{"id":5508,"date":"2019-07-17T14:04:49","date_gmt":"2019-07-17T14:04:49","guid":{"rendered":"http:\/\/media-archive.blackartinamerica.com\/?p=5508"},"modified":"2019-07-27T15:01:33","modified_gmt":"2019-07-27T15:01:33","slug":"louis-delsarte-a-master-of-movement-and-color","status":"publish","type":"post","link":"https:\/\/earthexhibitions.org\/media-archive\/?p=5508","title":{"rendered":"Louis Delsarte: A Master Of Movement And Color"},"content":{"rendered":"

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\"\"There are many ways to define the 1940s. Some say the decade was overshadowed by World War II, especially considering that celebrities themselves joined the fight and American culture was saturated with its bloodshed. Still, this era brought us Tupperware, the Jeep, the Frisbee, and brought good fortune to Ella Fitzgerald, Louis Armstrong and Frank Sinatra. Though Jazz became popular in the \u201820s, it\u2019s success was still something to boast about in the 40\u2019s. Unsurprisingly, Jazz was a big influence for one Louis J. Delsarte, an African American artist\u00a0 born September 1, 1944,. There\u2019s a multitude of ways to define Delsarte, as well. Born in Brooklyn, Delsarte is known for what is called his \u201cillusionistic style.\u201d He is a painter, muralist printmaker and illustrator. A profound figurative expressionist, Louis has been painting since 10 years of age. He was never without his sketchbook. On subways, he would surreptitiously draw other travelers,<\/span> so as to not get in any trouble.<\/b> He was fascinated by people and surrounded by music. This, and his knowledge of African history and culture, greatly influenced his artistry.<\/span><\/p>\n

“One Of The Preeminent Colorist Of His Generation” – Kevin Sipp<\/em><\/span><\/a><\/h3>\n
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Adam and Eve<\/p><\/div>\n

Delsarte went to high school in Brooklyn. He obtained a certificate in Fine Art Education from Brooklyn college, his bachelor\u2019s degree in Fine Arts at Pratt Institute and his master\u2019s at the University of Arizona.<\/span>\u00a0\u00a0<\/b><\/p>\n

His art style is usually figurative, noted for strong colors and complex compositions. He describes his own methodology as a clash and meeting of fantasy and civility, realism and abstract.\u00a0 Perhaps something of a perfectionist, Delsarte has asserted that he\u2019s prone to working on a single painting for more than ten sessions. His process involves a mixture of discipline and free spiriting, as shown by his habit of laying canvases on the floor and applying paint without even truly seeing where it hits. He doesn\u2019t process or adhere to the drawn image until later, and he will then allow the paint to dry and work vertically on the canvas for a more disciplined drawing. He will return to the unorganized phase if he feels the image is losing its figurative zest. He artfully mixes representational rigidness with a chaotic free-for-all style for what has been referred to as an altering relationship between the figure, the painted space outside of it and the influence of music.\u00a0<\/span><\/p>\n

\"Delsarte,<\/a>

“The Letter” by Louis Delsarte<\/p><\/div>\n

Behind every great individual is about twenty other great individuals, all saying, “Hey, why not?” Delsarte grew up very cultured, with his parents and grandparents deeply involved with African American culture especially the Harlem Renaissance. He comes from a line of educators and activists who sought to help the youth of New York City. Louis Delsarte the Second began St. John\u2019s day camp for young people and mentored a variety of individuals who would go on to be successful, including Earl Graves, the publisher of Black Enterprise magazine\u00a0 Louis Delsarte I, his grandfather, was one of Brooklyn\u2019s very first African American dentists. He devoted much of his time to giving free dental care to the poor. Undoubtedly a result of the kindness of his ancestors, Louis Delsarte III\u2019s has shown a spirit of avid benevolence. His art serves as an agent of positive social change in the communities he holds dear. His generosity has benefited organizations such as Jack & Jill of America, Habitat for Humanity, and Atlanta Youth Academy. He has taken on many mural projects including Transitions for the New York Metropolitan Transit Authority and New Hope Visions at the Southwest Arts center in Atlanta, Georgia. His Martin Luther King\u00a0 Memorial Mural is one hundred twenty nine feet long and was installed at the King National Site on Atlanta Georgia. In 2001 ,his work was part of a national traveling exhibition named “When the Spirit Moves: African-American Dance in History and Art,” sponsored by the Smithsonian Institution. The exhibition itself began at Spelman college.<\/span><\/p>\n

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Tranquility by Louis Delsarte<\/p><\/div>\n

Delsarte gives back to the printmaking community as well, awarding fellowships to artists to work with him. He\u2019s received services awards such as the National Coalition of 100 Black Women Inc\u2019s Community Service Award for outstanding philanthropy, and has been honored by Black Art in America itself for fifty years of artistic creativity in 2013 in <\/span>Black Art In America Presents: Royal Vanguard Artists of Distinction.<\/span><\/i><\/p>\n


\n<\/i>It\u2019s hard to write a proper conclusion for a man whose work speaks for itself. Delsarte is an example of what culture can do for a person, how knowledgeable\u00a0 appreciation manifests itself in goodwill. I look at his history and I see a gift. How cool would it be to have a family that has charity in its very bones? It\u2019s almost enough to give you pause, make you doubt whether or not you, with just your bare hands and bare soul, are enough to do anything at all. It\u2019s enough to make me wonder myself…<\/span><\/p>\n

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“Untitled” by Louis Delsarte<\/p><\/div>\n

Then, I look at his MLK mural. I look at the colorful, surreal buildings in the background. I see the faces of King and his fellow protestors and then I don\u2019t. There\u2019s this hazy paint that seems to resemble air.\u00a0 It moves throughout the crowd, snaking its way through the people like chains. I can’t really make out the faces of the people, all smudged and obscure.<\/span><\/p>\n

It\u2019s scary until you look at it for what it is.<\/span><\/p>\n

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The dream keeper’ by Louis Delsarte<\/p><\/div>\n

Delsarte doesn’t make it easy. I see paint strokes but what do they mean?\u00a0 Are those southern hills across the man\u2019s suit, homage to home and depiction of the bumpy path to freedom? Is it the palpable determination of the crowd, the way it unites us in a kaleidoscope of courage, strength in every shade and reflection?\u00a0<\/span><\/p>\n

It\u2019s of no import. They are together and they are fighting. As the murals comes into focus, I think of Delsarte\u2019s own words, how he thinks of all his works as murals, just framed individually. I think of how we are all just one entity, a child, an adult, a heavenly body reaching for every breathe it deems possible, shifting its presence to protect its weaker components.\u00a0<\/span><\/p>\n

I think of how nothing is ever concrete or of one definition. I think of the man who started me on this adventure. \u201cI don\u2019t think I\u2019m ever finished,\u201d he says.<\/span><\/p>\n

Nether is evil, neither is injustice, neither are we.<\/span><\/p>\n

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Rhythm Across Generations, Louis Delsarte<\/p><\/div>\n

“Louis Delsarte recalls his experiences as a post Harlem Renaissance youth growing up in Brooklyn. He was surrounded by icons like Count Basie, Cab Calloway, Lena Horne and others that his parents and grandparents were close to. Delsarte’s latest work in collaboration with Brandywine Workshop is a small edition of 40 lithographs. This original image was created as a result of Delsarte’s creating an original work on mylars, while working with Master Printer, Allan Edmunds at Brandywine. The Harvard Art Museums hold an earlier Delsarte work at the museum where it garnered the most interest from students due to the intricate details. The previous print Unity has been used as a teaching tool since the 2018-2019 school year at Harvard University. The new work, entitled Rhythm Across Generations, sums up the artist’s belief that music lives across generations and is essential to daily living. Only a limited number from this edition of 40 will be available for sale. Proceeds support the 2020 Delsarte Book Project. Email delsarte@att.net for more information or to arrange a studio visit. Thank you in advance for supporting Delsarte’s research and the studio initiatives.” – Jea Delsarte<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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