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拍品專文
Struggle and oppression are recurring themes in Jacob Lawrence's work, from the ordeals of historical and political figures to those of women and life in the South. Series also account for an important portion of his oeuvre as they allowed the artist to explore multiple facets of a historical figure's life and to trace the development of events. Trappers is one of thirty panels that Jacob Lawrence painted for his series, Struggle...From the History of the American People. The project, which was originally conceived as a series of sixty panels chronicling the history of the United States from the events leading up to the Revolutionary War through the sailing of the American Fleet around the world in 1908, was funded by a grant from the Chapelbrook Foundation. Lawrence worked on the series from 1954 until 1956 completing thirty panels that extended to the Western migration. The group was exhibited at the Alan Gallery in 1956 and 1958 before being purchased in 1959 by William Meyers, who sold them off individually over time.
In discussing his inspiration for the Struggle...From the History of the American People series, Lawrence wrote, "It was about five years ago that I first conceived the idea of doing a series of paintings relating the history of the Negro people in the United States. As this idea began to develope [sic] and take form, and as I read more of the history of the United States, I gradually began to appreciate not only the struggles and contributions of the Negro people, but also to appreciate the rich and exciting story of America and of all the peoples who emigrated [sic] to the "New World" and contributed to the creation of the United States." (letter to Mina Curtiss, December 16, 1954, as quoted in R.J. Powell, "Harmonizer of Chaos: Jacob Lawrence at Midcentury," Over the Line: The Art and Life of Jacob Lawrence, Seattle, Washington, 2000, p. 156)
This dynamic painting is a literal and figurative embodiment of struggle and oppression; an ironic twist on a shared reality. The theme of hunting veils America's apprehension to discuss the unharmonious relationship between the races throughout its history. Lawrence's use of color speaks loudly as he juxtaposes black and white, and pierces the center of the panel with a vibrant red. The blood red symbolically emphasizes death and struggle which continued to overwhelm groups of America's people, and which Lawrence sought to depict in his representation of history.
In discussing his inspiration for the Struggle...From the History of the American People series, Lawrence wrote, "It was about five years ago that I first conceived the idea of doing a series of paintings relating the history of the Negro people in the United States. As this idea began to develope [sic] and take form, and as I read more of the history of the United States, I gradually began to appreciate not only the struggles and contributions of the Negro people, but also to appreciate the rich and exciting story of America and of all the peoples who emigrated [sic] to the "New World" and contributed to the creation of the United States." (letter to Mina Curtiss, December 16, 1954, as quoted in R.J. Powell, "Harmonizer of Chaos: Jacob Lawrence at Midcentury," Over the Line: The Art and Life of Jacob Lawrence, Seattle, Washington, 2000, p. 156)
This dynamic painting is a literal and figurative embodiment of struggle and oppression; an ironic twist on a shared reality. The theme of hunting veils America's apprehension to discuss the unharmonious relationship between the races throughout its history. Lawrence's use of color speaks loudly as he juxtaposes black and white, and pierces the center of the panel with a vibrant red. The blood red symbolically emphasizes death and struggle which continued to overwhelm groups of America's people, and which Lawrence sought to depict in his representation of history.