The exhibition places fourteen of his paintings, made between the late nineteen-sixties and the early eighties, under the same roof as the Old Masters to which Hendricks, their dedicated student, returned throughout his life. Like all the greatest portraitists, Hendricks rendered glimmers of his subjects’ interior lives via the particularities of their personal style, the poses they strike, and the precise wattage of their skin’s radiance, remaining steadfastly devoted to, in his words, “the beauty and variety of complexion colors that we call Black.”
この記事は The New Yorker の August 28, 2023 版に掲載されています。
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この記事は The New Yorker の August 28, 2023 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
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