🎨 Francis Picabia by Matt Snee

Look at the neon outline. The brushstroke static. The confident chaos. Matt paints rebellion in a purple bow tie.

This is a portrait that hums.
Not pretty — true.

(2/9)

🧠 Context: Francis Picabia
French painter (1879–1953), Cubist turned Dadaist turned total chaos agent. Friend of Duchamp. Enemy of structure. Master of self-reinvention.

Here’s his own work: La Source (1912).
Cubism in heat. Motion caught mid-detonation.

(3/9)

🎨 Minnie Evans by Matt Snee

This one aches. That violet hat. That gaze. That sun-on-wood texture. Matt’s portrait is reverent and electric.

She looks tired. She looks holy.

(4/9)

🧠 Context: Minnie Evans
Visionary Black folk artist (1892–1987). Began drawing in her 40s after dreams told her to. Her art came from God, memory, and mystery.

Here’s Untitled (c. 1946) — a mirrored spiritual totem in pencil and crayon.

(5/9)

🎨 Fritz Scholder by Matt Snee

Blue. Heavy. Human. This is grief, identity, and strength on canvas. You feel the weight of Scholder’s story in every ridge of paint.

It’s not trying to be beautiful. It’s trying to be real.

(6/9)

🧠 Context: Fritz Scholder
Indigenous artist (1937–2005) who dismantled the “noble savage” trope. Painted Native people as people — smoking, slouching, surviving.

Here’s The American Indian (1970).
Part flag. Part threat. Part truth.

(7/9)