by Staff Writer
In an extraordinary confluence of art and current events, Zimbabwean artist Richard Mudariki’s latest oil painting, "Portrait with Bandaged Ear," (2024) masterfully reinterprets Vincent van Gogh’s iconic "Self-Portrait with Bandaged Ear." This contemporary work captures the shocking aftermath of an attempted assassination on former US President and current presidential hopeful, Donald Trump.
On July 14, 2024, during a campaign rally in Butler, Pennsylvania, Trump was shot in the ear. This brazen attack occurred just days before the Republican National Convention, where Trump was poised to be nominated as the party’s presidential candidate. The attack left one rally attendee dead and two others critically injured, while the assailant was killed by Secret Service agents. The incident, now under FBI investigation, has been labeled an “attempted assassination,” sending shockwaves across the nation.
Mudariki’s "Portrait with Bandaged Ear" draws a direct parallel to Van Gogh’s 1889 self-portrait, which depicted the artist’s own post-trauma visage after severing his ear following a heated argument with fellow painter Paul Gauguin. Van Gogh’s work is a profound expression of his emotional turmoil and artistic genius. By reimagining this piece with Donald Trump, Mudariki not only pays homage to Van Gogh but also injects a potent contemporary political commentary into the artwork.
In the painting, Trump is depicted with a white bandage covering his right ear, a stark reminder of the violent attempt on his life. His expression is one of defiance and determination, mirroring the live footage from the rally where, despite the attack, he raised his fist in solidarity with his supporters, his face marked with blood but his resolve unshaken. The American flag in the background is a reinterpretation of Jasper Johns’ iconic 1958 painting "Three Flags," drawing attention to and reinforcing the political significance and the tumultuous state of American democracy.
Mudariki, renowned for his ability to reinterpret classical masterpieces through a modern lens, has made a career of infusing historical art with contemporary relevance. In an interview, Mudariki remarked, “I have had lots of world politicians in my studio – metaphorically in my paintings – from Obama, Mugabe, Mandela, Zuma, Gaddafi, Queen Elizabeth, Khama, and more.” He recalls his time in America in 2016, the year that Donald Trump was elected to power, and he witnessed the election. That experience led to the creation of the 2016 paintings "The Election Observer" and "Target" both speaking on American politics and elections. In 2021, following Donald Trump’s loss to Biden and the attack on Capitol Hill, Mudariki painted "Exit Stage Back Door." This triptych oil painting shows two Afro-like robots holding an American flag curtain, partially revealing Trump on stage, with one shoe on, holding an American flag. A mob of creatures and people seem to be rushing onto the stage, or to Capitol Building in Washington, as they did on January 6, 2021.
On that day, a mob of supporters of Donald Trump, sought to keep him in power by occupying the Capitol Building and preventing a joint session of Congress from counting the Electoral College votes that formalized the victory of President-elect Joe Biden. The mob in the Exit Stage Back Door painting is a reinterpretation of Hieronymus Bosch’s iconic horror triptych, "The Haywain" (1485-1490). Bosch shows a world governed by greed and violence: here, the whole of humanity is running after the Haywain. Mudariki seems to be suggesting that we are living in these times again today. Another section of the painting shows the world on a pump, wearing a blue mask while political debate and commentary take place online, via emojis and virtual group calls on Zoom as was prevalent in 2020.
Mudariki’s most celebrated work, "The Passover," famously depicted a feast for world leaders in a setting reminiscent of Da Vinci’s "The Last Supper," showcasing his knack for blending historical iconography with present-day political discourse. This painting was the main feature of the museum show "Five Both, Painting at the End of an Era," which was showcased at the Zeitz Museum of Contemporary Art Africa in 2017 in Cape Town. The painting also graced the museum catalogue to the exhibition.
With "Portrait with Bandaged Ear," Mudariki continues his oeuvre, offering a powerful visual narrative that speaks to the current political climate. This painting is not just a tribute to Van Gogh’s legacy but a poignant reminder of the fragility of political life and the enduring impact of violence in the pursuit of power.
"Portrait with Bandaged Ear" is among the new body of work by Mudariki that speaks to recent world history from the wars in Gaza and Ukraine to the energy crises, economic pressures, and elections. On a visit to his studio packed with many of his new works, Mudariki’s skill and vision brilliantly merge the historical and the contemporary to create art that resonates on multiple levels. Inspired by conflicts in Ukraine, Israel, and Sudan, his "War Series" oil paintings, particularly "Hondo (War)," draw inspiration from Pablo Picasso's "Guernica" combined with elements of reinterpretations of various artworks from South African artist Stanley Pinker and American pop artist Roy Lichtenstein.
Another piece, "Pietà," influenced by Michelangelo's depiction of the Virgin Mary holding Christ's lifeless body, shows a lifeless soldier's body held by a woman in sorrow. "7 October" is a reinterpretation of Goya's "The 3rd of May 1808," documenting the tragic events of October 7, 2023, in Israel, while"1,2,1,2,1,2" depicts soldiers marching to war. A small canvas sits on his easle depicting the late South African music legend Tsepo Tshola singing "Stop the War" from Sankomota's 2009 album. Mudariki states that a upcoming solo exhibition is on the books in South Africa.
In invoking Van Gogh’s self-portrait, Mudariki underscores the timeless nature of human struggle and resilience, while simultaneously providing a stark commentary on the volatile state of modern politics. This painting, like Van Gogh’s original, is bound to become a significant cultural touchstone, reflecting the turbulent times in which it was created.
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