John Biggers Goes Big!

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Phillips Educator Carla Freyvogel dives into John Biggers’s painting, on view in African Modernism in America, 1947-67 through January 7, 2024, and connects it to another work in the collection.

The delight and complexity of John Biggers’s Kumasi Market does not slam upon us at first glance. Rather, it unfolds.

John Biggers, Kumasi Market, 1962, Oil on acrylic on Masonite board, 34 x 60 in., Collection of William O. Perkins III © John T. Biggers Estate / Licensed by VAGA at Artists Rights Society (ARS), New York, NY / Estate Represented by Michael Rosenfeld Gallery, Courtesy Swann Auction Galleries and American Federation of Arts

Standing at a polite distance, we are met with shades of brown, copper, gray, muted gold, and a few high points of white. But as we approach, multiple shades of blue, ebony, terra cotta, and brilliant yellow emerge along with a hubbub of industrious characters. That is where the delight comes in. Who are all these people? Oh! Some small children! A baby! A plethora of women, strong and busy.

Visitors to African Modernism in America, 1947-67 are intrigued by this painting. I ask them to extend their arms out to each side as far as they can. Yes, your wingspan is no match for the width of this work of art. It is huge. There is much to see.

Installation view of African Modernism in America, 1947-67

How do we absorb a painting as large as this, so full of activity and characters? Biggers helps us: our eyes can hop through the painting by taking in the yellow hats and the brilliant play of sunlight as it catches the weave of the straw. Light bounces off shiny exposed arms and foreheads.

Although the painting is seemingly crammed with a crush of people, consumed with work in their own worlds, Biggers focuses our eyes by containing the scene within the architecture of the market’s warehouses. The wooden beams of the central building’s roofline connect somewhere out of the image, drawing our eyes upward. But Biggers also returns our focus to the foreground, middle-ground, and background by using the linear perspective formed by the adjacent warehouses.

Interestingly, smack in the middle of the foreground, sits an elegant figure, a long-limbed woman, languid and serene. Deep in thought, her chin is absent-mindedly dropped onto the back of her hand. She provides a lovely counterpoint to the busyness surrounding her.

Kumasi Market, painted in 1962, was a vibrant memory of Biggers’s visit to Ghana in the year of is independence, 1957. The Kumasi Market, sometimes referred to as Kejetia, remains a real destination (if you can’t travel there, you can watch YouTube videos of its liveliness). Home to over 10,000 stalls, the market sells everything from soap to beads, cooked food to fresh produce, hardware and tech goods, glorious fabric that can be turned into a dress by the time the sun goes down . . . you name it! It is a place of intense commerce, starting before dawn, ending at dusk. The Culture Trip website writes, “If you look beyond the crowded nature of things, the cacophony of business interactions, the miscellany of voices and items, the Kejetia experience is that of an interactive civilization and savoir-faire community where you will learn something at the end of the day.”

John Biggers’s artistic vision evokes the rich sensory experience of the market—not just the sights, but the sounds, the smells, the heat on skin. Biggers was drawn to this scene of vibrancy and productivity, perhaps seeing a strength in its existence that echoed Ghana’s recent empowerment. That might have been a connection shared by the former owner of this painting, Maya Angelou.

As I explore this work with our visitors, I am reminded of another work of art, one floor down: Luncheon of the Boating Party by Pierre-Auguste Renoir. Once again, a large painting, and one that is crowded with figures.

Pierre-Auguste Renoir, Luncheon of the Boating Party, 1880-81, Oil on Canvas, 51 ¼ x 69 ¼ in., The Phillips Collection, Acquired 1923

The multitude of straw hats in Luncheon, provide a way for our eyes to move through the painting, as we unconsciously construct series of triangles out of the pops of yellow. The play of light also brings our eyes around the painting, picking up the glint of glass, the impasto of the uneaten bread, the sliver of sail boats in the background. And, the red and white striped awning, added by Renoir in his final stages of painting this large work, contains our eye, much like the architecture in Kumasi Market. Without the awning, our eyes might fly off into the distance.

And while not precisely central, Renoir’s love-interest, Aline Charigot, seems to command center stage with her rosy beauty and her festooned hat. Yet she cares little of us—her complete focus is on her puppy. She tunes out the noisy scene going on behind her, while as viewers, we are curious about her inner thoughts.

On one hand, we have American born and educated Biggers, inspired by the political events of West Africa. On the other, Impressionist Renoir was staying close to his French home with his French friends and yet their social activities were made possible by changes in French society.

These distinct artworks each reflect aspects of the social and political life that influenced the artists’ lives. When examined in relation to each other, John Biggers and Pierre-Auguste Renoir inspire us to consider the similar compositional choices and artistic techniques they each used; choices and techniques that bridge cultures, space, and time.

Making Fun and Festive Monoprints

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Museum Assistant Karlisima Rodas-Israel shares her experience at Joyce Wellman’s Workshop in April, and how you can make monoprint holiday prints, cards, and more.

I had a wonderful and fabulous experience at Joyce Wellman’s workshop in the spring. Joyce is an artist working in painting, printmaking, drawing, and mixed media, and one of her prints was featured in the exhibition Pour, Tear, Carve: Material Possibilities in the Collection. As part of the exhibition, she held a talk and monotype workshop. The process is called monotype because the design on the plate is unique and each print is one of a kind. The workshop was full, and we were all sitting together, sharing materials and ideas.

Karlisima Rodas-Israel with artist Joyce Wellman

I made four prints and I was very inspired because I really enjoyed the process of using different objects to make textures, such as corrugated cardboard or pieces of wood. The printing process was fun and easy. We pressed the paper onto the plate with a piece of foamboard so that the paint from the plate would adhere onto the wet paper. People enjoyed mixing the acrylic paints and experimenting with making textures. We came up with very interesting designs. Some of the participants were art teachers, and some had never done art before. It was a mixture of people from diverse backgrounds. As an artist, I enjoyed learning new printing techniques and was inspired to keep making my own art. Joyce was a very good teacher. She first gave us instructions and then she stopped by at each table to give us advice on how to make the prints and how to enhance our designs. She was very helpful, kind, and encouraging. She told me that this workshop had brought her a lot of joy. Everybody had a good time. I was so inspired and learned a lot!  And for this, I am very thankful!

Workshop participants with all their materials ready to make prints

You can also make monoprints at home! You can make holiday cards or gift your unique prints. Or create monoprints together with your family and friends!

Here is what you will need:

  • Acrylic paint and paint brushes
  • Watercolor pencils (optional)
  • A plastic tray or plate to use as a paint palette
  • A cup of water to clean your brushes as you paint
  • A metal spoon or a piece of foamboard to press the paper onto the plate
  • Paper: cardstock or thick drawing paper or watercolor paper (5×7 in. to make cards)
  • Scraps of corrugated cardboard, string, or other materials (to make textures)
  • A plastic container of water to wet the paper
  • A plastic sheet or plastic plate (5×7 in. for cards). Some suggestions:
    • Pronto Plate from Dickblick.com
    • Grafix Impress Monoprint Plate from Plaza Artist Materials.com
    • Akua Printmaking Plate from Dickblick.com
    • Or any plexiglass plate, piece of glass, or metal baking sheet

Workshop participants making prints

Let’s get started!

  • First, get ready–Use an apron to avoid getting acrylic paint on your clothes as it does not come off. Protect your table with newsprint paper or a plastic table cover. Display your colors on a plastic palette in front of you.
  • Submerge the paper in water in a plastic container full of water or in a sink.
  • Then, create your design on the plastic plate (or glass, plexiglass, or baking sheet). Paint your design with acrylic paint. Make sure to keep the brushes wet, since acrylic paint dries very quickly. Keep your colors fresh and bright by cleaning your brushes with water when you are changing colors to avoid muddy colors. Make sure to rinse off the brushes and palette at the end of the session!
  • You can make textures with cardboard by cutting triangles, squares, or any shape. Then apply the paint onto these shapes, and press the shapes onto the plate. You can also tear off the top layer of the cardboard and use the exposed corrugated side to make interesting textures.
  • Use your imagination to make your design! You can make a tree, landscape, mountain, house, flower, star, heart, smiley face, stick figure, or anything you want. Your design can also be totally abstract. You can use a lot of colors or just a few. Most importantly, have fun!
  • You can also write words on the plate, like Joy, Peace, or Love or any word you wish, but make sure to keep in mind, that, since this is a print, it will print in reverse, like a mirror image, so it must be drawn also in reverse. For this, I recommend that you use a mirror. First, write the word on a separate piece of paper, and then put it in front of a mirror, and then write the word on the plate exactly as you see it in the mirror. It will be the reverse image.
  • Once your design is painted on the plate, then you will need the wet sheet of paper. Lift the wet paper from the container of water and remove the excess water, but keep the paper wet.
  • The painted plate must be flat on the table. Make the print by pressing the wet paper onto the plate. Use a spoon or a piece of foamboard to press the paper firmly onto the plate and make sure to press the whole paper. Lift the paper carefully, and you have your print!
  • You can draw on top of this print with watercolor pencils to add wiggly lines or additional marks. Finally, let the paper dry on a clean surface, face up.

You can only make one unique print each time and that is why it is called a monoprint, but you can use the same plate to make more prints. Just wipe off the paint from the plate with a wet paper towel or add more paint or more designs on top of it since the paint will likely be dry and will only print a “ghost image,” or a very faint image. This is fun because you have infinite possibilities!

As Joyce Wellman taught me, we are the boss of our artwork and we are the creators. So, have fun and enjoy the process!

Karlisima Rodas-Israel making monoprints

Meet Our Fall 2023 Interns

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Meet our fall 2023 interns, who have just finished up their internships at the Phillips. Read about what they worked on over this past semester.

Fall 2023 Intern Cohort visits Phillips@THEARC

Divya Chhotani, American University

Divya Chhotani is the DEAI Intern. During her time at the Phillips, her primary focus has been conducting an intergenerational study of the staff and understanding the link between DEAI and guest services in the museum space. Through surveys and interviews, Divya assessed if the staff felt that their generation has helped them understand the world better or hindered them in the long run. Divya is from Austin, Texas, and is studying psychology, justice, and law at American University in Washington, DC. Divya enjoys hanging out with her friends and family in her free time, trying new restaurants in DC, and listening to music.

Zi Li, George Washington University

Zi Li is a second-year Art History MA student at the George Washington University. She gained her bachelor’s degree from Bryn Mawr College in 2022 with Art History and Math double major. Her research interest falls in studying intercultural artistic communication and material culture, especially textiles and ornaments. In fall 2023, she worked at The Phillips Collection as a Public Programming intern with Head of Public Programs Ashley Whitfield in the Community Engagement Department. Zi helped with public events such as curator talks, book signings, and Phillips after 5. She researched and planned activities for the December Winter Solstice-themed Phillips after 5, which featured making holiday gift bows, paper lanterns, and origami wreaths. The activities were very popular!

Kelsey Limpert, Salisbury University

Kelsey Limpert is a fall 2020 graduate of Salisbury University, where she received a BFA and an Art History minor. Her thesis exhibition revolved around embroidery, seeking to push beyond conventional conceptions of it as a medium, while also being inspired by Medieval and Proto-Renaissance artwork. While at The Phillips Collection, she interned with the Advancement Department and worked alongside Corporate Relations Officer Miranda Burr. She researched prospective donors for the upcoming Bonnard’s Worlds exhibition, and used that information to draft letters for solicitation packets, which she also prepared and mailed. She also assisted with the project management for the African Modernism in America Stewardship Report, a packet to give to donors and members upon conclusion of the exhibition that highlights the success of the exhibition while also serving as a historical document. For the Membership Department, she combined three reciprocal benefits lists to provide ease of access for current and prospective members and the front desk staff.

Laura Pratt, University of Maryland

Laura Pratt is in the final year of her Master’s of Library and Information Sciences at the University of Maryland. She previously graduated from the College of Wooster with a Bachelor’s in history, specializing in Chinese History with a minor in Technical Theater. Since then, she has worked as an IT assistant at a K-12 school and interned at the Smithsonian National Museum of Asian Art, the National Archives, NASA’s Goddard Space Flight Center, and now The Phillips Collection as the Library and Archives Intern. In this role, she has been able to expand her experience with fine art archives, process collections of music pamphlets from throughout the institution’s history, and learn about the different departments of the museum. After the close of her internship, Laura will be joining the National Archives and Records Administration in College Park full time as an Archives Technician.

Fall cohort at the National Gallery of Art