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Johnny Banks"HOME SWEET HOME" BLACK FOLK ART MULTI MEDIA JOHNNY BANKS (1912-1988) SAN ANT.Circa 1970s
Circa 1970s
About the Item
Johnny Banks
(1912-1988)
San Antonio Artist
Image Size: 13.5 x 9.75
Frame Size: 19 x 15.5
Medium: Mixed Media on Poster Board
"Home Sweet Home"
Biography
Johnny Banks (1912-1988)
In my opinion one of the greatest Texas folk artists of all time.
The following information was compiled and submitted by Stephanie Reeves:
John Willard Banks, San Antonio, Texas, African American Folk Artist John
Willard Banks, black self-taught artist, the son of Charlie and Cora
Lee (McIntyre) Banks, was born on November 7, 1912, near Seguin, Texas.
At the age of five his parents took him to San Antonio, where he
attended Holy Redeemer School until the age of nine, when his parents
were divorced and John returned to his grandparents' farm near Seguin.
From childhood Banks's favorite pastime was drawing pictures on his Big
Chief tablet. He later recalled, "As a kid I used to lie flat on my
stomach, drawing and drawing. . . . My mother had to kick me off the
floor to sweep."
While helping out on his grandparents' farm,
Banks completed the tenth grade before striking out on his own. His
favorite activities during his youth were singing in a gospel quartet
and playing baseball. In his adult years he worked in oilfields and
cotton fields, drove a truck, and tended a San Antonio service station.
During World War II he joined the army; he held the rank of sergeant
and was stationed in the Philippines. After the war he returned to San
Antonio, where he worked as a custodian at Kelly Air Force Base, at Fort
Sam Houston, and at a local television station. Banks married Edna Mae
Mitchell in 1928, and they had five children. The marriage ended in
divorce around 1960. In 1963 he married Earlie Smith.
His
art career began in 1978 while he was recuperating from an illness for
which he had been hospitalized. Banks's wife admired her husband's
drawings and secretly took several of them to a San Antonio laundromat.
There she hung the drawings on the wall, offering them for sale at the
price of fourteen dollars. They were purchased and taken to a gallery
for framing. Quite by chance, a San Antonio physician and collector of
works of art by black artists, saw one of the
drawings in the gallery. He telephoned Banks and arranged for a meeting
to see his other work. The physician and his wife, became friends
with John and Earlie Banks and began to advise them on Banks's art
career.
Banks's first solo exhibition was held at Caroline Lee
Gallery in San Antonio in 1984, when Banks was seventy-two years old.
Subsequently, he had a dual exhibition with fellow Texas artist George
White at Objects Gallery in San Antonio; was shown in the Southwest
Ethnic Arts Society's inaugural exhibition of black artists in San
Antonio, where he won a prize; was included in two traveling
exhibitions, Handmade and Heartfelt, organized by Laguna Gloria Art
Museum and Texas Folklife Resources in 1987, and Rambling on My Mind:
Black Folk Art of the Southwest, organized by the Museum of
African-American Life and Culture in Dallas in 1987. Also in 1987 he
was included in a dual exhibition with fellow San Antonio artist John
Coleman at the O'Connor Gallery in the McNamara House Museum, Victoria,
and in 1989 he was one of six artists included in the traveling
exhibition Black History/Black Vision: The Visionary Image in Texas,
organized by the University of Texas Archer M. Huntington Art Gallery.
Also in 1989, Banks was included in the exhibition Innate Creativity:
Five Black Texas Folk Artists, sponsored by the Museum of
African-American Life and Culture and held at the Dallas Public Library.
Banks
developed a distinct style, outlining figures in pencil or ballpoint
pen and shading them in with colored pencil, crayon, and felt-tipped
marker. Sometimes his art was influenced by his early, rural memories,
including scenes of baptisms, church meetings, hog killings, funerals,
and Juneteenth celebrations. These works serve as excellent documents
of black life in early twentieth-century Texas. At other times, Banks's
work was the result of an inner vision that led him to such revelations
as his Second Coming of Christ, in which he drew his view of the
activities man might be found engaging in should Christ return today.
Whether his subjects were religious or rural, they took place in lush
landscapes, often with tree-lined rivers flowing through the
composition. He did a series of African scenes drawn from his
imagination, in which he depicted idyllic villages where communal
activities took place. Often they included references to the bounty of
nature and the virtue of working together toward a common goal. In
other pictures Banks told more somber stories, of slave auctions and
inner-city ghetto scenes. Through the facial expressions and gestures
of the figures, Banks revealed their psychological states and
personalities. When Banks died in San Antonio on April 14, 1988, he
left behind several hundred drawings.
The book "FOLK ART IN TEXAS" has an extensive article (with several color and black and white plates) written about Johnny Banks.
- Creator:Johnny Banks (1912 - 1988, American)
- Creation Year:Circa 1970s
- Dimensions:Height: 13.5 in (34.29 cm)Width: 9.75 in (24.77 cm)Depth: 3 in (7.62 cm)
- More Editions & Sizes:Image Size: 13.5 x 9.75 Frame Size: 19 x 15.5Price: $1,700
- Medium:
- Movement & Style:
- Period:
- Framing:Frame IncludedFraming Options Available
- Condition:Please visit my 1stdibs storefront for other Vintage, Mid Century & contemporary Texas paintings, sculpture, pottery and more.
- Gallery Location:San Antonio, TX
- Reference Number:1stDibs: LU769315334072
Johnny Banks
African American folk artist, John Willard Banks was a black self-taught artist. He was the son of Charlie and Cora Lee Banks and was born on November 7, 1912, near Seguin, Texas. At the age of five, his parents took him to San Antonio, where he attended Holy Redeemer School. At the age of nine, his parents got divorced and John returned to his grandparents' farm near Seguin. From childhood Banks' favorite pastime was drawing pictures on his Big Chief tablet. While helping out on his grandparents' farm, Banks completed the 10th grade before striking out on his own. His favorite activities during his youth were singing in a gospel quartet and playing baseball. In his adult years, he worked in oilfields and cotton fields, drove a truck and tended a San Antonio service station. During World War II. he joined the army where he held the rank of sergeant and was stationed in the Philippines. After the war, he returned to San Antonio, where he worked as a custodian at Kelly Air Force Base, at Fort Sam Houston and at a local television station. Banks married Edna Mae Mitchell in 1928 and they had five children. The marriage ended in divorce around 1960. In 1963, he married Earlie Smith. His art career began in 1978 while he was recuperating from an illness for which he had been hospitalized. Banks' wife admired her husband's drawings and secretly took several of them to a San Antonio laundromat. There she hung the drawings on the wall, offering them for sale at the price of fourteen dollars. They were purchased and taken to a gallery for framing. Quite by chance, a San Antonio physician and collector of works of art by black artists saw one of the drawings in the gallery. He telephoned Banks and arranged for a meeting to see his other works. The physician and his wife became friends with John and Earlie Banks and began to advise them on Banks's art career. Banks' first solo exhibition was held at Caroline Lee Gallery in San Antonio in 1984 when Banks was 72 years old. Subsequently, he had a dual exhibition with fellow Texas artist George White at Objects Gallery in San Antonio and was shown in the Southwest Ethnic Arts Society's inaugural exhibition of black artists in San Antonio, where he won a prize. He was included in two traveling exhibitions, “Handmade and Heartfelt” organized by Laguna Gloria Art Museum and Texas Folklife Resources in 1987 and “Rambling on My Mind: Black Folk Art of the Southwest” organized by the National Museum of African American History and Culture in Dallas in 1987. Also in 1987, he was included in a dual exhibition with fellow San Antonio artist John Coleman at the O'Connor Gallery in the McNamara House Museum, Victoria and in 1989 he was one of the six artists included in the traveling exhibition “Black History/Black Vision: The Visionary Image in Texas” organized by the Archer M. Huntington Art Gallery at The University of Texas. Also in 1989, Banks was included in the exhibition “Innate Creativity: Five Black Texas Folk Artists” sponsored by the National Museum of African American History and Culture held at the Dallas Public Library. Banks developed a distinct style, outlining figures in pencil or ballpoint pen and shading them in with colored pencils, crayons and felt-tipped marker. Sometimes his art was influenced by his early, rural memories, including scenes of baptisms, church meetings, hog killings, funerals and Juneteenth celebrations. These works serve as excellent documents of black life in early twentieth-century Texas. At other times, Banks' work was the result of an inner vision that led him to such revelations as his Second Coming of Christ, in which he drew his view of the activities man might be found engaging if Christ should return today. Whether his subjects were religious or rural, they took place in lush landscapes, often with tree-lined rivers flowing through the composition. He did a series of African scenes drawn from his imagination, in which he depicted idyllic villages where communal activities took place. Often they included references to the bounty of nature and the virtue of working together toward a common goal. In other pictures, Banks told more somber stories, of slave auctions and inner-city ghetto scenes. Through the facial expressions and gestures of the figures, Banks revealed their psychological states and personalities. The book Folk Art In Texas has an extensive article written about Johnny Banks. When Banks died in San Antonio on April 14, 1988, he left behind several hundred drawings.
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View All"ROADSIDE CAMPOUT" BLACK FOLK ARTIST MULTIMEDIA
By Johnny Banks
Located in San Antonio, TX
Johnny Banks
(1912-1988)
San Antonio Artist
Image Size: 8 x 16
Frame Size: 13.5 x 21.5
Medium: Multimedia on Paper
Dated 1985
"Roadside Campout"
Biography
Johnny Banks (1912-1988)
In...
Category
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Materials
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"Misty Bayou" HAZE. ONE OF HIS BEST Dated 1917 Alexander Drysdale (1870-1934)
By Alexander John Drysdale
Located in San Antonio, TX
Alexander John Drysdale
(1870-1934)
New Orleans Louisiana / New York Artist
Size: 20 x 30
Frame: 26 x 36
Medium: Oil Wash? Watercolor?
Dated: 1917
"Misty Bayou" Housed in the original magnificent frame.
Alexander John Drysdale (1870-1934) New Orleans Louisiana / New York Artist
Alexander John (A.J.) Drysdale was an early 20th century Louisiana artist who specialized in landscapes using the technique of oil wash, that gave his works a characteristic of a hazy look. Drysdale made use of this technique by diluting the oil paint with kerosene and applying it with cotton balls. Alexander John Drysdale, born in Marietta, Georgia on March 2, 1870, came to New Orleans at the age of fifteen with his parents. His father, Reverend Alexander J. Drysdale, became the rector of Christ Church Cathedral. Alex received private tutoring from a Professor Mehado and art lessons from Ida Hackell at the Southern Art Union. Later in New Orleans (1887) he studied art under Paul Poincy (1833-1909). The exact date of Drysdale's arrival in New York is unknown, but he enrolled in the Art Students League where he received instruction from Charles C. Curran and Frank Vincent DuMond. Apparently, he remained in New York for about five years and did not go to Europe for further study. After some time, Drysdale began specializing in landscapes, executed in a tonalist manner.
Back in New Orleans, Drysdale was inspired by local subjects, especially swamp or bayou areas and other desolate wetlands. Over a period of many years Drysdale's landscapes evolved to a unique stylistic maturity. In 1909 he received a gold medal from the New Orleans Art Association. It is easy to see the influence of two artists that he admired: Corot and Inness. Working equally well in oil and watercolor (he also did scenes in charcoal), Drysdale usually divided his scene into halves or thirds, typically, a foreground consisting of tall swamp grasses achieved with broad vertical strokes; a middle ground consisting of a backdrop row of trees at the horizon line executed with staccato, jabbing strokes resulting in textural contrast; and a background devoted totally to a tonalist-like moisture-laden sky often hazy with no clouds or only a slight indication of them. This formulaic compositional format rendered with an economy of technique resulted in imagery with repetitious forms and shapes diffused in a nebulous space. In this regard, Drysdale's works are impressionistic; he also tended to use the violets and blues of the impressionist palette. Yet he lacked a specific interest in color and light. Although his expression of the Louisiana scenery is very personal, even mystical, the artist appears to have been very limited in subject matter. One of his last works was a mural for the Shushan (New York) Airport administration building, and shortly before his death he was employed as an artist by the Civil Works Administration.
Drysdale was a member of the Arts and Crafts Club of New Orleans, and his work was in the permanent collection of the Delgado Museum for many years. The artist worked at his studio at 320 Exchange Place in the picturesque Vieux Carré until his death at the age of sixty-three. Stewart (in Painting in the South, 1983), describes how Drysdale was a shrewd businessman. He would solicit new homeowners who might need a canvas to decorate a wall, or a cotton broker who recently made the headlines. Drysdale died in New Orleans, on February 9, 1934.
Sources:
Louisiana Artists from the Collection of Dr. and Mrs. James W. Nelson. Baton Rouge, LA: Louisiana State University, 1968; Wiesendanger, Martin and Margaret Wiesendanger, Nineteenth Century Louisiana Painters and Paintings from the Collection of W. E. Groves. New Orleans: W. E. Groves Gallery, 1971, pp. 44-45; Painting in the South: 1584-1980, Exh. cat. Richmond, VA: Virginia Museum, 1983, pp. 106-107, 114, 276; Chambers, Bruce W., Art and Artists of the South: The Robert P. Coggins Collection of American Paintings. Exh. cat. Rochester, NY: Memorial Art Gallery of the University of Rochester, 1984, p. 88; Zellman, Michael David, 300 Years of American Art. Seacacus, NJ: Wellfleet Press, 1987, p. 634; Gerdts, William H., Art across America: Two Centuries of Regional Painting, 1710-1920. New York: Abbeville Press, 1990, vol. 2, pp. 110-111.
Submitted by Richard H. Love and Michael Preston Worley, Ph.D.
Biography from The Johnson Collection
ALEXANDER JOHN DRYSDALE (1870–1934)
Born in Marietta, Georgia, Alexander John Drysdale was the only son of an ordained Episcopal priest whose ministry required frequent moves to parishes in Georgia, Alabama, and Tennessee. In 1883, he accepted the call to become dean of Christ Church Cathedral, New Orleans, and was later elected a bishop. Alexander, thirteen years old when the family settled in New Orleans, began his art studies under the instruction of Ida C. Haskell, a California-born artist who was on the faculty of the recently established Southern Art Union. The local academy had been founded by several leading artists, including Andres Molinary, William Henry Buck...
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"Home Corral" Very early Wieghorst California Western Painting awesome colors
By Olaf Wieghorst
Located in San Antonio, TX
Olaf Wieghorst
(1899 - 1988)
California, New York, New Mexico, Arizona, Texas Artist
Image Size: 20 x 24
Frame Size: 29.5 x 33
Medium: oil
1946
"Home Corral" California Olaf Wieghorst
Without a doubt one of if not the most colorful Wieghorst paintings ever done. Signed lower left. Titled on verso. Dated on verso.
In very nice condition. Has been professionally cleaned. Has very fine craquelure in the tree branches and a small spot below the horse that is really only visible if you are extremely close to the painting or with magnification. One of his finest paintings. Also please view my other Wieghorst from the same estate. I have included close up photos as well as photos taken in natural light, spot light and fluorescent lighting.
Olaf Wieghorst
(1899 - 1988)
California, New York, New Mexico, Arizona, Texas Artist
Image Size: 20 x 24
Frame Size: 29.5 x 33
Medium: oil
"Home Corral"
Dated 1946
Biography
Olaf Wieghorst (1899 - 1988)
Born in Viborg, Denmark, Olaf Wieghorst was a child acrobatic performer from the age of nine when he began appearances at Tivoli Theater in Copenhagen and later toured Europe. He also learned horseback riding working on a stock farm, and horses became a major focus of his admiration and later his painting.
In 1918, he arrived in the United States, having worked as a cabin boy on a steamer. He served in the 5th U.S. Cavalry on the Mexican border in the days of Pancho Villa. He later recalled a favorite horse from that period and said that riding through El Paso in 1921, the horse fell on his ankle and broke it. The outfit was heading to Douglas, Arizona, and not wanting to be left behind with his injury, he stayed on the horse which carried him all the way through the New Mexico desert on one of the hottest days of the year. The horse died during the night, having expended all his energy on saving Wieghorst. He later wrote that when the Cavalry discarded the use of horses, "they took the soul out of that great branch of the service" ("Widening Horizons").
He wandered extensively through the West sometimes on horseback, finding work in Arizona and New Mexico as a cowboy. Then he went to New York and served as a mounted policeman until 1944, spending most of his time on a horse named Rhombo patrolling the Central Park bridle paths and saving many people injury from runaway horses. He began painting in his spare time, and he was successful enough that his work was represented by the Grand Central Art Galleries of the Biltmore Hotel.
In 1944, he settled in El Cajon, California. His paintings include cowboys, horses, and Indians in landscape, but there is little if any collectible art of his done during his early days in the West. His primary output came after his return to California when he began painting cowboys and horses extensively. He did numerous horse portraits, spending time on ranches studying their unique personalities. He painted celebrity horses including Roy Rogers' Trigger, Gene Autry's Champion and Tom Morgan's stallion.
He was a large, powerful, handsome, and very personable man.
Source:
Kathleen Wade
Olaf Carl Wieghorst (1899-1988)
He arrived in the U.S. in 1918, joining the U.S.
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the Cunningham Ranch near Alma, New Mexico.
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