Viewing page 8 of 18

This transcription has been completed. Contact us with corrections.

2...

placement and the relative size of figures and objects, much in a manner of Oriental artists and the great Afro-American painter Henry O. Tanner.

The vast expanses of color are executed by a process of layers of paint that gives Hollingworth's paintings their luminous quality. This effect is quite apparent in "Prophet and the City". There a prophet seemingly from another age approaches a distant city. The sky is a mass of tones and shining textures, an appropriate mood for this plastic drama.

Hollingsworth's exhibition marks one of the current returns to what is often called, "painterly painting". This energetic artist seems in love with paint itself. His surfaces are variegated, filled with lush, [[strikethrough]] spashing [[/strikethrough]] sweeps of paint. The result is a world of color structures where the information is implied, asserts itself really from out of the artists full conception. The poetic nature of the paintings also adds an unusual dimension to them.

In addition to the paintings, there is mounted a large box-like construction of the artist. To tell of the details would take away from its impact.

This exhibition for which Mr Ed Spriggs and his associates at the Harlem Studio Museum deserve much credit, is possibly Hollingsworths most significant exhibition. It is fortunate that he chose to display this series in the community where he lives and has contibuted [[contributed]] not only as an artist, but as a teacher and one involved in the total welfare of this area.

This exhibit should give a significant lift to the career of [[strikethrough]] this [[/strikethrough]] a