This week we looked at an American artist that is taking paintings of the old, that portrayed white historical men and re-creating the images with black men in a positive light.
The question asks what is intertextuality? The dictionary defines it as having a relationship with literary text. Looking at Wiley's paintings the narrative of the composition is sharing a relationship with the text from the History books, by re-writing Historical moments with men of color performing the acts of what was not appropriate at the time for their race.
Kehinde Wiley’s rumors of war painting series consists of nine images drawn from various historical periods all representing what is referred to as an equestrian style of portrait painting. Of the nine images three have been selected for discussion. Wiley’ employed the literary idea of intertextuality to link his versions of the three selected images. “The Chancellor of Seguier at the entry of Louis XIV into Paris (1660). Le Brun’s painting of Pierre Seguier, who was a patron of Le Brun’s. Is often cited as an image of indulgent wealth and the inequality of men. It depicts Seguier in silken robes on horseback attended by average French worker's. Two of the attendants are carrying umbrellas used to embellish his wealth and status. Wiley linking in his painting “The Chancellor Seguier on Horseback” with Charles Le Brun’s painting seeks to critique both of the historical painting and contemporary society continued allegiance to stereotypes. Wiley substitutes a black man in a football jersey for Perrier Seguier. He also includes the umbrella attendants but Wiley’s version seems to diminished the inequality of the supporting attendants.
Wiley links his version of Colonel Platoff on his charger to James Ward obscure equestrian painting of Colonel Platoff by substituting colonel Platoff with a Black man red fur lined hoodie, green cargo pants and running shoes. Wiley included the same hand gestures so there could be no confusion between the two images.
Portrait of Count Stanislas Potocki (1781) is by Jacques-louis David who also painted the death of Murat. Potocki was polish patron, politician and writer. His wealth came from his wife’s dowry. Potocki in his equestrian portrait is depicted as subduing a high strung horse with silk top hat. Whereas, Wiley’s depiction makes use of a black man in red tank top, blue jeans, running shoes and rather than silk top hat he uses a baseball cap.
The Chancellor Seguier on Horseback, 2005
Oil and enamel on canvas
108" x 72"
Colonel Platoff on His Charger, 2008
Oil on canvas
108" x 108"
Count Potocki, 2008
Oil and enamel on canvas
108" x 108"
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