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During the 1830s and 1840s, numerous small theatrical troupes, often including one black performer, traveled to America's cities and towns presenting plays and performing skits. Until more documentation concerning this painting is found, however, the connection to the theater remains speculative.
In an era when the vast majority of portrait subjects were depicted with facial features expressing solemnity and seriousness, the exuberant expression of the laughing red-headed man stands out in contrast. This man's expression, the placement of the four heads in a circular composition, and the inclusion of the black man in the group all make this a mysterious and compelling picture.
BibliographyPaul S. D'Ambrosio and Charlotte M. Emans, Folk Art's Many Faces; Portraits in the New York State Historical Association, (New York State Historical Association, Cooperstown, New York 1987), pp. 186 and 188, illus. as no. 126 on p. 188.
Agnes Halsey and Louis C. Jones, "New-Found Folk Art of the Young Republic" (exh. cat. Cooperstown, NY: NYSHA, 1960), p. 17, no. 20, ill. 20.
Forum Gallery, "The Portrayal of the Negro in American Painting." (exh. cat. New York: Forum Gallery, 1967), No. 5.
Artist
Unidentified Artist
(American)
Enigmatic Foursome
Datec. 1835-1850
MediumOil on canvas
DimensionsSight: 27 1/2 × 23 1/2 in. (69.9 × 59.7 cm)
Object numberN0257.1961
Credit LineCollection of the Fenimore Art Museum. Gift of Stephen C. Clark
Photograph by Richard Walker
Label TextRarely in folk art does one find a group portrait that does not represent family members. The relationship in this odd assortment of individuals has not been established, although it has been suggested that they may have been a traveling theatrical troupe.During the 1830s and 1840s, numerous small theatrical troupes, often including one black performer, traveled to America's cities and towns presenting plays and performing skits. Until more documentation concerning this painting is found, however, the connection to the theater remains speculative.
In an era when the vast majority of portrait subjects were depicted with facial features expressing solemnity and seriousness, the exuberant expression of the laughing red-headed man stands out in contrast. This man's expression, the placement of the four heads in a circular composition, and the inclusion of the black man in the group all make this a mysterious and compelling picture.
BibliographyPaul S. D'Ambrosio and Charlotte M. Emans, Folk Art's Many Faces; Portraits in the New York State Historical Association, (New York State Historical Association, Cooperstown, New York 1987), pp. 186 and 188, illus. as no. 126 on p. 188.
Agnes Halsey and Louis C. Jones, "New-Found Folk Art of the Young Republic" (exh. cat. Cooperstown, NY: NYSHA, 1960), p. 17, no. 20, ill. 20.
Forum Gallery, "The Portrayal of the Negro in American Painting." (exh. cat. New York: Forum Gallery, 1967), No. 5.
On View
Not on view
