The latest volume in Gary Monroe's Highwaymen trilogy
"There are only two ways to get to know Al Black's art: 1) buy this book, or 2) go to jail."--Maarten van de Guchte, director, Cummer Museum of Art & Gardens
"The story of a man who had squandered his God-given gift and was able to redeem himself by painting visions of Eden that could give hope to and soothe the terrible pain of his fellow inmates, as well as bring inspiration to the prison staff."--Annegreth T. Nill, chief curator, Museum of Art, Ft. Lauderdale
By now, the story of Florida's Highwaymen--self-trained African American painters whose visions of the state were sold to travelers out of the trunks of their cars--is fairly well known. Emerging in the late 1950s and led by painters such as Alfred Hair and Harold Newton, the Highwaymen produced an astonishing number of landscapes that depict a faraway place of windswept palms, billowing clouds, placid wetlands, and lush sunsets.
As demand soared, Al Black (b. 1946) emerged as a salesman par excellence. Often earning 35 percent commission, he was discouraged from creating his own paintings. But gradually he learned, partly from repairing damaged works that had been loaded into his car while still wet.
Inevitably, the boom times went bust--. Black struggled with drugs and eventually went to prison. While in the Central Florida Reception Center, a short-term stop for most inmates in the Florida prison system, "Inmate Black" was recognized as painter "Al Black" after the warden read a story by St. Petersburg Times columnist Jeff Klinkenberg about the Highwaymen.
Soon, with the warden's encouragement and permission, Black was painting murals throughout the prison, classic Highwaymen landscapes in unexpected venues. When he left CFRC in 2006, Black had created more than 100 murals for the Department of Corrections. The Highwaymen Murals is the only record of these images available to the public. As such it will quickly become a must-have for any connoisseur of their work.
Technology and the Visual Arts in the Nineteenth Century
What Great Paintings Say: Masterpieces in Detail
Ciampelli was, like Pomarancio and Giuseppe Valeriano, regularly employed by the Jesuits; see Hibbard in Wittkower and Jaffe 1972, 40-41. 6. Bellori (1672) 1976, 217. 7. See Urbino 1953, 35-36. in 1607 (cat. 77).
Per tale motivo , nel 1908 in America la Germantown sullo schermo , e mettendosi a cantare sul filo dell'accompagna- Citizens ' Association mise al bando questi copricapi da " vedova mento musicale . Un simile coinvolgimento era ...
In the 1940s the Mandragora group around Braulio Arenas and Enrique Gomez Correa emerged in Santiago de Chile , distinguishing Surrealism from the Stalinism of the poet Pablo Neruda . In Buenos Aires the flavour of the movement was ...
Catalog of a traveling exhibition first held at the Museum of Fine Arts, Houston, Apr. 2-Aug. 28, 1995.
The art of Betye and Alison Saar: secrets, dialogues, revelations : Wight art gallery, University of California Los Angeles, [January...
According to A. Sutherland Harris , this painting bore an attribution to Jan Asselijn ' until it was recognised as a work of Du Jardin by Otto Naumann in 1984 ( privately ) . This was confirmed by R. Trnek and accepted by both A. C. ...
David Smith: Drawing + Sculpting : [exhibition], Nasher Sculpture Center, Dallas, April 16 - July 17, 2005
Abstrakter Expressionismus (Abstract Expressionism, Dt.). Der Triumph Der Amerikanischen Malerei