The National Gallery of Art collection

“Prophet” Royal Robertson spent most of his life in Louisiana with his wife and eleven children. Trained as a sign painter, his paranoid schizophrenia triggers his a prodigious creative fever. Ethereal ascents, portraits of deities, futuristic architectures alike “show houses” of a world to come, it is as if he had descended from his planet, carrying his own Tablets of Stone. Featured in countless international collections, such as the Smithsonian Museum of American Art (USA) or the Musée national d’Art moderne (Pompidou), his work was presented in 2018-19 in the travelling exhibition Into The Unknown, produced by the Barbican (London) and curated by Patrick Gyger.

Henry Speller was born in the settlement of Panther Bum in the Delta country of Central Mississippi. He grew up working on Delta where he often drew pictures during his lunch breaks. In 1939, he left Mississippi for Memphis, Tennessee. Speller moved to a house located a few blocks from Beale Street, the musical heart of Memphis. He was an accomplished blues musician who played guitar with Howlin’ Wolf and Muddy Waters. The imagery and insistent rhythms of the Delta blues flow through Speller’s work, but his iconography is an explicit commentary of the social, economic, and racial exclusions he observed throughout his life.

A poor child of Mississippi condemned to the hardest work, this African-American woman began, at the dawn of her life, a work that resembles a real graphic blues. Mary T. Smith gave shape to her personal cosmology by painting on sheets of corrugated iron and wooden panels
arranged around her house. Her “solar aesthetic”—says Daniel Soutif—and her powerfully elementary modes of representation made a strong impression on Jean‑Michel Basquiat. Now considered an emblematic figure of American art brut, her works have been added to the Metropolitan Museum of Art (New York), the Smithsonian Museum of American Art (Washington) and the High Museum of Art (Atlanta) collections.

Hawkins Bolden, half Creole and partially Native American, went blind at the age of 8 after a baseball accident. The small house he lived in in the city was stuck between a car wash and a high brick wall. In the shade of this wall, there was a small garden that Bolden loved and protected from external aggression with “scarecrows” that he made with found objects. These sculptures were embedded in the ground and had faces made of car wheel covers, metal pots and metal plate ends. Each surface was pierced with holes and decorated with rubber hose ends and pieces of carpet.

Thornton Dial, Sr. was born in Emmel, Alabama in 1928. Over a period of thirty years, he worked onand-off for the Pullman Standard Company, a company known for manufacturing metal railroad cars. Dial lives in Bessemer, Alabama where he is the patriarch of a clan of artists and an accomplished painter and sculptor. All of Dial’s work emerges from a tireless mining of his own experience and of the events of our time. His use of materials – fencing, cow bones, corn stalks, scrap metal, pottery shards, birdbaths, clothing, stuffed animals, rope, carpet, and unusual combinations of paints and stains – renders his work by turns raw and lyrical.