Painted fifty years ago, Rodrigue’s Jambalaya (a.k.a. Cajun Music in Trees) reflects not the popular rice dish, but rather a jumbled mixture of instruments and sounds, creating the music for a fais do do, or Cajun dance. The painting is a classic example of Rodrigue’s early Cajun Series canvases with figures. The tree, cut offContinue reading “Jambalaya: Cajun Music in Trees”
Category Archives: CAJUNS
Rodrigue on Tour! Film Clips from Florida & Alabama Schools
It was 78 years ago, on March 13, 1944, that my late husband, George Rodrigue, was born to Marie and George, Sr. in New Iberia, Louisiana. After more than twenty years of marriage, they had given up on having children. Yet along came George, who brought magic to their lives, and later, to my life,Continue reading “Rodrigue on Tour! Film Clips from Florida & Alabama Schools”
Miss July Fourth at Fifty
“Paintings take on a life of their own, long after the artist is gone.” George Rodrigue, from my journal. As a young Cajun man of twenty-seven living in Lafayette, Louisiana, George Rodrigue (1944-2013) chose to express his culture’s pride in their adopted American homeland in a most unusual way. His painting of Independence Day illustratesContinue reading “Miss July Fourth at Fifty”
The Begneaud Collection
Since losing George in 2013, we (myself, his sons, and our staff), have made educating the public about his life and work a priority. In the galleries, we’ve focused on exhibitions that span his 45-year career, including the current installations, Rodrigue: Blue Dog for President in New Orleans and Rodrigue in Carmel: Galerie Blue DogContinue reading “The Begneaud Collection”
The Petro Brothers
“Ya’ here to look or to buy?…” …barked Bud Petro from the porch of George Rodrigue’s Jefferson Street gallery.From a rocking chair, he watched the Esso station he owned with his brother Norman, while monitoring and, according to George, “scaring away” potential Rodrigue collectors. “I couldn’t tell him to leave,” laughed George.“He was part ofContinue reading “The Petro Brothers”
Cora’s Restaurant and CODOFIL
In 1968 attorney and former Louisiana State Senator and U.S. Representative Jimmy Domengeaux* (1907-1988) of Lafayette founded the Council for the Development of French in Louisiana, known as CODOFIL. Impressed with the initiative, Louisiana Governor John McKeithen pushed through a bill that granted the organization the necessary state credentials. (pictured: In 1912 Louisiana Governor HallContinue reading “Cora’s Restaurant and CODOFIL”
Spinning Wisdom
‘Round about, round about, Lo and behold! Reel away, reel away, Straw into gold!’* All my life, I’ve been drawn to women older and wiser. I like to imagine my grandmothers, although long gone, as young girls, and I stare hard into the faces of friends, some now in their 80s, sure thatContinue reading “Spinning Wisdom”
The Breaux Bridge Band
Painted in 1971, The Breaux Bridge Band is a classic among George Rodrigue’s paintings. Along with similar works from this period, it defines his style as a pictorial champion of the Cajun culture, recording snapshots of time within turn-of-the-century Southwest Louisiana. Ironically, however, it is only on the artist’s canvas, and not in reality, thatContinue reading “The Breaux Bridge Band”
The Lost Painting (Festivals Acadiens)
In this computer age, Rodrigue Studio retains detailed records of art purchases, occasionally borrowing paintings from collectors for public exhibition. However, prior to the late 1990s, records were partial, hand-kept and often lost. People move, and paintings sell or pass to descendants. Some works exchange hands through private sale, and unless the art appears atContinue reading “The Lost Painting (Festivals Acadiens)”
Rodrigue’s Cajun Mardi Gras
Mardi Gras is not just about New Orleans. Cities like Mobile, AL, Galveston, TX and my hometown of Fort Walton Beach, FL also celebrate. In Louisiana, dozens of small towns host Mardi Gras parades and celebrations every year. Long before his Mardi Gras posters, George Rodrigue painted the tradition on his own, recording favorite stories andContinue reading “Rodrigue’s Cajun Mardi Gras”
Cajuns, The Book
By the mid-1970s George Rodrigue painted on average forty canvases per year, all scenes of Cajun folk-life stemming from his first painting with people, Aioli Dinner (1971), while incorporating the distinctive oak trees from his landscapes. Although he rented a gallery in Lafayette, Louisiana, he sold most of his work on the road in Houston, Dallas,Continue reading “Cajuns, The Book”
The Daughters of André Chastant
Like ghosts of Evangeline, André Chastant’s daughters float brilliant in white and framed within the landscape of southwest Louisiana. The painting, a combination of photograph and imagination, is my favorite from George Rodrigue’s Cajun period. These daughters are not posed around their father as though for a photograph. Rather, they exist as one unit, aContinue reading “The Daughters of André Chastant”
The Patchwork Gift
In 1978 George Rodrigue tackled a 5×7 foot canvas, piecing together a group of women at a church quilting party, a common Acadian gathering during the 1940s and 1950s. The ambitious project includes twenty figures, including a portrait of the painting’s new owner with her child, all gathered beneath Rodrigue’s typical Louisiana oaks. -click photoContinue reading “The Patchwork Gift”
Match Race
“The straight sprints raced in heats or in match races where the two riders would balance for long seconds on their machines for the advantage of making the other rider take the lead and then the slow circling and the final plunge into the driving purity of speed.” –Ernest Hemingway* Because life intended it thisContinue reading “Match Race”
Landlocked Pirogues & Blue Dog’s Eyes (The Art of Improvisation)
“People are moving in time and in history, in a pirogue, on land…” …wrote George Rodrigue in 1975 about his painting, John Courrege’s Pirogue. The painting is one of seventy-eight images featured in the book The Cajuns of George Rodrigue, the first book published nationally on the Cajun culture (Oxmoor House, 1976, detailed here). FromContinue reading “Landlocked Pirogues & Blue Dog’s Eyes (The Art of Improvisation)”
Farmer’s Market
Since the early 1970s George Rodrigue set out to preserve on his canvas Louisiana’s Cajun heritage. Following his return to New Iberia from art school in Los Angeles, he noticed dramatic changes in the southwest parishes, and he feared that the Cajuns, his people, faded quickly as a distinct culture within America. Growing up, heContinue reading “Farmer’s Market”
The Mamou Riding Academy: Fact or Fiction
“One summer a German mule trader struggled to sell his last white mule. A farmer finally bought it for his daughter, and the daughter liked it so much that her friends each wanted one. In the end, the mule trader sold nine mules to nine fathers of nine little girls.” That’s the story of theContinue reading “The Mamou Riding Academy: Fact or Fiction”
The Secret of Pirate Lafitte’s Gold
“O’er the glad waters of the dark blue sea, Our thoughts as boundless, and our souls as free, Far as the breeze can hear, the billows foam, Survey our empire and behold our home!” –Lord Byron, 1814, The Corsair By 1974 George Rodrigue pursued a unique, self-invented style of American genre painting, typified by hardContinue reading “The Secret of Pirate Lafitte’s Gold”
Doctor on the Bayou
There was a time, other than The Waltons and Little House on the Prairie, that doctors made house calls. A time before waiting rooms and diagnostic centers and ten minute speed-treating, when doctors traveled to homes in the middle of the night, held their patient’s hand, and worried alongside panicked relatives. There was also aContinue reading “Doctor on the Bayou”
The Cajun Bride of Oak Alley
By the mid-1970s George Rodrigue spent his days scouting for subjects and his nights painting the Cajun culture. He concentrated on area traditions, such as The Aioli Dinner and The Traiteur (Cajun faith healer), famous locations such as Broussard’s Barber Shop and The Ragin’ Cajun Antiques, and legendary figures such as Jolie Blonde and Longfellow’sContinue reading “The Cajun Bride of Oak Alley”
Broussard’s Barber Shop (Melding Fact with Fiction)
After painting the Aioli Dinner in 1971, George Rodrigue’s confidence soared in rendering not only the Cajun figures, but also a style all his own. During the six months it took to complete the painting, he developed specific rules for himself, things separate from and often contradictory to the established rules of art. He wouldContinue reading “Broussard’s Barber Shop (Melding Fact with Fiction)”
Boudreaux in a Barrel
As any Louisiana joke teller knows, the two lead characters of most Cajun stories are Boudreaux and Marie. They might venture out fishing with a roll of duct tape or accidentally hit a skunk with their truck. Maybe Marie catches old man Boudreaux’s attention with her pot of gumbo, or perhaps Boudreaux waits until theirContinue reading “Boudreaux in a Barrel”
The Class
My nine-year-old nephew William said to me, as I headed out the door to my 25th High School Reunion in Fort Walton Beach, Florida this weekend, “Why would you want to see all those old people? I mean, you could swim at the pool with us!” I tried (and failed) to explain to him aboutContinue reading “The Class”
Fairs and Festivals, Ducks Unlimited and the New Orleans Jazz Club
If you ask George Rodrigue what made his art famous in Louisiana, his answer might surprise you. It’s not the Blue Dog, Absolut Vodka ads, or Jazz Fest. Rather, it’s the small town festival posters. Throughout the 1980s George created posters for dozens of festivals throughout the state. He sold thousands of these inexpensive offsetContinue reading “Fairs and Festivals, Ducks Unlimited and the New Orleans Jazz Club”
The Saga of the Acadians
Between 1985 and 1989, George Rodrigue painted the Saga of the Acadians, a series of fifteen paintings chronicling the Acadian journey from France to Nova Scotia in the 17th century, from Nova Scotia to Louisiana during the Grand Dérangement of 1755, and finally the first official return visit from Southwest Louisiana to Grand Pré inContinue reading “The Saga of the Acadians”
The Traiteur
With nearly 60,000 visitors in two months at the George Rodrigue exhibition at the New Orleans Museum of Art in 2008, we received hundreds of letters, all positive, mostly from people who prior to NOMA knew little about the scope of George’s career. As a result, they were surprised at how much they enjoyed theContinue reading “The Traiteur”
From Jolie Blonde to Bodies: Paintings of Women
According to local legend, in the 1920s a Cajun imprisoned in Port Arthur, Texas pined for his lost love, his beautiful blonde, his “Jolie Blonde,” and wrote a waltz from those feelings of longing. Over the years the song became for many the Cajun anthem based on a sort of modern day Evangeline, and CajunContinue reading “From Jolie Blonde to Bodies: Paintings of Women”
A History of Evangeline in Rodrigue Paintings
There are enough Rodrigue Evangelines to fill an entire museum exhibition. He’s painted the Acadian heroine one hundred or more times over nearly forty years. Like Jolie Blonde, the Oak Tree, and the Blue Dog, she is a staple in his work, a protagonist as much for him as she is in the story ofContinue reading “A History of Evangeline in Rodrigue Paintings”
The Aioli Dinner and a Cajun Artist
The first time I saw the original Aioli Dinner, I was struck by its monochromaticity. It is a green painting through and through. You don’t notice it in a photograph and certainly not in a print (as explained below), but the painting itself exudes the swamp, and one almost feels the mugginess, smells the sweat,Continue reading “The Aioli Dinner and a Cajun Artist”
Early Oak Trees and a Regrettable Self-Portrait
It was on the long drives back from The Art Center College of Design in California that George Rodrigue developed his style. He’d been thinking about it for some time – about how different South Louisiana is from other places, as well as the eighteen hundred miles of cities and countryside and Americans he passedContinue reading “Early Oak Trees and a Regrettable Self-Portrait”