Slika, ki je prinesla slavo umetniku Kerry James Marshall, je Could This Be Love (1992). Untitled (Painter) (2010) in When Frustration Threatens Desire (1990) sledeta tem v srcih zbirateljev in obiskovalcev muzejev. Od 78 del umetnika Kerry James Marshall v našem katalogu so teh 77 najbolj občudovalnih, od katerih je vsak predstavljen z letnico nastanka, muzejem in tistim, kar ga loči od drugih.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno oktober 2026.
In the quietude of 1992, Kerry James Marshall brings us into a private, suspended moment with Could This Be Love. The scene unfolds within the intimate confines of a bedroom, where two Black figures exist in a state of profound closeness. They are caught in the soft, transitional act of undressing for bed, a gesture that strips away the external world to reveal a core of human connection. This is…
Kerry James Marshall’s work often explores themes of racial identity, community, and belonging. Our Town is part of his Garden Project series, in which low-income housing projects are ironically rendered as idyllic places. The carefully painted houses, manicured lawn, and bright sky coexist uneasily with graffiti scribbles and trees tied with yellow ribbons, suggesting war or tragedy.Marshall contrasts the tidy scene, dominated by red, white, and blue, with deep black…
In Marshall’s powerful allegory of painting, an artist sits holding her oversize palette, turned away from an unfinished self-portrait on her easel. The painting within a painting—or, more…
A man and a woman with black skin stand in a sage and olive-green boat that comes toward us on a wavy, dripping band of cobalt blue that…
Four people with black skin are squeezed into a narrow boat on bright, turquoise-colored water that nearly fills this stylized, square painting. All four sides of the unstretched…
Četiri teme, ki se najpogosteje pojavljajo med temi mojstrovinami, s najboljšim primerom za vsako izmed njih.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Kerry James Marshall | Slike iz tega seznama |
|---|---|---|---|
 Museum of Contemporary Art Chicago |
Chicago | 3 | Untitled Mirror Girl, 7am Sunday Morning, Untitled (Painter) |
 Crystal Bridges Museum of American Art |
Bentonville | 2 | Our Town, Our Town |
 Birmingham Museum of Art |
Birmingham | 2 | As Seen on TV, School of Beauty, School of Culture |
 Alte Nationalgalerie |
Berlin | 1 | Portrait of the painter Bonaventura Genelli |
 Bavarske državne slikopisne zbirke |
München | 1 | Tartini's dream: the Devil plays 'The Devil's Sonata' |
 Nationalmuseum |
Stockholm | 1 | Hildegard Thorell (1850-1930) |
 Art Institute of Chicago |
Chicago | 1 | Vignette Suite |
 Jack Shainman Gallery |
New York | 1 | Portrait of a Curator (in Memory of Beryl Wright) |
In the quietude of 1992, Kerry James Marshall brings us into a private, suspended moment with Could This Be Love. The scene unfolds within the intimate confines of…
Could This Be Love (1992). Nato sledeta Untitled (Painter) (2010) in When Frustration Threatens Desire (1990).
37 let: delo Could This Be Love iz leta 1992, pri čemer je Kerry James Marshall rodil/a v 1955.
Could This Be Love, Untitled (Painter), When Frustration Threatens Desire, Stono Group; "Jemmy Cato", Untitled Mirror Girl, SOB, SOB, Our Town, Portrait of the painter Bonaventura Genelli, Tartini's dream: the Devil plays 'The Devil's Sonata' in Hildegard Thorell (1850-1930). Zgornja lestica prikazuje leto in muzej za vsako od njih.
V našem katalogu je navedenih 78 del avtorja Kerry James Marshall, datiranih od 1980 do 2015.
Večina njih se nahaja v Museum of Contemporary Art Chicago (Chicago), Crystal Bridges Museum of American Art (Bentonville) in Birmingham Museum of Art (Birmingham). Zgornja tabela navaja muzeje posamezno.
V obdobju 1990s: 30 od 77 del na tej strani izvira iz tega obdobja, med katerimi je Could This Be Love.
Najstarejšo delo na tej strani je iz A Portrait of the Artist as a Shadow of His Former Self (1980), najnovejše pa iz Satisfied Man (2015).
Black figures (3), Black figure (3) in Social commentary (2), med 77 dela na tej strani.
Expressionism in Contemporary realism, kot to pokažejo slike na tej strani.
Untitled Mirror Girl, 7am Sunday Morning in Untitled (Painter) so med 3 dela na tej strani, ki jih hrani Museum of Contemporary Art Chicago, Chicago.
To encounter the work of Kerry James Marshall is to enter a space where history is both confronted and reclaimed. Born on October 17, 1955, in Birmingham, Alabama, Marshall’s early life was shaped by the profound social tremors of the American South and the subsequent migration to Los Angeles. His formative years were deeply etched by the 1965 Watts riots, a period of intense racial friction that instilled in him a lifelong commitment to exploring the complexities of the Black experience. Growing up in South Central Los Angeles, near the headquarters of the Black Panther Party, Marshall was immersed in an environment where social responsibility and visual identity were inextricably linked. This upbringing provided the emotional and political bedrock upon which his monumental career would be built.
Marshall’s artistic education began at the Otis College of Art and Design, where he earned his BFA in 1978. It was during these formative academic years that he began to refine a visual language capable of challenging the long-standing exclusions of Western art history. Influenced by the social realism of figures like Charles White, Marshall developed a technique that utilized bold, dark hues—specifically deep blacks—to represent Black figures. This was not merely an aesthetic preference but a radical political act; by utilizing black as a primary, structural element, he sought to reject the caricatures and stereotypes that had historically marginalized African American subjects, instead asserting their presence with undeniable weight and dignity.
As his career progressed through the 1980s and 1990s, Marshall’s work evolved into a sophisticated dialogue between contemporary Black life and the grand traditions of European masters. He skillfully wove elements of Picasso and Rembrandt into his canvases, using their techniques to elevate mundane or everyday scenes of Black life into the realm of the monumental. His paintings often feature stylized figures set against starkly contrasting colors, creating a visual tension that demands the viewer's attention. Whether through large-scale oil paintings or intricate mixed-media collages, Marshall’s work explores themes of memory, domesticity, and the legacy of the Great Migration.
The depth of his artistry can be seen in the diverse range of his subject matter:
The historical significance of Kerry James Marshall lies in his ability to disrupt visual hierarchies. He has spent decades asserting that Black people occupy space—even the most ordinary, overlooked spaces—in ways that are profoundly fascinating and worthy of the highest artistic consideration. His work does not merely reflect history; it actively participates in the reconstruction of it, providing a much-needed corrective to the canon of art history. By placing Black figures within the frameworks of classical portraiture and historical narrative, he forces a confrontation with the viewer regarding who is seen and who is remembered.
Marshall’s accolades reflect his status as one of the most influential artists of his generation. In 2017, his impact was recognized globally when he was included on the Time 100 list of the world's most influential people. From his tenure as a professor at the University of Illinois at Chicago to major retrospective exhibitions like Kerry James Marshall: Mastry at the Museum of Contemporary Art, Chicago, his influence permeates both the academy and the public consciousness. Through his unwavering dedication to truth, beauty, and the reclamation of identity, Marshall remains a visionary force, ensuring that the Black experience is rendered with the complexity, dignity, and permanence it deserves.