History
Research Report: Palmer Hayden’s “Fetiche et Fleurs
Introduction In Palmer Hayden’s painting, “Fetiche et Fleurs,” (1926), he expresses the culture and traditions of the African and African-American culture. Hayden’s painting connects with the
African society by incorporating the African imagery of a “still-life.” He describes a dining room in a home, but not any ordinary dining room; he incorporates the African details into the painting to distinguish it from other European/ American looks. He wanted to describe an ordinary daily routine of African-Americans. Although many people criticized his paintings including this one, as satirical stereotypes, I believe he wanted to achieve African culture and tradition into a more modern, stylistic expression. The “Fetiche et Fleurs,” painting was introduced by Palmer Hayden on 1926 but was recognized until 1931 when it won the gold medal for the Harmon Foundation. This painting has been loved by many people but also criticized by others. People have criticized him as being part of minstrelsy. Minstrelsy used to be shows with African actors stereotyping, making fun of their own race, and being shown as weaker and less than the whites. But others like me have seen that what he paints and describes are not any stereotypical meanings but rather expressing the African-American society and culture. Unfortunately, this was not the only painting that was criticized. Other paintings like “The Janitor who Paints,” and the “Watermelon Race,” were as well criticized.
Biography of Palmer Hayden Palmer C. Hayden was born on January 15, 1890, in Widewater, Virginia, and died on February 18, 1973, at the age of eighty-three (Maaala, 1). He was born to Nancy and John Hedgeman. His original name was Peyton Cole Hedgeman, but was called Palmer Hayden by his sergeant commander during World War I. His interest and passion for art began when he was only a young child, but really got into it when he entered the World War I. There
Introduction In Palmer Hayden’s painting, “Fetiche et Fleurs,” (1926), he expresses the culture and traditions of the African and African-American culture. Hayden’s painting connects with the
African society by incorporating the African imagery of a “still-life.” He describes a dining room in a home, but not any ordinary dining room; he incorporates the African details into the painting to distinguish it from other European/ American looks. He wanted to describe an ordinary daily routine of African-Americans. Although many people criticized his paintings including this one, as satirical stereotypes, I believe he wanted to achieve African culture and tradition into a more modern, stylistic expression. The “Fetiche et Fleurs,” painting was introduced by Palmer Hayden on 1926 but was recognized until 1931 when it won the gold medal for the Harmon Foundation. This painting has been loved by many people but also criticized by others. People have criticized him as being part of minstrelsy. Minstrelsy used to be shows with African actors stereotyping, making fun of their own race, and being shown as weaker and less than the whites. But others like me have seen that what he paints and describes are not any stereotypical meanings but rather expressing the African-American society and culture. Unfortunately, this was not the only painting that was criticized. Other paintings like “The Janitor who Paints,” and the “Watermelon Race,” were as well criticized.
Biography of Palmer Hayden Palmer C. Hayden was born on January 15, 1890, in Widewater, Virginia, and died on February 18, 1973, at the age of eighty-three (Maaala, 1). He was born to Nancy and John Hedgeman. His original name was Peyton Cole Hedgeman, but was called Palmer Hayden by his sergeant commander during World War I. His interest and passion for art began when he was only a young child, but really got into it when he entered the World War I. There
Bibliography: “The Harlem Renaissance.” pbs.org. PBS, n.d. Web. 28 Apr. 2011. Stovall, Tyler Edward. Paris noir: African Americans in the City of Light. Boston: Houghton Mifflin, 1996. Print. Fabre, Michel. From Harlem to Paris: Black American Writers in France, 1840-1980. Urbana: University of Illinois Press, 1991. Print.