Robert Colescott

Robert Colescott worked in genre art. His work is associated with surrealism and neo-expressionism.

He worked at Cairo, Berkeley, Oakland, San Francisco, Tucson and Paris.

Robert Colescott received Guggenheim Fellowship. Work by Robert Colescott is held by Museum of Modern Art, San Francisco Museum of Modern Art, Metropolitan Museum of Art and Cleveland Museum of Art.

45 works under this name are catalogued by Wikidata Query Service, Open Library, The Art Institute of Chicago and The Cleveland Museum of Art. Their recorded dates run from 1875 to 1999.

Emergency Room, dated 1989, held by Museum of Modern Art, inventory 70.1991. Knowledge of the Past Is the Key to the Future: Some Afterthoughts on Discovery, dated 1986, held by Metropolitan Museum of Art, inventory 1987.166. The Brown Grandmother of the Year, dated 1994, held by Fine Arts Museums of San Francisco, inventory 1997.47. A Taste of Gumbo, dated 1990, held by Fine Arts Museums of San Francisco, inventory 2006.149. Marching to a Different Drummer, dated 1989, held by Museum of Fine Arts Boston, inventory 1990.494. Whispering in Ear, held by Los Angeles County Museum of Art, inventory M.2008.280.2. Still Afloat, held by Los Angeles County Museum of Art, inventory M.2008.280.3. Coffee Time, held by Los Angeles County Museum of Art, inventory M.2008.280.1. The Light is On: Moroccan Pink to Drip and Smear, dated 1991, held by Tucson Museum of Art, inventory 1992.2. Auvers-sur-Oise (Crow in the Wheatfield), dated 1981, held by Q214867, inventory 2014.136.152. Sequoia Sonata, dated 1982, held by Yale University Art Gallery, inventory 1994.113.7. Colored TV, dated 1977, held by San Francisco Museum of Modern Art, inventory 97.699. Ham, dated 1999, held by San Francisco Museum of Modern Art, inventory 2015.383. End of the Trail, dated 1976, held by San Francisco Museum of Modern Art, inventory 77.78. Tea for Two (The Collector), dated 1980, held by Cleveland Museum of Art, inventory 2017.128. The Three Graces: Art, Sex and Death, dated 1981, held by Whitney Museum of American Art, inventory 91.59.1. Change Your Luck, dated 1988, held by Detroit Institute of Arts, inventory 2002.126. Pontchartrain, dated 1997, held by Q214867, inventory 2011.119.24.a-d. Pontchartrain [panel A], dated 1997, held by Q214867, inventory 2011.119.24.a. Pontchartrain [panel B], dated 1997, held by Q214867, inventory 2011.119.24.b. Pontchartrain [panel C], dated 1997, held by Q214867, inventory 2011.119.24.c. Pontchartrain [panel D], dated 1997, held by Q214867, inventory 2011.119.24.d. Feeling His Oats, dated 1988, held by Buffalo AKG Art Museum, inventory 2000:11. Esperanza, dated 1958, held by Seattle Art Museum, inventory 66.132. Night and Day, You Are The One, dated 1969, held by Seattle Art Museum, inventory 70.123. Untitled Nudes, dated 1958, held by Seattle Art Museum, inventory 2018.25. Susanna and the Elders (Novelty Hotel), dated 1980, held by Seattle Art Museum, inventory 84.170. Les Demoiselles d'Alabama: Vestidas, dated 1985, held by Seattle Art Museum, inventory 2016.12. Christina’s Day Off (Down in the Dumps II), dated 1983, held by Saint Louis Art Museum, inventory 213:1993. Assassin Down, dated 1969, held by Dallas Museum of Art, inventory 2018.59. Suzanna and The Elders, dated 1980, held by Metropolitan Museum of Art, inventory 1982.153.1. Dejeuner Sur L'herbe II, dated 1979, held by Metropolitan Museum of Art, inventory 1982.153.2. Dejeuner Sur L'herbe III, dated 1979, held by Metropolitan Museum of Art, inventory 1982.153.3. Stella by Starlight I, dated 1980, held by Metropolitan Museum of Art, inventory 1982.153.4. Some Afterthoughts on Discovery, dated 1987, held by Metropolitan Museum of Art, inventory 1987.164.1. Matthew Henson and The Quest for The North Pole, dated 1987, held by Metropolitan Museum of Art, inventory 1987.164.2. Lock and Key I, dated 1989, held by Vanderbilt Museum of Art, inventory 2017.001.001. Robert Colescott. 17 artistas latino y afro americanos en USA. Robert Colescott--another judgement, dated 1875. At the Bathers’ Pool: Ancient Goddesses and the Contest for Classic Purity, dated 1985, acrylic on canvas, held by The Art Institute of Chicago, inventory 2025.175. Christmas with Ziggy, dated 1965, color etching, drypoint, hard and soft ground etching, with roulette and vibrograver on ivory laid paper, held by The Art Institute of Chicago, inventory 1965.526. S. W. Hayter Discovers Viscosity Printing, from The History of Printmaking, dated 1976, color soft ground etching and aquatint, with vibrograver, relief rolls through stencils on cream wove paper, held by The Art Institute of Chicago, inventory 1977.336. The Battle at Little Bohemia, from Dillinger, dated 1965, color etching, drypoint, with vibrograver, found letterpress plates and photogravure on ivory wove paper, held by The Art Institute of Chicago, inventory 1965.523. Artists' Impressions: Drive, dated 1989, lithograph, held by The Cleveland Museum of Art, inventory 2015.104.9.

Work associated with this heading is recorded in 13 named public collections.

Metropolitan Museum of Art: 7 recorded objects, read from the institution's own published catalogue. Q214867: 6 recorded objects, read from the institution's own published catalogue. Prints in the National Gallery of Art: 5 recorded objects, read from the institution's own published catalogue. Seattle Art Museum: 5 recorded objects, read from the institution's own published catalogue. Los Angeles County Museum of Art: 3 recorded objects, read from the institution's own published catalogue. San Francisco Museum of Modern Art: 3 recorded objects, read from the institution's own published catalogue. Fine Arts Museums of San Francisco: 2 recorded objects, read from the institution's own published catalogue. Museum of Modern Art: 1 recorded object, read from the institution's own published catalogue. Museum of Fine Arts Boston: 1 recorded object, read from the institution's own published catalogue. Tucson Museum of Art: 1 recorded object, read from the institution's own published catalogue. The Metropolitan Museum of Art: 7 recorded objects, read from the institution's own published catalogue. The Art Institute of Chicago: 4 recorded objects, read from the institution's own published catalogue. The Cleveland Museum of Art: 3 recorded objects, read from the institution's own published catalogue.

5 scholarly publications naming this subject were located in the registry of record.

Colescott, Robert, Benezit Dictionary of Artists, 2011. Colescott, Robert, Oxford Art Online, 2010. Colescott, Robert, African American Studies Center, 2013. Colescott, Robert H., African American Studies Center, 2005. Robert Colescott, Black Artists in Their Own Words, 2025.

Bibliographic registers publish measured figures for this heading: 6 language editions of the general reference literature carrying an article (Wikimedia (language editions)). A count of publications is evidence of attention, not of standing, and is given here only as a measure.

This article draws on 6 independent source lineages. Copies and mirrors of the same underlying record were collapsed into a single witness, so 6 means 6 genuinely separate publishers of record. 13 further registers were consulted and returned nothing for this heading.

Robert Colescott studied at University of California, Berkeley. the recorded working language is English.

The field of work recorded is genre art. Subjects and genres recorded for the work are genre. The authority associates the name with surrealism and neo-expressionism. Fernand Léger is recorded as an influence.

Places of work recorded in the authority are Cairo, Berkeley and Oakland. Residence is recorded at Oakland and Tucson.

Work by Robert Colescott is recorded in the collections of Museum of Modern Art, San Francisco Museum of Modern Art, Metropolitan Museum of Art, Cleveland Museum of Art and Whitney Museum of American Art.

Distinctions recorded are Guggenheim Fellowship.