Paul Claude Gardère (1944, in Port au Prince, Haiti – 2011, in New York City) was a Haitian-born, Brooklyn-based [1] visual artist whose work explored "post-colonial history, cultural hybridization, race, and identity, in and beyond the Haitian diaspora." [2] Gardère's work has been widely exhibited throughout the United States, including at institutions such as the Studio Museum in Harlem, [3] the Figge Art Museum, [4] Lehigh University, [5] Pomona College Museum of Art, [6] and the Jersey City Museum, [7] and is included in a number of prominent institutional collections, [8] including that of Thea Museum of Modern Art in New York, [9] the Studio Museum in Harlem, [10] the Brooklyn Museum, [11] the New Orleans Museum of Art, [12] Schomburg Center for Research in Black Culture, [13] [14] The Milwaukee Art Museum, [15] the Figge Art Museum, [16] the Columbus Museum, [17] the Beinecke Library at Yale University [18] and the Herbert F. Johnson Museum of Art at Cornell University. [19]
Gardère studied at the Art Students League of New York from 1960 to 1961, where he worked with Charles Alston, [20] and at Yale University summer school of music and art in 1966. He earned his Bachelor of Arts degree from Cooper Union School of Art and Architecture in 1967. [21] He earned his Master of Fine Arts degree from Hunter College in 1972. [22] He was an Artist-in-residence at the Studio Museum in Harlem, [23] the Jamaica Arts Center, Long Island University, and completed a 5-month residency at Monet's Gardens [24] in Giverny, France on a grant from the Lila Acheson Wallace Foundation. [25] Reflecting on his time at Giverny, Gardère has said, "Gardening is an apt metaphor for global colonialism." [26]
Gardère was born in Port-au-Prince, Haiti in 1944. He emigrated to New York City in 1959. While studying at Cooper Union School of Art and Architecture in New York, he developed a personal style that blended "Haitian regionalist ideas, painting styles, and cultural symbols" with "the larger aesthetics of Modern art". [21] His work is heavily informed by "religious and mythological symbolism," [21] which he saw "as a way of metaphysical bridge building between cultures, drawing inspiration from the Old Masters and European Catholicism as well as Haitian regionalism and Vodou." [21]
Paul Claude Gardère (1944, in Port au Prince, Haiti – 2011, in New York City) was a Haitian-born, Brooklyn-based [1] visual artist whose work explored "post-colonial history, cultural hybridization, race, and identity, in and beyond the Haitian diaspora." [2] Gardère's work has been widely exhibited throughout the United States, including at institutions such as the Studio Museum in Harlem, [3] the Figge Art Museum, [4] Lehigh University, [5] Pomona College Museum of Art, [6] and the Jersey City Museum, [7] and is included in a number of prominent institutional collections, [8] including that of Thea Museum of Modern Art in New York, [9] the Studio Museum in Harlem, [10] the Brooklyn Museum, [11] the New Orleans Museum of Art, [12] Schomburg Center for Research in Black Culture, [13] [14] The Milwaukee Art Museum, [15] the Figge Art Museum, [16] the Columbus Museum, [17] the Beinecke Library at Yale University [18] and the Herbert F. Johnson Museum of Art at Cornell University. [19]
Gardère studied at the Art Students League of New York from 1960 to 1961, where he worked with Charles Alston, [20] and at Yale University summer school of music and art in 1966. He earned his Bachelor of Arts degree from Cooper Union School of Art and Architecture in 1967. [21] He earned his Master of Fine Arts degree from Hunter College in 1972. [22] He was an Artist-in-residence at the Studio Museum in Harlem, [23] the Jamaica Arts Center, Long Island University, and completed a 5-month residency at Monet's Gardens [24] in Giverny, France on a grant from the Lila Acheson Wallace Foundation. [25] Reflecting on his time at Giverny, Gardère has said, "Gardening is an apt metaphor for global colonialism." [26]
Gardère was born in Port-au-Prince, Haiti in 1944. He emigrated to New York City in 1959. While studying at Cooper Union School of Art and Architecture in New York, he developed a personal style that blended "Haitian regionalist ideas, painting styles, and cultural symbols" with "the larger aesthetics of Modern art". [21] His work is heavily informed by "religious and mythological symbolism," [21] which he saw "as a way of metaphysical bridge building between cultures, drawing inspiration from the Old Masters and European Catholicism as well as Haitian regionalism and Vodou." [21]