underline the significance of these activities and the transitional phase they signify by creating paintings that consider both the aesthetic qualities of the activities and the images themselves, following the historical practice of painting.

By using the history and scale of painting as a technical foundation I provide space for contemplation and exploration that the snapshot does not offer. The amount of time it takes to make a painting along with the necessity to see the painting in person, invite the viewer to spend more time with them, thereby emphasizing the significance of what is depicted. The stylistic choices I make in the creation of these paintings reflect the complexity of the transitory period experienced during college.

I do not rely on one specific style and often vary between the competing forces of romanticism, rationalism and realism. I interject art historical poses as visual cues to move the viewer through the painting, which is often based on directly choreographed and replicated scenes from Facebook photos. In my recent paintings I have depicted the figures participating in the socializing rituals in the nude.

The nude offers me the opportunity to talk about these activities in a slightly removed form that counters and disrupts the everyday.