Harlem Ren Midterm

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Robert S. Duncanson, Uncle Tom and Little Eva 1853

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Robert S. Duncanson, Vesuvius and Pompeii, 1870

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Robert S. Duncanson, Ellen's Isle, 1871
almost like a colored photograph could see no

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Edward Mitchell Bannister, Newspaper Boy, 1869
showed humans were the new subject of manifest destiny
we can see realist
become self aware this is a handmade picture

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Edward Bannister, Untitled (man with two oxen), 1869
humans of work, reflected painting techniques that are associated with the realist style

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Edward M. Bannister, Approaching Storm, 1886

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Edomia Lewis, Marriage of Hiawatha, 1866
every mark of contemporary American art
white marble
they are looking to Greece and Rome to make models exemplary of contemp. sculpture

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Edmonia Lew, Forever Free (The Morning of Liberty) 1867
the reality of the action is absent from sculpture (supposed to be breaking chains)
the man was needed to break power
view of slavery and emancipation process through the male perspective (woman is subservient

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Edmonia Lewis, The Death of Cleopatra, 1876

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Henry Tanner, Banjo Lesson, 1893
earlier work of black subjects
best known work
wasn't really interested in a subject of black
insisted on not using his work as a tool

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Henry Ossawa Tanner, The Thankful Poor, 1894
Alaine Locke picked him up as failed black aesthetic

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Henry Ossawa Tanner, Daniel in the Lions Den, 1907-1918
eventually shifted to Christian parintingsm

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Unknown photographer, Negro Exhibit, Paris exposition, 1900
Black exhibit initiated by Thomas Calloway
executed by W.E DuBois
no negative images of Negro experience
what the black artist should be representing
show that these are legal infrastructures that are hurting the "Black Codes"

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Unknown photographer, The Summit Avenue Ensemble, Atlanta c. 1900
Not an art show, it was about compiling black achievement

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Anonymous photographer, Extempo Club, Fisk University, Nashville, TN c. 1900
W.E Dubios wanted to go back to slavery, but other readings (reimaginng of self)

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Meta Warrick Fuller, Emancipation, 1913 (cast, 1999)
idea of freedom came to a head in the 1920s
man and women are the same height and the same skill-takes away the chain(a code of internal oppression)-full self awareness-coming to terms with the inner self

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Meta Warrick Fuller, Awakening Ethiopia, 1914

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Meta Warrick Fuller, Peace Halting the Ruthlessness of War, 1917

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Meta Warrick Fuller, Mary Turner, (A Silent Protest Aganist Mob Violence), 1919

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Winold Reiss, Harlem at Night, 1924
Harlem becomes the center of black work
the necessity of networking
representation of blackness in the work of artist-the stereotypical view of black subjects(big lips etc)

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Winold Reiss
African Fantasy-The Awakening, 1925

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Aaron Douglas, Study for Aspects of Negro Life: The Negro in an African Setting 1934
looking to Egypt for his imagery
has this western outlook as kind of primitive
vision of Africa was one of the past

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Aaron Douglas, Into Bondage,
"Africa of anthropology" -"dark continent

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Aaron Douglas, Aspects of Negro Life: From Slavery Through Reconstruction, 1934 (Schomburg Center, NYPL)

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Palmer Hayden, Bal Jeunesse, 1927

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Palmer Hayen, Nous Quartre a Paris c. 1930
The Janitor who paints
black face type figures

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Palmer Hayden, Midsummer Night in Harlem, 1938

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Augusta Savage, Gamin, 1929

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Augusta Savage, Lift Every Voice and Sing, 1939
represents a lot of black figures-combined modernist abstraction with realistic featured
look like greek columns

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Richmond Barthe, Black narcissus, 1929
one of the most successful of this age
very much interested in politics

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Richmond Barther, The Mother, 1934
response to lynching
gives it a religious scenario

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Richmond Barthe, African Dancer, 1932

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William H. Johnson, Cagnes, 1928-1929
very progressive movement to the way teh image is painted is more important than what is being depicted
has a radical transformation of his style

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William H. Johnson, Cafe, 1939-40
style spoke to his black identiy
not neccsarly as a black art
identified as a black art

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William H. Johnson, Nude (Mahlinda), 1939

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William H. Johnson Folk Family, 1944

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C.M. Battey Booker T. Washington, c.1908
Making of the "New Negro"
propagation of

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Jamer Van Der Zee, Future Expectation (Wedding Day), 1926
using photography as a tool for imaging
imposing pictures on the photograpy
photography as a art

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James Van Der Zee, A Member of Garvey's African Legion with his Family, 1924

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Van Der Zee, A Couple Wearing Raccoon Coats with a Cadillia, takes on West 127th Street, 1932

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Carl Van Vechtan, Paul Robeson, 1933

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Addison N. Scurlock
Mrs. Oscar (jesse williams) De Priest, 1929

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Addison N. Scurlock, Block Party, 1934

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Prentice Polk Jesse Redmond Fauset, Langston Huges and Zara Neale Hurston at Tuskegee Institue campus c.1932

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Prentice Polk, Old Character series: The Boss, 1932
uses as a narrative device
survivors of slavery, recreating characters

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Sargent Johnson, Mask 1933

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Sargent Johnson, Forever Free, 1933

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Archibald Motley, mending Socks, 1924

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Archibald Motley, The Octoroon Girl, 1925
the new questions of blackness
emerges after the mid 20s

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Archibald, Motley, Blues, 1929

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Richard Bruce Nugent, Drawing for Mulatoes #3, 1927
emergence of the new generation that wasn't afraid to critique themselves
use his work to annonce his identity as a black gay artist

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Richard Bruce Nugent Drawing (Salome series) 1947

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Malving gray Johnson, Self Portrait 1934

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Malvin Gray Johnson, Brothers,1934

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Booker T. Washington

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W.E DuBois

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Alain Locke

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Post great depression

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looked to mexican muralists the kind of imagery that was associated with the new deal
rethink African American history

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Jacob Lawerence

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outside of aesthic

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Elizabeth Catlett

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Hard working subjects
particularly women-as a laborar

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Hughie Lee-Smith

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use an illustrative style to grapple with his own identity
surrealist tendencies

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Jacob Lawrence, Interior Scene, 1937

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Jacob Lawrence, The Migration of the Negro #1: During the World War there
was a great migration North by Southern Negroes, 1940

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Jacob Lawrence, The Migration of the Negro #52: "One of the largest race riots
occurred in East St. Louis," 1941

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Jacob Lawrence, War #6: The Letter, 1946

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Elizabeth Catlett, Tired, 1946

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Elizabeth Catlett,
Sharecropper, 1952

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Charles White, Progress of the American Negro, 1939-‐40

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Charles White, Work, 1953

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Hale Woodruff, Mutiny Aboard the Amidstad, 1839, #1, 1939

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Hale Woodroff, Art of the Negros: Native Forms, 1950

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Hughie Lee Smith, Artist Life No. 1, 1939

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Hughie Lee Smith, Street Scene, 1952

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Hughie Lee Smith, After the Festival, 1954