Blue: The Life & Art of George Rodrigue
George Rodrigue - his story, his artistic contribution, his entire life - are a vivid part of the Louisiana landscape and continue to be an important part of the art world in America and beyond. A vigorously collected and admired figure, the “Blue Dog” painter has a legacy that endures.
From his bayou-inspired Louisiana cultural works, literally putting the Cajuns on the map, to his world-renowned Blue Dog catalogue, Rodrigue’s work is full of life, a deep ethos, color, narrative, and joyous storytelling.
WLAE-TV and LAE Productions share the story of this prolific artist, from his childhood in New Iberia to his explosion of fame across the globe. This documentary weaves together the story of an artist who remains an important figure in contemporary art, and has ever remained, “The Cajun Man”.
Born on March 13th in New Iberia, Louisiana, to George Rodrigue, Sr., a brick-layer, and Marie Courrége Rodrigue. Remains an only child.
Diagnosed with polio in the third grade, and discovers painting. Following a full recovery, embarks on his life’s journey as an artist. Studies art at the University of Southwestern Louisiana in Lafayette, followed by the Art Center College of Design in Los Angeles. Returns from California to Louisiana, where he photographs and paints the mystical local landscape.
Solo exhibition at the Louisiana Old State Capitol in Baton Rouge. Incorporates the Cajun people, traditions, and mythology into his landscapes. Receives a Gold Medal from the Academy of Literature, Arts, and Science in Rome, and a prestigious Honorable Mention from Le Salon des Artistes in Paris, prompting the French newspaper Le Figaro to name him “America’s Rousseau.” The Cajuns of George Rodrigue (Oxmoor House) is the first book published nationally on the Cajun culture and, at the suggestion of the National Endowment for the Arts, becomes an official Gift of State for the Carter White House.
Paints the loup-garou, his first Blue Dog paint
GEORGE RODRIGUE
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Born and raised in Cajun Country, Louisiana, U.S.A., artist George Rodrigue portrayed on his canvas what he feared was his dying heritage—-including its land, people, traditions, and he often explained, he sought to “graphically interpret the Cajun culture,” preserving it in the face of a progressive world.
Rodrigue’s art studies at the University of Louisiana at Lafayette and the Art Center College of Design in Los Angeles spawned one of the greatest success stories in American the early s his Blue Dog Series, based on the French-Cajun loup-garou legend, catapulted him to worldwide fame, while his dark Renaissance-like landscapes developed into robust modern masterpieces. Learn more by exploring:
Rodrigue&#;s Extended Bio
Rodrigue&#;s Documentary Film
Also, for more insights, study our Interactive Timeline and explore the Blue Dog origin story in the essay &#;How a Cajun Legend Became a Pop Icon&#;
Additional information in &#;George Rodrigue, Painter of Blue Dog, Dies at 69&#; via The New York Times.
Every few weeks I devote a blog to the Blue Dog Story, from its loup-garou beginning in , and on to Tiffany, Absolut and Xerox, Blue Dog Man, Sculptures, Red Dog, and Silkscreens.I last wrote about the Abstract Paintings of , and I’m a bit lost as to how to move forward.
To assess something, to re-cap it, that thing has to have passed, along with enough time following it to study the phenomenon in a context.I’m just not sure we’re there yet.
By George Rodrigue was devoted to the series Bodies, a contemporary expression of Jolie consumed him for more than two years until August , when Katrina hit, disrupting (as it did for thousands) not only his external world, but also his internal creative fact, that weekend of August 29, we (the entire gallery staff) were in Houston for a Bodies exhibition.
It was months before George returned to his easel, and once he did, his main artistic focus for the next two years was Blue Dog Relief, a series of silkscreen prints benefiting the arts, education, and humanitarian needs of South Louisiana (an in-depth blog better saved, I feel, for late summer).
By , although he was painting again, it wasn’t with his pre-Katrina likes to paint i
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