The mother – lean erect, eyes raised toward the heavens, babe in arms – has the mood of a statue in a Gothic cathedral.
But the style of the drawing is decidedly Renaissance in its roundness, its understanding of anatomy, its concern and love for the human form.
And the dress is that of Atlanta, 1962.
These are the qualities – Gothic, Renaissance, and contemporary – combined in the works of a young Negro artist and art instructor who recently moved to Atlanta and already is gaining considerable favorable attention.
Herman D. Bailey came here last September to teach art at Clark College. In the 21st annual exhibition of Negro artists, now on display at the Arnett Library at Atlanta University, he took first place in the graphic arts of his "Mother and Child."
And now one of his works is to be added to the permanent collection of the Atlanta Art Museum.
Strength probably is the secret of the impact of Mr. Bailey's work; tensed neck muscles, powerful hands, and, above all, emotional power – the dejection of a woman in a café or the half-hope, half-fear of a mother, or the defiantly outstretched arm of a young rebel.
Mr. Bailey's work shows fascination with the human body and an almost total disregard of avant-garde trends. He is not pre-occupied with new techniques, but rather concerned with the subject.
To distort the body beyond its natural range of form and emotion amounts almost to sacrilege to Mr. Bailey. "I don't see how any artist can distort the human body," he declared. "At least I can't, because in my eyes that is the only way I can see God – in my fellow man."
Although his subjects recently have largely been Negro, he does not consider himself a "Negro artist" and questions whether there is a "Negro art." Rather, he believes the artist draws what he sees and feels, whether it be an El Greco in Spain or a Breughel in Holland.
And potential viewers are very much a part of his work, Mr. Bailey said, because he believes art is meant to communicate and not merely please the artist.
Thus far, Mr. Bailey's graphic work excels his oils, but he said he is not worried about style. "After all, I'm only a baby in art," he declared. He said he agreed with the late art professor, Francis DeErdely, whom he describes as "the major influence on my work," that "art is 90 percent work."
Mr. Bailey was born in Chicago in 1932. He holds a B.A. from Alabama State College, and a Bachelor and a Master of Fine Arts from the University of Southern California.
He has exhibited in an impressive string of shows and holds five major awards. His works appear in private collections of such celebrities as Paul Newman, Miles Davis, Stanley Kramer, and Tony Curtis in America, and in private collections in nine foreign countries.
He said he would like to stay in Atlanta. "It's wonderful. It's in transition. You can see it here."
Bruce Galphin (Atlanta Constitution Staff Writer), Daily Graphic, November 5, 1962