Bill Traylor, William Edmondson And The Modernist Impulse

Traylor/Edmondson

Traylor/Edmondson

Traylor/Edmondson

Traylor/Edmondson

Traylor/Edmondson

A Look At ‘Outsiders’ Bill Traylor And William Edmondson

Traylor/Edmondson

Traylor’s untitled drawing illustrates a couple apparently arguing. Despite the seriousness of the subject, Traylor conveys a humorous take on the event. The male amputee figure may be a self-reference, as Traylor had lost a leg to gangrene.

 

Traylor’s “Man with Large Dog” mixes ferocity, canine appeal and the absurd as a large dog overwhelms the man on the other end of the leash.

 

In “Figure and Construction with Blue Border,” Traylor balances humans and animals, missing their roles and places. The image is an exceptionally lively one. Note the human in the cage with the animal viewing him from the outside.

 

“Turtle Swimming Down” is one of many illustrations of animals that Traylor made. He generally rendered such images as flat compositions.

 

In “Female Drinker,” Traylor flattens the female figure into a high abstraction. Yet, it remains clear that the lady is kicking up her heels.

 

Charles Shannon made the photograph of Bill Traylor at work on a picture, 1939.

 

Bill Traylor, unknown photographer, 1943. Collection of Judy Saslow.

 

Bill Traylor, “Man with Hatchet Chasing Pointing Man,” circa 1939–1942.

 

William Edmondson’s ethereal “Angel” was part of his solo exhibition at the Museum of Modern Art in 1937, the first for any African American artist.

 

William Edmondson poses in front of his “Miss Louisa” sculpture, 1937, Louise Dahl-Wolfe photo. According to museum sources, she is not based on his mentor Dahl-Wolfe, but may instead be a tribute to an unrequited love.

 

Edmondson referred to many of his pieces as “mirkles” or “critters.” This piece, title “Critter,” circa 1940, is perhaps the greatest expression of his modernist visions.

 

Edmondson’s seated girl is believed to be Orphan Annie. Collection of Sanford Smith.

 

William Edmondson, “Dove,” circa 1933–1940.

 

William Edmondson, “Mother and Daughter.”

 

William Edmondson, “The Lawyer,” circa 1940.

 

William Edmondson, “Preacher,” circa 1934–1941.