Artist George Hunt's "Dancin' Blues." (Photos by George Hunt/
LongRiver Entertainment Group)
For Memphis artist George Hunt, his use of bold and vivacious acrylic colors, which he juxtaposed with broad brush strokes on canvas, contrasted with his meek and mild-mannered personality.
Hunt was a visual storyteller who applied swatches of color to his subjects and collaged them with various material on occasion for a low relief effect. You might say his artwork spoke for him.
On Dec. 4, his own voice went silent. He was 85.
The body of work that Hunt produced and the themes that drew his interest – blues musicians, civil rights, historical figures – could not be mistaken for the output of a run-of-the-mill artist.
In fact, Hunt, a cubist/collagist/abstractionist, created artwork with Picassoesque shapes and distortions. This style eventually catapulted him to a higher plateau in the marketplace and elsewhere.
Though Pablo Picasso was an influence, Hunt was reputed for his portrayal of the African-American experience in the Deep South. His subjects, in essence, were derived from a consciousness of self, a love of blues music, and his own life experiences.
Willis Drinkard, proprietor of the former Gestine’s Gallery at 156 Beale St., provided managerial support for Hunt from 1989 to 2004. “He was just local until we began working together,” he said. “Then he became an international artist.”
Hunt’s meteoric rise to prominence began in 1992. Drinkard said he, Hunt and David Simmons (former president of the Blues Foundation and Hunt’s business partner) urged the Memphis In May Beale Street Music Festival to create a commemorative poster.
He said they were flabbergasted that Hunt would sell out of the prints and posters that year and believed success was imminent for the artist. It was also beneficial for the gallery.
“He had success after success,” said Drinkard, noting that he and Hunt “went to New York about four times and had a ton of success” at the New York Art Expo in 1995, 1996, 1997 and 1998.
The gallery was on a roll, he said. So was Hunt, whose colorful and evocative paintings, such as “Blues Man” and others, ended up in the homes of patrons and businesses near and far.
The blues were paying dividends. In 1996, Hunt was commissioned to paint 26 portraits for the Blues & Legends Hall of Fame Museum in Robinsonville, Miss. A large mural was also included.
Hunt’s “America Cares/Little Rock Nine,” created in 1997, became a U.S. Postage Stamp in 2005 as part of a series called “To Form A More Than Perfect Nation.” In 1998, he was selected the featured artist for the Rock & Roll Hall of Fame Museum’s American Music Master’s annual conference.
In 2002, the U.S. Congress declared 2003 as the “Year of the Blues” and named Hunt as the official artist. He created 26 paintings depicting the history of the blues and reaped a whirlwind of success.
The artist created posters for blues festivals in Tennessee, Arkansas, Mississippi, Colorado and Louisiana while continuing to create posters for the annual Beale Street Music Festival – for a total of 28.
Here’s what James L. Holt, President and CEO of Memphis in May, said in a statement: “George was a dear friend and an incredibly gifted artist who always had a smile on his face and never met a stranger.”
Municipal Court Judge Jayne R. Chandler said this about the iconic artist: “He and his wife (Marva) stood in the gap after my mon passed. I’m so glad to be called his ‘daughter.’”
A patron and longtime friend of Hunt’s daughter, Harlyn Yeargin, Chandler added, “He is truly a Memphis icon, and he will be truly missed.”
Using icon as an acronym, she said, “I’m thankful to have known this Iridescent, Comical, One-of-a-kind and Nurturing man. His spirit will live on.”
Born in rural Louisiana near Lake Charles, Hunt grew up in Texas and Hot Springs, Ark. He matriculated at the University of Arkansas, Pine Bluff on a football scholarship and studied art.
He went on to the University of Memphis for postgraduate studies and then to New York University. He spent three decades teaching art and coaching at George Washington Carver High School in Memphis.
“He always said art was his legacy,” said Drinkard, recalling a conversation with Hunt. “We’re going to miss a real icon when it comes to the blues and art.”
He said, “George was one decent human being.”
Hunt was a visual storyteller who applied swatches of color to his subjects and collaged them with various material on occasion for a low relief effect. You might say his artwork spoke for him.
On Dec. 4, his own voice went silent. He was 85.
The body of work that Hunt produced and the themes that drew his interest – blues musicians, civil rights, historical figures – could not be mistaken for the output of a run-of-the-mill artist.
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| Artist George Hunt |
In fact, Hunt, a cubist/collagist/abstractionist, created artwork with Picassoesque shapes and distortions. This style eventually catapulted him to a higher plateau in the marketplace and elsewhere.
Though Pablo Picasso was an influence, Hunt was reputed for his portrayal of the African-American experience in the Deep South. His subjects, in essence, were derived from a consciousness of self, a love of blues music, and his own life experiences.
Willis Drinkard, proprietor of the former Gestine’s Gallery at 156 Beale St., provided managerial support for Hunt from 1989 to 2004. “He was just local until we began working together,” he said. “Then he became an international artist.”
Hunt’s meteoric rise to prominence began in 1992. Drinkard said he, Hunt and David Simmons (former president of the Blues Foundation and Hunt’s business partner) urged the Memphis In May Beale Street Music Festival to create a commemorative poster.
He said they were flabbergasted that Hunt would sell out of the prints and posters that year and believed success was imminent for the artist. It was also beneficial for the gallery.
“He had success after success,” said Drinkard, noting that he and Hunt “went to New York about four times and had a ton of success” at the New York Art Expo in 1995, 1996, 1997 and 1998.
The gallery was on a roll, he said. So was Hunt, whose colorful and evocative paintings, such as “Blues Man” and others, ended up in the homes of patrons and businesses near and far.
The blues were paying dividends. In 1996, Hunt was commissioned to paint 26 portraits for the Blues & Legends Hall of Fame Museum in Robinsonville, Miss. A large mural was also included.
Hunt’s “America Cares/Little Rock Nine,” created in 1997, became a U.S. Postage Stamp in 2005 as part of a series called “To Form A More Than Perfect Nation.” In 1998, he was selected the featured artist for the Rock & Roll Hall of Fame Museum’s American Music Master’s annual conference.
In 2002, the U.S. Congress declared 2003 as the “Year of the Blues” and named Hunt as the official artist. He created 26 paintings depicting the history of the blues and reaped a whirlwind of success.
The artist created posters for blues festivals in Tennessee, Arkansas, Mississippi, Colorado and Louisiana while continuing to create posters for the annual Beale Street Music Festival – for a total of 28.
Here’s what James L. Holt, President and CEO of Memphis in May, said in a statement: “George was a dear friend and an incredibly gifted artist who always had a smile on his face and never met a stranger.”
Municipal Court Judge Jayne R. Chandler said this about the iconic artist: “He and his wife (Marva) stood in the gap after my mon passed. I’m so glad to be called his ‘daughter.’”
A patron and longtime friend of Hunt’s daughter, Harlyn Yeargin, Chandler added, “He is truly a Memphis icon, and he will be truly missed.”
Using icon as an acronym, she said, “I’m thankful to have known this Iridescent, Comical, One-of-a-kind and Nurturing man. His spirit will live on.”
Born in rural Louisiana near Lake Charles, Hunt grew up in Texas and Hot Springs, Ark. He matriculated at the University of Arkansas, Pine Bluff on a football scholarship and studied art.
He went on to the University of Memphis for postgraduate studies and then to New York University. He spent three decades teaching art and coaching at George Washington Carver High School in Memphis.
“He always said art was his legacy,” said Drinkard, recalling a conversation with Hunt. “We’re going to miss a real icon when it comes to the blues and art.”
He said, “George was one decent human being.”
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