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Creator:
Kehinde Wiley, born 1977
Title:

Portrait of Lynette Yiadom-Boakye, Jacob Morland of Capplethwaite

Date:
2017
Medium:
Oil on canvas
Dimensions:
120 5/16 × 93 5/16 inches (305.6 × 237 cm), Frame: 131 5/16 × 104 9/16 inches (333.6 × 265.6 cm)
Credit Line:
Yale University Art Gallery and Yale Center for British Art, Purchased with a gift from Mary and Sean Kelly in honor of Courtney J. Martin and with the Janet and Simeon Braguin Fund and Friends of British Art Fund
Copyright Status:
© Kehinde Wiley
Accession Number:
B2021.5
Classification:
Paintings
Collection:
Paintings and Sculpture
Subject Terms:
portrait | rabbits | rifle (long gun)
Associated People:
Yiadom-Boakye, Lynette (born 1977), British artist
Access:
On view at the Yale University Art Gallery
Link:
https://collections.britishart.yale.edu/catalog/tms:82154
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Kehinde Wiley based this monumental painting of the British-born artist and writer Lynette Yiadom-Boakye (born 1977) on a portrait of the young Jacob Morland of Capplethwaite, made by George Romney circa 1760. Wiley gives Yiadom-Boakye the trappings of an eighteenth-century British gentleman. The rifle and the dead game around her feet single her out as a person of property, for in that period only landowners were allowed to own firearms and shoot game, as shown in the two paintings her either side. This portrait subverts eighteenth-century values by transferring signifiers of nobility, status, and masculine authority to an influential black woman. This painting was first displayed in 2017 in Wiley’s exhibitions Trickster, which featured then additional portraits of contemporary black artists, all of which explore the intersection of art, culture, and black identity. The selected artists are, in Wiley’s view, archetypal “tricksters,” whose work challenges conventional cultural boundaries and, in so doing, lays bare society’s subtle forms of prejudice and constraint.
Gallery label for installation of YCBA collection, 2021
Created by the artist, Kehind Wiley, (consigned to Sean Kelly Gallery, New York, 2017, and on loan to the Yale Center for British Art, New Haven, Conn., 2019–2021); sold through Sean Kelly Gallery, New York, to the Yale Center for British Art, New Haven, Conn., and the Yale University Art Gallery, New Haven, CT, United States, 2021 (jointly owned)

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