Hughie Lee-Smith, whom Pierce greatly admired and collected. Lee-Smith was influenced by the Italian metaphysical painting movement, which was founded in 1917 by Giorgio de Chirico and Carlo Carrà and gained prominence in the 1920s, fueled by the emergence of surrealism. The works of these artists often depicted incongruous, enigmatic still lifes; scenes of empty streets; or a lone human figure in a large square or open space. In Angel Wing Begonia, Pierce uses a restricted palette of colors within a relatively narrow value range to create a different effect by providing Angel Wing Begonia, not dated, watercolor on paper, 17½ x 23¼ inches, close-up, proximate views of flowers Collection of Ronald and Patricia Walters through a studied development of the petals and leaves of the flowers with subtle changes in color and by manifesting the orientation of the leaves in a variety of shapes. Works such as this are also reminiscent of the mood of works of Helen Frankenthaler, an abstract expressionist who created large abstract pieces based on landscapes, and particularly the works included in Frankenthaler’s breakthrough exhibition Mountains and Sea. Pierce frequently painted architectural structures in Washington, D.C.; New England; and many other parts of the world. Her houses often feature red or gray roofs and walls in off-white and warm gray colors. At times, the architectural forms are presented within lush landscape scenes on hillsides, their contrasting colors creating different spatial effects, evoking the School of Paris sensibilities of Cézanne, Camille Pissarro, and Pierre Bonnard, among others.
THE HUMAN FIGURE
While the dominant subjects of Pierce’s paintings and watercolors are landscapes and still life scenes, she also painted portraits and images of the human figure. Two very fine examples are Twins (pp. 13, 27) and Sudanese Tradermen, No. II. Although the figurative paintings are quite well done, they do not rise to the level of visual poetry Pierce achieved in the landscapes, seascapes, and still lifes she produced during this same period. Like many African American artists in the 1950s, Pierce exhibited her work in the annual exhibitions hosted by Atlanta University, known as the Atlanta University Art Annuals, which were founded by renowned artist Hale Woodruff. The exhibitions became an important venue for numerous African American artists, such as Charles White, Elizabeth Catlett, Felrath Hines, Romare Bearden, and Hughie Lee-Smith. Acceptance of work for the exhibitions became a standard by which individuals were judged with respect to their standing as serious and accomplished artists. Hope (pp. 15, 26) was Pierce’s submission to the 1952 exhibition. Even at this point in her career, compositionally the work is characteristic
Sudanese Tradermen, No. II, 1964, acrylic on canvas,
18 x 14 inches, Collection of the Spence family
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