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At that time, a painting representing Martin Luther King's life drew the attention of a jury for the granting of a subsidy to American mural specialists. I was contacted, but I refused to change my nationality.
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At that time, the academic orientation was rather technical contrary to that of the university, where art theory is very important. The teachers were renowned artists and among the best of that time.
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I am in contact with other artists of the Black Diaspora, who make similar researches in the field of representation-abstraction, as the artist, Hector Charpentier from Martinique, says.
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I am not an adept of voodoo, but I respect this religion just like the others. It is an important mainstay of our culture. From the beginning I introduced "veves" in my popular paintings to emphasize authenticity while avoiding folklore and demagogy.
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I did not follow a regular cycle. Concerning painting, Daniel Green and then Hugh Gumpel, who understood that I was in search of something else than simply the academic route, were my teachers.
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I have always been skeptical about the expression "young artists". Many artists were famous in their twenties. Age is not a factor, an artistic notation.
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I like children, old people expressive faces, the curves of female nudes, the lines of a breast, the curves of a woman's hip, to paraphrase Aznavour.
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I paint according to the moment and the theme. I don't have any prejudice. Life concerns me.
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I used to draw during my final year of school. When I was studying in the United States, I used to draw during my English classes. My teacher talked about me with one of his colleagues, who was responsible for the Art Section and who lead me to two famous art schools of New York.
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I will add that, since my younger years, I learned to appreciate Haitian Art with my father, who worked in a building in the "Bicentenaire", where the halls hosted art exhibitions.
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I worked three and then six hours a day in my studio with strict discipline and emotion. I obtained awards usually granted to other foreigners during the end-of-year admission tests.
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If you want to evaluate the new generation, those artists who are now arising, the students, there is certainly a lot of talented young people "in embryo" awaiting favorable conditions to come to light. We need a real open and dynamic School of Art.
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Jean-Michel Basquiat would not be the genius he presently is. Haitian art is sold at Sotheby's or in Drouault, even if Haitian naive art is treated like a poor relation in books of Art History.
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My first concern was to take care of my drawing. I did not have any knowledge in arts, especially Haitian arts, apart from the paintings I saw in my father's office.
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My first paintings were anatomic, monochrome, with close-up characters and spots of colors in the background or they were barely worked out. Then I started to develop structures, superposition to amplify emotion.
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My most recent paintings are a mixture of realism and futurism, representation and geometrical distortion to reflect movement.
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My mother stopped painting to become a good spouse. One of my aunts was an artist. The American artist, Kira Markham, and I lived in the same district.
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People are predominant in my paintings. Although they are not obvious, you can feel their presence.
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Siquieros' Cri in the Museum of Modern Art of New York deeply impressed me. From this day, my life took a turning point, hence the social character of my work.
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The acknowledgement of Haitian art at the international level is thanks to Haitian naive art. It is our reference.
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The colors and creativity of our painters attracted me, but I remember that I was shocked by the lack of proportion.
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The magic of creation has always fascinated me.
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Without a good cultural policy, without adequate help, we will always have individualists, shooting stars who are rapidly forgotten or who stop painting for a more profitable occupation.
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Without Obin, Hypolite, etc, we would have been known only as the poorest country of the Hemisphere, a dictator's paradise with the only merit to be the first black republic of the world to be independent.

Biography

Ralph Allen (1693 - June 29, 1764) was baptised at St Columb Major Cornwall on July 24 1693. As a teenager he worked at the Post Office. He moved to Bath in 1710 where he became a clerk in the Bath Post Office, and at the age of 19, in 1712, he became the Post Master of Bath.

He acquired the stone quarries at Combe Down just as the building boom started in Bath, and from his quarries came the stone for building the Georgian city, making Allen a second fortune.

He had the Palladian mansion "Prior Park" built for himself (1742) on a hill overlooking the city, "To see all Bath, and for all Bath to see". He gave money and the stone for the building of the Mineral Water Hospital in 1738, and even built cottages for his masons working in his quarries.

In 1725 he had been elected as a common council man of the city, and in 1742 elected Mayor and was the Member of Parliament for Bath between 1757 and 1764.

Ralph Allen died at the age of seventy one and is buried in a pyramid-topped tomb in Claverton churchyard.

Alexander Pope somewhat patronisingly referred to him in a poem of 1738 as "low-born".

Bibliography

*Boyce, B. (1967) The benevolent man: a life of Ralph Allen of Bath
*Peach, R.E.M. (1895) The life and times of Ralph Allen
*Hopkins, A.E. (ed.) (1960) Ralph Allen's own narrative, 1720–1761, *Davis, S. (1985) Ralph Allen: benefactor and postal reformer [Bath Postal Museum booklet]

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