Romare Bearden
1911–1988
Anthony Barboza (b.1944), Romare Bearden at Home, 1972; Collection of the Smithsonian National Museum of African American History and Culture; © Anthony Barboza
Works Available
- Untitled (Harvesting Tobacco), c.1940
- gouache on paperboard
- 43 1/4 x 30 1/4 inches / 109.9 x 76.8 cm
- signed
- Golgotha (Crucifixion), 1945
- oil on Masonite
- 28 1/2 x 24 inches / 72.4 x 61 cm
- signed
- Spring Way, c.1968
- collage of various papers with acrylic on Masonite
- 23 7/8 x 36 1/8 inches / 60.3 x 91.8 cm
- Memories, 1970
- collage of various papers with acrylic and graphite on plywood
- 14 x 19 3/4 inches / 35.6 x 50.2 cm
- Blue Shade, 1972
- collage of various papers and fabric on Masonite
- 9 3/8 x 14 inches / 23.8 x 35.6 cm
- Inscription at the City of Brass, 1972
- collage of various papers and fabric with acrylic on Masonite
- 40 7/8 x 36 inches / 103.8 x 91.4 cm
- School, c.1972
- collage of various papers with acrylic and graphite on Masonite
- 18 x 22 7/8 inches / 45.6 x 58.1 cm
14 7/8 x 18 5/8 inches / 37.8 x 47.3 cm sight size - signed
- Untitled, 1973
- collage of various papers on Masonite
- 10 5/8 x 7 7/8 inches / 27 x 20 cm
- signed
- Of the Blues: Intermission Still-Life, Instruments of Dixieland, 1974
- collage of various papers with acrylic and lacquer on Masonite
- 28 x 22 inches / 71.1 x 55.9 cm
- Profile/Part I, The Twenties: Mecklenburg County, Liza in High Cotton, 1977–1978
- collage of various papers and fabric with acrylic, watercolor, ink and graphite on Masonite
- 17 3/8 x 32 7/8 inches / 44.1 x 83.5 cm
- signed
- Encore, 1980
- collage of various papers with acrylic on Masonite
- 18 x 13 7/8 inches / 45.7 x 35.2 cm
All artworks displayed above are currently available. To inquire about additional works available by this artist, please contact the gallery.
Biography
Two fundamental assumptions underlie my attitude to my work. First, I feel that when some photographic detail, such as a hand or an eye, is taken out of its original context and is fractured and integrated into a different space and form configuration, it acquires a plastic quality it did not have in the original. . . Secondly, I think a quality of artificiality must be retained in a work of art, since . . . the reality of art is not to be confused with that of the outer world. Art . . . is artifice, or a creative undertaking, the primary function of which is to add to our existing conception of reality.
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