Jazz Fest 2018

Jazz Fest 2018Fats by Terrance Osborne Any attempt to sum up the life and outsized presence of Antoine "Fats" Domino, Jr. in New Orleans is folly. Simply stated, neither would have been the same without the other. Both are eternal joys. The life Fats lived here red beans simmering, music radiating from humble architecture more human than the towers that define other cities is palpable in Terrance Osbornes robust portrait of The Fat Man (title of the first rock and

Fats
by Terrance Osborne

Any attempt to sum up the life and outsized presence of Antoine "Fats" Domino, Jr. in New Orleans is folly. Simply stated, neither would have been the same without the other. Both are eternal joys. The life Fats lived here - red beans simmering, music radiating from humble architecture more human than the towers that define other cities - is palpable in Terrance Osborne’s robust portrait of The Fat Man (title of the first rock and roll record to sell 1 million copies, cowritten with producer Dave Bartholomew) in the kingdom he ruled with grace and notes. 

No matter the accolades (credit from the likes of Elvis, John & Paul; member of the first class inducted into the Rock & Roll Hall of Fame; Lifetime Achievement Grammy; National Medal of Arts recipient; 25th on Rolling Stone’s list of the "100 Greatest Artists of All Time"), the global popularity (65 million records sold, 35 Billboard Top 40 hits - 11 of them Top 10) and the means that flowed from his songwriting, often with Bartholomew (Ain't That a Shame, I Want to Walk You Home, I’m Gonna Be a Wheel Someday, I’m in Love Again, I’m Walkin’, Whole Lotta Lovin' and many more), he never left the Lower Ninth Ward until forced out by Katrina. His humility and permanence personified the soul of New Orleans, where music, food and family are bedrock values.

Few painters command color as intuitively as Terrance Osborne, or apply paint with such knowing detail. Osborne’s instinctive sense of light and shadow is felt as much as seen here. There’s much to be discovered in the bounty of this piece, his fifth Jazz Fest commission (including two stand-out Congo Square commissions). Osborne was the natural choice to portray Fats. He illuminates Fats’ continuing legacy by creating a matched “diptych” to his sold-out 2012 Jazz Fest portrait of Troy “Trombone Shorty” Andrews. It stands on its own yet forms a brilliant baton-passing allegory paired “around da cornder” from Shorty’s house. 

Classic oil-based silk-screen pigments printed one by one on archival papers over the course of a two month process translate the artist's intent with perfect fidelity. The remarqued and canvas editions bear Fats Domino’s estate stamped signature. “Brilliant” doesn’t do the work or his subject justice. Like Fats’ legacy, this Jazz Fest poster is timeless - a defining work and a must-have poster.

Editions:
12,500 Numbered prints on archival paper, 19” x 35”, Originally sold for $69
2,500 Artist-signed & numbered prints on 100% rag paper, 20” x 37”, Originally sold for $239
750 Artist signed and pencil remarqued, estate stamped with Fats Domino’s signature & numbered Remarque prints on 100% rag paper, 21” x 39”, Originally sold for $595
300 Artist-overpainted and signed, estate stamped with Fats Domino’s signature & numbered C-Marque canvas screen prints, 26” x 40”, Originally sold for $895

Poster specifications & digital image may vary slightly from actual print.
Image ©2018 New Orleans Jazz & Heritage Festival Foundation, Inc. / Text ©2018 Art4now, Inc.
FATS DOMINO™ is a trademark of  Fat Man Brands, L.L.C