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How to create a drawing of a musical instrument and add it to a non-objective painting using a color scheme to create a sense of unity and contrast to the black instrument. Inspired by Harlem Renaissance artist Romare Bearden. Perfect for Black History Month!
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Romare Bearden, “The Piano Lesson (Homage to Mary Lou …
“The Piano Lesson” is one of a series of images rooted in Bearden’s memories of Mecklenburg County in North Carolina. Visually, this print was inspired by two …
Source: www.pafa.org
Date Published: 2/24/2022
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The Piano Lesson (Homage to Mary Lou) – DOCKSCI.COM
THE ART OF JAMA. The Piano Lesson (Homage to Mary Lou). Romare Bearden. Thomas B. Cole, MD, MPH. In 1956, the American artist Romare Bearden (1911-1988).
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Masterpiece: Piano Lesson by Romare Bearden
Bearden was born in Charlotte, North Carolina in 1911. • He attended Boston University and New York University and planned on going to medical school.
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Romare Bearden | The Piano Lesson : Homage to Mary Lou
Romare Bearden, The Piano Lesson : Homage to Mary Lou, 1984. Lithograph, sheet: 29 3/16 × 20 3/8in. (74.1 × 51.8 cm). Whitney Museum of American Art, …
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Date Published: 6/30/2022
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Inner Child: Terry Baker Mulligan on Romare Bearden’s “The …
When I look at Romare Bearden’s “The Piano Lesson,” I am reminded of the music I grew up around. In 1944, I was born on the second floor of …
Source: www.sugarhillmuseum.org
Date Published: 11/29/2022
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Art Inspires Art – Hartford Stage
Romare Bearden’s ‘The Piano Lesson.’ Collage. 1983. In 1987, at the Yale Repertory Theatre in New Haven, a painting by artist Romare Bearden came to life in the …
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The Piano Lesson | The Studio Museum in Harlem
Romare Bearden (1911–1988) The Piano Lesson, 1983 Lithograph on paper 29 × 20 in. The Studio Museum in Harlem; Museum purchase and a gift from E. Thomas …
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Romare Bearden – The Piano Lesson – WordPress.com
Wilson holds Bearden in reverential esteem, for Bearden has not only served as the explicit inspiration for at least two of Wilson’s plays–Joe Turner and The …
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Musings on August Wilson’s The Piano Lesson (3.30.2021)
Let’s talk about the art. According to Wilson, the Romare Bearden painting, The Piano Lesson, proved him inspiration to write the play. In the …
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Romare Bearden, “The Piano Lesson (Homage to Mary Lou)” (1983)
The Piano Lesson (Homage to Mary Lou)
Romare Bearden
Inspired by the improvisational approach of jazz music, Bearden started creating collages in 1964 that depicted African-American life in the rural South and Harlem. In these images, Bearden appropriated a technique associated with Cubism and Dada art, drawing upon cryptic symbolism from Afro-Caribbean culture to address religion, mythology, history, literature, and everyday life. He also layered these works with autobiographical elements culled from his childhood memories. Born in Charlotte, North Carolina, Bearden moved with his family to Pittsburgh when he was still a child before settling in New York. Bearden studied with George Grosz, beginning his artistic career as a social realist in the 1930s. He shifted to abstraction in the 1950s until arriving at his breakthrough collages that would establish his prominent reputation. “The Piano Lesson” is one of a series of images rooted in Bearden’s memories of Mecklenburg County in North Carolina. Visually, this print was inspired by two Henri Matisse paintings – “The Piano Lesson” (1916) and “The Music Lesson” (1917). Bearden depicted a music teacher and her student in a Southern parlor. He dedicated this image to the great jazz pianist Mary Lou Williams, who, like Bearden, moved as a child from the South to Pittsburgh. “The Piano Lesson” also inspired Pittsburgh-native August Wilson’s 1987 play of the same title.
The piano lesson (homage to Mary Lou): Romare Bearden.
THE ART OF JAMA
The Piano Lesson (Homage to Mary Lou) Romare Bearden Thomas B. Cole, MD, MPH
I
n 1956, the American artist Romare Bearden (1911-1988) was at a crossroads in his career. He had almost given up painting, but his interest in art had been rekindled by a series of discussions with a Chinese American calligrapher named Mr Wu, who operated a bookstore near Bearden’s home studio in New York City. In one of these encounters Wu explained how Chinese landscape painters would leave a section of the canvas unfinished to encourage viewers to use their imaginations. (Schwartzman M. Romare Bearden: His Life and Art. New York, NY: Harry N Abrams; 1990.) Although Wu was not an art instructor, Bearden’s conversations with the bookseller had a lasting influence on him. In Bearden’s collage The Piano Lesson (Homage to Mary Lou), made almost three decades after his sessions with Mr Wu, the upper right corner is an empty room with an open window. Green curtains, billowing in the breeze, partly conceal the brown Masonite walls, which Bearden intentionally left unpainted. The open window is like a bare space in a Chinese landscape that invites the viewer to enter the painting and look around. The unfinished walls also reference a European compositional device, seen in paintings by Francisco de Goya and Édouard Manet, of letting the background of a painting show through for balance and contrast. Bearden was born in Charlotte, North Carolina, in 1911. He graduated from New York University in 1935 with a degree in education. In 1936 he enrolled at the Art Students League and studied with the German American painter George Grosz. In 1945 Bearden joined the Samuel Kootz gallery, which promoted the work of abstract painters such as Adolph Gottlieb, William Baziotes, and Robert Motherwell. Bearden was not particularly interested in abstraction, so he parted ways with the gallery and tried his hand at writing songs. He founded the Bluebird Music Company with Dave Ellis, a composer and friend, and also worked with song writers Larry Douglas and Fred Norman. About 20 of Bearden’s compositions, including the popular ballad “Seabreeze,” were recorded by jazz musicians such as Billy Eckstine, Dizzy Gillespie, and Tito Puente. During his songwriting phase, Bearden continued to make drawings and think about new approaches to visual art, and in the mid-1950s he went back to painting full-time. He also experimented with collage techniques such as gluing layers of rice paper to a canvas and then tearing them away to see what patterns would emerge. By the 1960s almost all of Bearden’s art works were collages, which he made by adhering magazine clippings, paper scraps, and swatches of fabric to hard surfaces such as Masonite (The Art of JAMA, June 11, 2014). He likened the process of making a collage to the improvisation of melodies 2322
in a live performance of jazz. Many of his collages, such as The Piano Lesson (Homage to Mary Lou), were variations on the themes of memory and music. In the scene, a piano teacher hovers over a student who is attempting to play a difficult piece of music. The inspiration for this composition was the jazz pianist Mary Lou Williams, but there is no similarity between her life and the girl in the picture. According to Williams, she never had a piano teacher; by the age of 6 she was performing at parties and by the age of 15 she was on the road with Duke Ellington’s band. The structure of this collage acknowledges a 1916 painting by Henri Matisse called The Piano Lesson, in which Matisse’s son, Pierre, is seen playing the piano for his teacher. In Matisse’s painting, as in Bearden’s collage, a metronome sits on top of the piano, controlling the tempo of the recital. The triangular shape of the metronome dominates the structure of Matisse’s painting and also plays a role in Bearden’s collage. However, the tone of the pictures is different, as conveyed in the body language of the students and teachers. In Matisse’s painting, the student faces away from his teacher, who is sitting on a tall stool some distance behind him with her hands crossed in her lap. She is attentive but restrained; her teaching style is evidently to let her student learn from his mistakes without much input from her. In Bearden’s collage, the teacher appears to be more nurturing but also more closely involved with the student’s performance—a stickler for detail. From the perspective of a student, neither scenario is particularly appealing. Mary Lou Williams became a teacher at the age of 69, when she was invited by Duke University to be an artist-inresidence. At Duke she taught music history and gave one-on-one tutorials for young jazz musicians. To find out if her music history students were absorbing the phrasing and emotion of the music she played for them, she would ask them to sing it back to her. On one occasion she was unsatisfied with the way her students were singing a blues song, so she had them return to an earlier lesson and sing spirituals until they could express the depth of feeling in the blues. The kind of thing she was trying to teach couldn’t be found in a book, she said, and she didn’t much care for metronomes either. If she wanted her piano students to learn how to keep time, she had them listen to the steady beat of a Fats Waller tune. Sometimes the best teaching experiences are the least orthodox; certainly beginners must learn the fundamentals, but how interesting it must have been for Romare Bearden to while away the hours in a bookstore discussing Chinese composition and for the students of Mary Lou Williams to sing spirituals with an American music legend.
JAMA December 10, 2014 Volume 312, Number 22
Copyright 2014 American Medical Association. All rights reserved.
Downloaded From: http://jama.jamanetwork.com/ by a Otterbein University User on 06/05/2015
jama.com
The Art of JAMA
Romare Bearden (1911-1988), The Piano Lesson (Homage to Mary Lou), 1983, American. Color lithograph on paper. 74.93 × 52.1 cm. Courtesy of the Pennsylvania Academy of the Fine Arts, (http://www.pafa.org/), Philadelphia,
the Harold A. and Ann R. Sorgenti Collection of Contemporary African-American Art, 1999.17.1. Art © Romare Bearden Foundation/licensed by VAGA, New York, New York.
jama.com
JAMA December 10, 2014 Volume 312, Number 22
Copyright 2014 American Medical Association. All rights reserved.
Downloaded From: http://jama.jamanetwork.com/ by a Otterbein University User on 06/05/2015
2323
Romare Bearden | The Piano Lesson : Homage to Mary Lou
Not on view
Date
1984
Classification
Prints
Medium
Lithograph
Dimensions
Sheet: 29 3/16 × 20 3/8in. (74.1 × 51.8 cm)
Accession number
2008.63
Edition
2/100
Publication
Printed by Mojo Portfolio; published by Romare Bearden; published by Contemporary Dance Theater, New York
Credit line
Whitney Museum of American Art, New York; gift of Altria Group, Inc.
Rights and reproductions
© Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), New York
Inner Child: Terry Baker Mulligan on Romare Bearden’s “The Piano Lesson” as told to Souleo — Sugar Hill Children’s Museum of Art & Storytelling
When I look at Romare Bearden’s “The Piano Lesson,” I am reminded of the music I grew up around. In 1944, I was born on the second floor of 369 Edgecombe Avenue. Jazz saxophonist Sonny Rollins lived about two or three houses away, and rock and roll singer Frankie Lymon lived a few blocks from us too. Frankie was our idol. I used to see Sonny all the time. We knew he was a really good musician because you could always hear him playing.
From the age of five to nine my stepfather would take me to the Apollo Theater on Thursdays. There wasn’t children’s music then except “Ring Around the Rosie.” We didn’t have Beyoncé or Justin Bieber. You listened to the same thing as your parents. So when my stepfather took me to the Apollo I saw big bands and the piano was the central focus.
Art Inspires Art
Art Inspires Art: Romare Bearden
By Ishaar Gupta, Education Apprentice
“I got the idea from a Bearden painting called ‘The Piano Lesson.’ It’s of a little girl at the piano with her piano teacher standing over her. And in my mind I saw Maretha and Berniece” – August Wilson
In 1987, at the Yale Repertory Theatre in New Haven, a painting by artist Romare Bearden came to life in the form of August Wilson’s acclaimed play, The Piano Lesson. Wilson saw the painting (and all of Bearden’s art) as “black life presented on its own terms, on a grand and epic scale, with all its richness and fullness, in a language that was vibrant and which made attendant to everyday life, ennobled it, affirmed its value, and exalted its presence.”
In the years of the Great Migration (1910-1970) – when six million African-Americans moved from the rural south to the urban north – many felt a sense of cultural detachment. The residual effects from the horrors of slavery were still very prominent, making the creation of family legacy difficult. Bearden aimed to chronicle these experiences of troubled legacy through his art. Bearden, one of the most celebrated artists of the 20th century, has been credited with displaying a deep engagement with the African-American community. Likewise, Wilson, who played a similar role in the rise of black theatre, asks his audience “What do you do with your legacy, and how do you best put it to use?” In a play named after and inspired by a collage by Bearden, his characters face many issues of historical legacy and memory and as a result, the two share much more in common than a title.
Romare Howard Bearden (1911-1988), who grew up during the Great Migration, began his career depicting scenes of the American South, later focusing on unity within the African-American community. During the 1960s Civil Rights Movement, Bearden experimented with new ideas, leading to more abstract works. The Piano Lesson’s use of patterns, explorations of interior space, and subject matter recalls the 1916 painting of the same name by Henry Matisse. Bearden drew inspiration from Matisse during this time period. Originally intended to be a poster for a dance and musical collaboration between Bearden’s wife Nanette and jazz pianist Mary Lou Williams, the scene portrays a teacher standing over her student who sits at the piano.
When Wilson saw the painting, he began to see Maretha and Berniece, sitting at the piano that would become the symbol of legacy in the Charles family. Wilson already had much in common with Bearden; although Wilson and Bearden grew up decades apart, both grew up in the Hill District of Pittsburgh, and both drew inspiration for their work from the Twentieth Century African-American experience.
In many ways, Wilson’s play and Bearden’s painting accomplish similar goals in portraying African-American life. Both found solace in using the abstract to express the feelings of African-Americans in post-slavery America. Their work discussed the importance of legacy, while also honoring the troubles of recognizing the past. Both used their art to represent the issues with legacy many African-Americans faced during this time period.
The Piano Lesson
Romare Bearden (1911–1988) The Piano Lesson, 1983 Lithograph on paper 29 × 20 in. The Studio Museum in Harlem; Museum purchase and a gift from E. Thomas Williams and Auldlyn Higgins Williams, New York 1997.9.5
The Piano Lesson
“In Bearden you’ve got all these pieces. There’s an eye here, a head over there, a huge oversized hand on a small body. It’s like that with me. I’ve got all these images, and the point is how I put them together, the relationships between them that counts.”
Romare Bearden (1911–1988) grew up at the height of New York City’s Harlem Renaissance and was influenced by such family friends as Langston Hughes, W.E.B. DuBois and Duke Ellington. Although he was a successful painter and dedicated civil rights activist, Bearden is best known for his vibrant collages fusing depictions of Harlem life with images and impressions of the American South. This sense of a cultural narrative spanning generations and expressing the African-American experience is also a hallmark of Wilson’s plays.
One black way of confronting the conundrum of life with passion is through ritual, and it is on this ground that Wilson met Romare Bearden, the African American artist best known for his collages of black life created during the 1960s and 1970s. Wilson holds Bearden in reverential esteem, for Bearden has not only served as the explicit inspiration for at least two of Wilson’s plays–Joe Turner and The Piano Lesson—Bearden also serves Wilson as a kind of father-figure (both grew up in Pittsburgh), a personification of the ideal for a black artist. Indeed, Wilson has adopted Bearden’s credo as his own: “I try to explore, in terms of the life I know best, those things which are common to all cultures” (Wilson’s “How to Write a Play).
The life Bearden knew best was characterized by The Prevelance of Ritual, the title of a series of collages that were collected in a volume in 1971, a volume which had a catalyzing effect on Wilson. Wilson describes the moment as a young struggling poet when he first encountered Bearden:
“[The Prevelance of Ritual” lay open on the table…I looked. What for me had been so difficult, Bearden made seem so simple, so easy. What I saw was black life presented on its own terms, on a grand and epic scale, with all its richness and fullness, in a language that was vibrant and which, made attendant in everyday life, ennobled it, affirmed its value, and exalted its presence…I was looking at myself in ways I hadn’t thought of before and have never ceased to think of it since.” (Payne)
Bearden offered Wilson a new visual language that created a world populated by conjure women, trains, guitar players, birds, masked figures, and the rituals of baptisms, funerals, dinners, parades. Wilson was of course impressed by the black experience Bearden represented, but he was equally interested in his mode of representation. Wilson volunteers the creation story of this new black form.
“One day in [1963] Bearden and some of his colleagues had arranged to work together on a collaborative work–it was supposed to be a collage of black life at that time–but when it came time to actually do it, Bearden was the only one who showed up. So he went ahead and just started doing it on his own.” (Rocha 31-32)
Bearden “riffed” on the quintessentially twentieth-century language of collage, first introduced by Picasso in his Cubist experiments, to create a form capable of expressing what Ralph Ellison has called the “sharp breaks, leaps in consciousness, distortions, paradoxes, reversals, telescoping of time and Surreal blending of styles, values, hopes and dreams which characterize much Negro American history.” Wilson describes the structure of his own plays as having this collagist form (see above quote).
Musings on August Wilson’s The Piano Lesson (3.30.2021)
For each session, my intention is to come up with some unique perspective in understanding the play. Sometimes I succeed and achieve that goal. Sometimes I do not. This time I come pretty close.
The key issue, and the central lesson of The Piano Lesson, is repeated by August Wilson in interview after interview. The issue is, ”can you acquire a healthy sense of self worth by denying your past?”
On the surface, it might appear that Berniece is the one who wants to preserve the historical basis of the family’s sense of self-worth through her refusal to sell the piano with all its artifacts that detail family history. Similarly, on the surface, it might appear that Boy Willie is willing to ignore that history in order to buy the 100 acres of farmland where their ancestors were slaves and later, sharecroppers.
But beneath the surface, we learn that 1) Berniece never plays the piano; and most significantly, 2) Berniece has never explained to her daughter Maretha the history of the piano and its symbolic artifacts, the history of the family, or anything else that might actually suggest a sense of self worth. Berniece tells Maretha to “don’t act your color,” suggesting there is something inherently inferior about her complexion. Additionally, while “fixing her hair,” Berniece tells Maretha that if she were a boy, they wouldn’t have to go through that painful process of placing a hot comb to her scalp, suggesting there may be something inferior, as well, about her gender. That Berniece is a piece of work! Berniece wants to ignore her family history in the rural south in order to build a different future for her family in the urban north.
Boy Willie, perhaps on the other hand, acknowledges his southern roots, so much that he wants to buy the land his ancestors worked when they were enslaved. But in order to complete the purchase, Boy Willie has decided he needs the proceeds from selling the family heirloom, the piano.
The tradeoff, stripped of all the accompanying baggage, seems very straight forward.
Let’s pause here and come back later. Let’s talk about the art.
According to Wilson, the Romare Bearden painting, The Piano Lesson, provided him inspiration to write the play. In the Bearden painting, you see what appears to be Maretha seated and Berniece standing over and instructing her at the piano.
Bearden: Homage to Mary Lou Williams, The Piano Lesson
The painting actually was a tribute to the jazz singer/artist/performer Mary Lou Williams, with whom Bearden’s wife Nanette and her dancing company had done an artistic collaboration while Williams was Artist in Residence at Duke University. The original Bearden collage/painting didn’t have all the family portraits carved into the wood. That was Wilson’s innovation.
But back to the collage. In a wide ranging interview with Myron Schwartzmann in a huge coffee table book Schwartzmann completed entitled, “Romare Bearden: His Life and Art,” whose foreword was written, by the way, by August Wilson, Bearden takes us from the original diagrammatic drawing (ink on paper), to the black and white 1983 oil with collage of the Mecklenburg Autumn series, to the silkscreen ink on tracing paper, to the final 1984 version fully colored.
The complete Mecklenburg Autumn series, named for the North Carolina county where Bearden was born, included, among many, a piece called Autumn Lamp, which featured a guitar player and his guitar. In producing the painting/collage, Bearden followed a procedure established by the French impressionist Edouard Manet, as recorded by his contemporary, another French impressionist, Claude Monet. Monet wrote that Manet always wanted to give the impression that a painting was completed in one sitting, so at the end of each day in production, he would scrape down whatever he had produced, keeping only the lowest layer. Then each new day he would “improvise” on that bottom layer. At some point, Manet would stop the process, but in fact, a Manet painting made in this manner was never actually completed.
In other paintings in the series, Bearden used images from his childhood.
For The Piano Lesson, also called Homage to Mary Lou Williams, Bearden found inspiration in two Matisse paintings, The Music Lesson and The Piano Lesson, left to right, below.
Without going too far afield, one can see not only how Bearden’s images influenced Wilson, but also how his processes and production “technologies” influenced how Wilson produced plays, going through multiple rehearsal revisions, yet improvising on the ever present foundation drawing, the original vision if you will. Yet another piece of the story is that Matisse was influenced by Van Gogh, who did his own “Piano Lesson,” Marguerite Gachet At The Piano. I will leave this link with you for further study and investigation. https://www.vincent-van-gogh-gallery.org/Marguerite-Gachet-At-The-Piano.html
Bearden continues in this part of the interview with other influences on his work, his study of the Dutch Masters, especially Vermeer, his study of the French impressionists during his sojourn in Paris, and his reading of Clausewitz, On War, and how the chaos of war is resolved though the elimination of options. He wrote of classic Chinese painting which he considered the “greatest of paintings,”
“For instance, a Chinese painter, in the classic days, when he looked at the rocks and trees, felt a certain oneness with them. And he was, himself, although painting it, part of the landscape which he was painting. He looked upon the large tree, let us say, as a father tree, the others as his children; the largest mountain, perhaps, as a father mountain, or a mother, and smaller, children mountains. So he imbued nature with human concerns. . . . In this way he was ablest the very beginning, to think of the relationships in his painting because of the relationships with a family.”
I have gone a bit off on a tangent with this Bearden thing, but when Wilson says that Bearden was one of his principle influences, we really should both take that at face value and look deeper.
An interesting story captured by Richard Long, essayist and critic, in his essay “Bearden, Theater, Film and Dance,” reports how he noticed an op-ed Wilson wrote for the New York Times that mentioned his indebtedness to Bearden’s influence. Long showed the op-ed to Bearden over breakfast and asked him if he had seen it and what he thought about it. Bearden, who had never met and would never meet Wilson remarked, “Well, he could have at least sent me tickets to the show.” Wilson would say in subsequent interviews that he actually stood outside Bearden’s apartment but would not go in to see him (hoping perhaps to catch him in transit, maybe). It’s a shame they never directly collaborated.
Two more thoughts on The Piano Lesson before I stop.
It dawned on me, and perhaps on you, that Boy Willie and Berniece are quibbling in the play over what amounts to stolen property. In a previous session I traced the lineage, the provenance of the artifact, the piano. The transaction that resulted in the Charles family acquiring the piano was a theft by Boy Willie’s father, Boy Charles, along with his uncles, Doaker and Wining Boy. Plain and simple. I know all about how the piano was exchanged for two enslaved people who were also ancestors of Boy Willie and Berniece and I know how horrible slavery was as an institution. I am descended from enslaved people and I grew up hearing the stories. But let’s be honest. Slavery was protected and preserved by the U.S. Constitution. Slavery was the law of the land in the states where it was legitimately practiced. The state legislatures approved it. The national Senate and House of Representatives allowed it. And the Supreme Court affirmed its legitimacy in a number of cases and decisions. They were all in on it. It took a Civil War and the deaths of six hundred thousand soldiers on both sides to correct the wrong that was slavery, something that should have been able to be worked out by rational people over a dining room table.
Yet, try as we might, we cannot really morally justify the theft of the piano, no matter what images were carved into it. Don’t get sucked in by the emotional appeal.
Finally, I want to call your attention to the fact that The Piano Lesson was the first August Wilson play adapted for film, and for television, no less. Hallmark. One astute observer recorded that on the night that the Hallmark movie aired on television, more people were exposed to August Wilson than all the audiences of all the plays previously performed in all the theaters worldwide. Le’s add that more black people got access to August Wilson than ever before. As we know from earlier reading, mechanical reproduction will increase the exhibition value of Wilson’s work but what is lost is the cult value, the ritual of the romance of the energy exchanged across the stage and into the audience.
postscript. Samuel L Jackson plans to produce and direct a Broadway revival of The Piano Lesson late this year, and a film adaptation using the same cast in 2022. Let us add, the Good Lord and COVID willing.
postscript#2. NaPoWriMo requires a poem about a piece of art. How about The Piano Lesson?
The black mirror invites my inspection –
A scaled representation of the whole.
The wooden metronome in its foreground
Reminds one of rhythm and time’s passage,
The pendulum’s swing until the winding
Dies. The young girl, black like the mirror, plays
As her mother directs. The mother’s face,
More blue than black, leans in attentively.
A non-flowering plant rests in a vase.
A paintbrush seems out of place. It could be
A missing conductor’s baton. The sun
Bursts through the window as a slight breeze blows
The curtains askew. A ceiling lamp and
A table lamp compete to light the room.
Session #4
Session #3 post-class notes 3.30.2019
Session #3 pre-class notes 3.28.2019
Session #2 notes
Session #1 notes
YouTube playlist
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사람들이 주제에 대해 자주 검색하는 키워드 Romare Bearden Inspired Musical Instrument Collage Art Lesson – Art With Trista
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