Pierre, AndréH (1916–2005)


 20. 'Erzulie Dantor'_
1974 (18x24)


23. 'Dambala Wouedo'
   1966 (30x24)

  

   In the unending search for 'the new Hyppolite,' André Pierre's name surfaces more often than any other. He's not a 'new' anybody, however: he's an original — and a classic celebrated in nearly every book on Haitian art.
   An oungan — like Hector Hyppolite, LaFortuné Felix, Wesner LaForest, and several other leading artists — Pierre was introduced to the Centre d'Arte in 1949 by Maya Deren, a noted student of Haitian life and of vodou. (See Reading.) His work has been prized by collectors for over half–a–century.
   Pierre always claimed he painted only when and what the lwas told him to. Cynics scoffed that the gods spoke to him more often when he needed money or the market was good.
   In response surely more to the market than to the lwas' commands, Pierre's colors became progressively more gaudy from the early 1970s on. His conceptions, however, were brilliant from the very beginnings of his art — decorating ounfòs (vodou temples) and sacerdotal gourdes.
   In Pierre the animism of vodou is palpable. Every–thing seems alive — not only the people and plants, but rocks, water, sky, earth, and the paintings themselves. That vitality is especially evident in Dambala Wouedo.
   Dambala was executed in Pierre's 'pre–garish' period. Erzulie came on the cusp of that style, Mariage and St Jacques well into it.

  


119. 'Mariage …' 
 c1988 (20x24)


131. 'St Jacques'
  c1990 (20x24)  
 

   I visited Pierre in 1974 at his ounfò. His small vodou temple was decorated with gourdes, flags, and small paintings — all of which meant something to him and his religious practice.

   Pierre was working on Erzulie Dantor at the time. I told him I wanted it; he said I could have it; I returned some days later, it was done, I bought it.

   Dambala Wouedo was obtained by an artist, the friend of a friend, who visited Haïti in 1975 and who had asked me before going if there were painters I wanted her to look for. She brought back to Manhattan, and I bought, this work and one by Micius Stephane. Dambala Wouedo is easily the finest of my four Pierres. (The painting is dated on the back.)

   Mariage and St Jacques come from galleries. They're good — they're André Pierres, after all — but they were clearly done with the color–loving art–buyer in mind.

 

           

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