Shopping cart order tracking member login
HOME ABOUT THE SERIES ABOUT US VINTAGE POSTER VALUES FAQ'S CONTACT US
Congo Square 2014
ENLARGE IMAGE

Congo Square 2014


Quantity:
  

On Back Order- Items will ship after 2014 Fest

Master Classic:
A 4-Way Portrait of Ernie K-Doe – Emperor of the World

By Richard Thomas

Ernie K-Doe’s life traced a hyperbolic arc: In 1961 he became a pop icon singing one of the first hits to crossover the Billboard Pop & R&B charts with the Allen Toussaint (JF09) written & produced hit, “Mother-in-Law.” Despite having only regional hits after “Mother-In-Law” (“A Certain Girl,” “Hello, My Lover,” “T’aint It the Truth,” and “Te Ta Te Ta Ta”), his indomitable character forged an unlikely lifetime career. By 1966 he was on stage with the Godfather of Soul, the inimitable James Brown, in an R&B smack down at Municipal Auditorium; a battle K-Doe claimed to have won.

But a single hit can only be ridden so far. Gigs became scarce as the 70’s wore on and no more hits were forthcoming. The pompadour gave way to a process doo. He began to drink. Still, his boundless quirkiness landed him a spot on the Jazz & Heritage Foundation’s radio station, WWOZ, where he spun his own records and extolled his greatness by screaming over them, “Burn K-Doe Burn” and, “I am the Emperor of the World!” Despite his vivacious surreality and a cult following, he lost this perch in 1987.

The 90’s found him homeless and adrift until an old friend, Antoinette Fox, resurrected him with patient love. She opened the Mother-in-Law Lounge in 1995 to give him a performance venue and became his wife in 1996. The process doo gave way to Lord Fauntleroy wigs, flamboyant outfits and bling to delight his fans. Within a few years he elevated himself to “Emperor of the Universe,” with attendant crown and cape. On the Fourth of July 1999 he sang to 60,000 people gathered at the Washington Monument and broadcast nationally to millions more. On his death in 2001, he lay in state as a luminary in Gallier Hall and was honored by one of the largest jazz funerals ever held in the city. Antoinette commissioned a bewigged blue-toned mannequin, enthroning it in the lounge, taking it out to Mardi Gras and to brunch at Galatoire’s. Only New Orleans allows dreams to be held so tight. Only New Orleans affords the grace to outlive them.

Richard Thomas needs no introduction to collectors of Jazz Fest and Congo Square posters. His portrait of Fats Domino (JF89), commemorating the 20th Anniversary of Jazz Fest, launched the portrait series that continues to this day. His 2006 Congo Square poster (CS06) showed him making this early form truly his own. He is an artist, gallerist and teacher. His work is instantly recognizable even as it continues to evolve. Less obvious are all the students he encourages and trains, including Terrance Osborne (JF14), whom he still mentors.

His approach to his subject is masterful. K-Doe went through many phases, not all of them pretty. Thomas curated K-Doe’s career highs and matched each one to a style he developed and utilized during his own artistic arc. The upper left 1961 portrait tracks the pop 60’s style Thomas used in his Fats Domino classic. The upper right concert era of the later 60’s is appropriately done in a solarized psychedelia motif. K-Doe’s WWOZ years showcases Thomas’ return to the realism he used so effectively in his early political paintings. He imparts his current artistic innovations to his portrait of the emperor in all his glory. This lower right quadrant is a culmination of the styles that led to it; realism amplified by expressionism overlaid with exuberantly joyful pop jottings.

ReMarque:

C-Marque:

Any one of these portraits would be coveted on its own. Having all four tie together the artist’s and his subject’s trajectory in a stunning singularity is a gift from the heart, soul and genius of a remarkable talent and astute educator. Faced with a challenging narrative, Thomas fuses 40 years of master classes onto a single sheet of paper with bravado equal to K-Doe’s own. This time-spanning print echoes the techniques of the prized ProCreations-produced Jazz Fest posters from 1975-1990 as it displays 21st century silk-screen virtuosity that keeps pace with its artist’s growth – an apt achievement on this 40th anniversary of the first 1975 limited-edition Jazz Fest poster effort.

Editions:

3,000 Numbered prints on archival paper, 22” x 27”, $69
500 Artist-signed & numbered prints on 100% rag paper, 23” x 28”, $239
350 Artist signed and pencil remarqued, estate stamped with Ernie K-Doe’s signature & numbered Remarque prints on 100% rag paper, 24” x 31”, $395
100 Artist-overpainted and estate stamped with Ernie K-Doe’s signature & numbered C-Marque canvas screen prints, suitable for stretching, 24” x 40”, $595

Poster and specifications may vary slightly.

2014 Jazz Fest Poster
2014 Congo Square Poster
BayouWear®
PosterCard Sets
Vintage Jazz Fest
Vintage Congo Square
ProCreations Classic Posters

 Shopping Cart
 now in your cart 0 item(s)

Subtotal: $0.00

View Cart

 

 

 © ProCreations Publishing Company - 1998-2014, All rights reserved Click here for the legal stuff Powered by PDG Software