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  1. Collection/
  2. Art Institute of Chicago/
  3. Harvest Talk
Harvest Talk, Charles White, 1953
Charles White, portraitCharles WhiteÉtats-Unis, 1918–1979

Harvest Talk

1953 · Drawing and Watercolor

À propos de l’œuvre

Charles White is recognized for the richness of his graphic work and his paintings, which typically depict aspects of the history, culture, and life of African Americans. A native of Chicago, White attended the School of the Art Institute, the Art Students League of New York, and later the Taller de Gráfica Popular in Mexico. Beginning in 1939, he was employed by the Federal Art Project of the Works Progress Administration.

Lire la suite

White’s father was a railroad and steel worker and his mother was a domestic worker; this inspired in White a deep respect for labor. Harvest Talk, one of six charcoal and carbon pencil drawings originally exhibited at ACA Galleries in New York in 1953, exemplifies the artist’s mature drawing style. Here his strong, assured manner, coupled with the heroic proportions of the figures and the emphasis on the large scythe (an emblem often associated with the Soviet Union)—as well as the social realist sensibilities that prevail throughout his oeuvre, his travels to the Soviet Union, and his writings for and affiliation with left-wing publications such as Masses and Mainstream, Freedomways, and the Daily Worker—suggest that Harvest Talk was inspired by socialist ideals. Like many of White’s works on paper, it conveys the power of a mural despite its relatively small format.

Art Institute of Chicago · CC BY 4.0

Notice

1953 · à 35 ans
19181979
Numéro d’inventaire
1991.126

Autres œuvres : Charles White

Toutes les œuvres

Sous le même toit : Art Institute of Chicago

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Sur le même thème · Labor

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Art Institute of Chicago

Chicago, États-Unis

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Ce qu’elle montre

LaborWorkFarm lifeAfrican AmericanChicago

Au catalogue

Dessins et aquarellesFusainArt d’après-guerreXXe siècleÉtats-Unis

Sources

  • Art Institute of Chicago
  • Image : Art Institute of Chicago — © the artist or rights holder
Flowers and Birds, Charles White, 1772

Flowers and Birds

1772 · Musée de l'Ermitage

This, My Brother, Charles White, 1942

This, My Brother

1942 · Art Institute of Chicago

Untitled (Seated Woman), Charles White, c. 1939

Untitled (Seated Woman)

c. 1939 · Non exposée · Museum of Modern Art

Awaiting His Return, Charles White, 1945

Awaiting His Return

1945 · Non exposée · National Gallery of Art

Hope for the Future, Charles White, 1945

Hope for the Future

1945 · Non exposée · Museum of Modern Art

We Have Been Believers, Charles White, 1949

We Have Been Believers

1949 · Non exposée · National Gallery of Art

Untitled (Bearded Man), Charles White, c. 1949

Untitled (Bearded Man)

c. 1949 · Non exposée · Museum of Modern Art

I Accuse, Charles White, c. 1950

I Accuse

c. 1950 · Non exposée · National Gallery of Art

The Bedroom, Vincent van Gogh, 1889

Vincent van Gogh

The Bedroom, 1889

A Sunday on La Grande Jatte — 1884, Georges Seurat, 1884–86, border added 1888–89

Georges Seurat

Un dimanche après-midi à l'Île de la Grande Jatte, 1884–86, border added 1888–89

Paris Street; Rainy Day, Gustave Caillebotte, 1877

Gustave Caillebotte

Rue de Paris, temps de pluie, 1877

Two Sisters (On the Terrace), Pierre-Auguste Renoir, 1881

Pierre-Auguste Renoir

Les Deux Sœurs, 1881

The Basket of Apples, Paul Cézanne, c. 1893

Paul Cézanne

La Corbeille de pommes, c. 1893

Stacks of Wheat (End of Summer), Claude Monet, 1890–91

Claude Monet

Stacks of Wheat (End of Summer), 1890–91

American Gothic, Grant Wood, 1930

Grant Wood

American Gothic, 1930

Nighthawks, Edward Hopper, 1942

Edward Hopper

Nighthawks, 1942

Carrying sides of Beef from truck to Market stall Bluefields harbor-front street, East Coast of Nicaragua, Youth with leather apron and bloodstained elbows and trousers was shyly amused at my interest, January 29, 1986., Allen Ginsberg, 1986

Allen Ginsberg

Carrying sides of Beef from truck to Market stall Bluefields harbor-front street, East Coast of Nicaragua, Youth with leather apron and bloodstained elbows and trousers was shyly amused at my interest, January 29, 1986., 1986

Non exposée · National Gallery of Art

Paysanne bêchant (Peasant Laboring), Camille Pissarro, 1890

Camille Jacob Pissarro

Paysanne bêchant (Peasant Laboring), 1890

Non exposée · National Gallery of Art

Brasil, Sebastião Salgado, 1985

Sebastião Salgado

Brasil, 1985

Non exposée · National Gallery of Art

Greater Burhan Oil Field, Kuwait (Capping a Wellhead), Sebastião Salgado, 1991

Sebastião Salgado

Greater Burhan Oil Field, Kuwait (Capping a Wellhead), 1991

Non exposée · National Gallery of Art

Transporting Bags of Dirt in the Serra Pelada Gold Mine, Brazil, Sebastião Salgado, 1986

Sebastião Salgado

Transporting Bags of Dirt in the Serra Pelada Gold Mine, Brazil, 1986

Non exposée · National Gallery of Art

This man is a labor contractor in the pea fields of California. "One-Eye" Charlie gives his views. "I'm making my living off of these people (migrant laborers) so I know the conditions," San Luis Obispo County, California, Dorothea Lange, February 1936

Dorothea Lange

This man is a labor contractor in the pea fields of California. "One-Eye" Charlie gives his views. "I'm making my living off of these people (migrant laborers) so I know the conditions," San Luis Obispo County, California, February 1936

Non exposée · National Gallery of Art

Calipatra (vicinity), California. Native of Indiana in a migratory labor contractor's camp. "It's root hog or die for us folks.", Dorothea Lange, February 1937

Dorothea Lange

Calipatra (vicinity), California. Native of Indiana in a migratory labor contractor's camp. "It's root hog or die for us folks.", February 1937

Non exposée · National Gallery of Art

Farm Security Administration camp for migrant agricultural workers at Shafter, California, Dorothea Lange, June 1938

Dorothea Lange

Farm Security Administration camp for migrant agricultural workers at Shafter, California, June 1938

Non exposée · National Gallery of Art