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Harlem Renaissance,[object Object],Art History,[object Object]
Harlem Renaissance intro,[object Object],Cultivation of African American culture in the 1920’s- 1940’s,[object Object],WWI created many new jobs in industrial areas many African Americans migrated to northern cities, which was called the Great Migration…,[object Object],Archibald Motley Jr.  Nightlife.  1943.  36” x 47.8 “,[object Object],Oil on Canvas.  The Art Institute of Chicago.,[object Object]
Harlem, New York City,[object Object],Harlem is a borough in New York City and was the epicenter of the Renaissance.,[object Object],During the 1910’s the Great Migration saw thousands of African American’s moving to New York City.,[object Object],Many African Americans were unable to find work in the south, and with WWI thousands of jobs were available to anyone seeking them.,[object Object],Harlem was an area affordable to most and was poverty stricken throughout the 1920’s and hit hard during the Great Depression.,[object Object],Looking from Harlem to the ,[object Object],rest of Lower Manhattan,[object Object]
Harlem Renaissance,[object Object],Many artists during the Renaissance rejected European and White American views on art and sought to express themselves in there own way.,[object Object],All mediums of artistic expression were used, visual arts, dancing, literature, music, theatre, journalism, and politics.,[object Object],Jacob Lawrence.  Migration of the Negro. 1940-41.,[object Object],Tempera on Hardboard. 18” x 12”. The Phillips,[object Object], Collection, Washington D.C.,[object Object]
Harlem Renaissance,[object Object],Was a time of great changed and laid the ground work for the Civil Rights movement in the 1950’s and 1960’s.,[object Object],There was not one distinct style of artwork made but several different individual styles emerged and influenced 20th century art for decades to come.,[object Object],After WWI the Great Depression occurred which slowly ended the Harlem Renaissance in the late 30’s and early 40’s but its impact on African American Culture and art history lives on to this day.,[object Object]
Harlem Renaissance Artists,[object Object],Aaron Douglas,[object Object],Archibald Motley,[object Object],Henry Bannarn,[object Object],Augusta Savage,[object Object],Jacob Lawrence,[object Object],Charles Alston,[object Object]
Aaron Douglas,[object Object],Painter,[object Object],Worked was influenced by modern European, ancient Egyptian and West African Art.,[object Object],Paintings are semi-abstract, feature flat forms, hard edges and repetitive geometric shapes.,[object Object],Called the Dean of African American Painters.,[object Object],Illustrations were found in The New Negro by Alain Locke and The Crisis magazine which was popular among African Americans during the Harlem Renaissance.,[object Object],B.  May 26, 1899 -February 3, 1979,[object Object]
Aaron Douglas Works,[object Object],Aaron Douglas. Study for Aspects of Negro Life: The Negro in an African Setting. 1934,[object Object],Gouache, with touches of graphite, on illustration board.  Art Institute of Chicago.,[object Object]
Aaron Douglas,[object Object],Aaron Douglas, An Idyll of the Deep South, Aspects of Negro LifeSeries.  5’ x  11’ 7”,[object Object],Oil on Canvas.   Schomburg Center, New York Public Library, 1934 ,[object Object]
Aaron Douglas,[object Object],Aaron Douglas, Aspects of Negro Life #62: Song of the Towers, 1934, Oil on Canvas.,[object Object]
Aaron Douglas,[object Object],Aaron Douglas. Into Bondage. 1936. Oil on canvas.  60 3/8” x 60 ½”.,[object Object]
Archibald Motley,[object Object],Famous for his colorful works chronicling of African American experiences during 1920’s and 1930’s.,[object Object],Highly interested in skin tone, and did many paintings of women with different African American Skin tones.,[object Object],Married a white woman and he and his wife were outcaste by their families, and this sparked his interest in color.,[object Object],Night scenes heavily influenced by jazz culture.,[object Object],Born in New Orleans, Louisiana.,[object Object],October 7, 1891- January 16, 1981,[object Object]
Archibald Motley,[object Object],Archibald Motley. The Octoroon Girl. 1925. Oil on canvas.,[object Object]
Archibald Motley,[object Object],Archibald Motley.  Blues. Oil on canvas. 1925,[object Object]
Archibald Motley,[object Object],Archibald Motley. Portrait of Mrs. A. J. Motley, Jr. 1930. Oil on canvas.,[object Object]
Archibald Motley,[object Object],Archibald Motley.  Octoroon. 1922. Oil on canvas.,[object Object]
Archibald Motley,[object Object],Archibald Motley. Nightlife. 1943. Oil on canvas. 36” x 47 ¾”.,[object Object]
Jacob Lawrence,[object Object],Referred to his work as “dynamic cubism.”,[object Object],Primary influence was the shapes and colors of Harlem.,[object Object],The migration series in Fortune magazine brought him into the spotlight.,[object Object],Dropped out of high school at 16, and was mentored by Charles Alston.,[object Object],Worked with other Harlem Renaissance artists such as Charles Alston,  Henry Bannarn.,[object Object],Worked depicts the struggles and history of African Americans.,[object Object],Works are in permanent collections at,[object Object],The Metropolitan Museum of Art,[object Object],The Museum of Modern art,[object Object],The Whitney Museum,[object Object],Brooklyn Museum.,[object Object],All of these are in NYC.,[object Object]
Jacob Lawrence,[object Object],Jacob Lawrence. The Migration of the Negro, panel 1, 1940-41. ,[object Object],Casein tempera on hardboard, 12 x 18 in. (30.5 x 45.7 cm). ,[object Object],The Phillips Collection, Washington, D.C,[object Object]
Jacob Lawrence,[object Object],Jacob Lawrence.  The Migration of the Negro, panel 3, 1940-41. ,[object Object],Casein tempera on hardboard, 12 x 18 in. (30.5 x 45.7 cm). ,[object Object],The Phillips Collection, Washington, D.C.,[object Object]
Jacob Lawrence,[object Object],Jacob Lawrence.  The Migration of the Negro, panel 14, 1940-41.,[object Object], Casein tempera on hardboard, 18 x 12 in. (45.7 x 30.5 cm). ,[object Object],The Museum of Modern Art, New York.,[object Object]
Jacob Lawrence,[object Object],Jacob Lawrence.  The Migration of the Negro, panel 49, 1940-41.,[object Object], Casein tempera on hardboard, 18 x 12 in. (45.7 x 30.5 cm).,[object Object], The Phillips Collection, Washington, D.C.,[object Object]
Jacob Lawrence,[object Object],Jacob Lawrence. The Migration of the Negro, panel 50, 1940-41.,[object Object], Casein tempera on hardboard 18 x 12 in. (45.7 x 30.5 cm), ,[object Object],The Museum of Modern Art, New York.,[object Object]
Jacob Lawrence,[object Object],Jacob Lawrence. Tombstones, 1942. Gouache on paper, 28 3/4 x 22 1/2 in. ,[object Object],(73 x 57.2 cm). Whitney Museum of American Art, New York,[object Object]
Jacob Lawrence,[object Object],Jacob Lawrence.  Self-Portrait, 1977. Gouache and tempera on paper,,[object Object], 23 x 31 in. (58.4 x 78.7 cm). National Academy of Design, New YorkArtwork,[object Object]
Augusta Savage,[object Object],Sculptor,[object Object],Teacher & worked for equal rights for African Americans in the arts.,[object Object],Father use to beat her because he thought her sculptures were sinful, he later changed his mind.,[object Object],Opened her own studio in a basement and taught future nationally known artists Jacob Lawrence, Norman Lewis, and Gwendolyn Knight.,[object Object],She had few funds and could not bronze her sculptures so many were destroyed.,[object Object],She opened two galleries that failed which made her stop working as an artist and she moved to a farm outside NYC, and never made another piece of art.,[object Object],February 29, 1892 – March 26, 1962,[object Object]
Augusta Savage,[object Object],Augusta Savage.  The Harp. Cast Plaster.  For the New York Worlds Fair.  ,[object Object],Destroyed when the fair closed because there was not a facility to hold the work,[object Object]
Augusta Savage,[object Object],Augusta Savage. Gamin. 1930. 9 1/4 x 4 1/2 x 3 1/2 in. Painted Plaster.,[object Object]
Henry Bannarn,[object Object],Primarily known for his work with sculpture.,[object Object],Equally skilled as a figurist and character artists in various mediums.,[object Object],Taught art at the Harlem community art center.,[object Object],July 17, 1910 – September 20, 1965,[object Object]
Henry Bannarn,[object Object],Henry Bannarn. Landscape.  Watercolor on paper. ,[object Object]
Henry Bannarn,[object Object],Henry Bannarn.  Unknown sculpture title.,[object Object]
Charles Alston,[object Object],American artist, muralist, and teacher.,[object Object],Illustrated album covers for Duke Ellington,[object Object],Painted murals all over Harlem, including depression era murals as part of the Works Progress Administration. ,[object Object],Directed the Harlem art Workshop with Henry Bannarn. ,[object Object]
Charles Alston,[object Object],Charles Alston.  “Again The Springboard Of Civilization.” 1943.,[object Object]
Charles Alston,[object Object],Charles Alston.  Family.  1950.  Oil on canvas.  28.7” x 37”.,[object Object]
Charles Alston,[object Object],Charles Alston.  Blues Singer.  1955.  Oil on canvas.  40” x 30”.,[object Object]
References,[object Object],http://en.wikipedia.org/wiki/Charles_Alston,[object Object],http://www.whitney.org/www/jacoblawrence/index.html,[object Object],http://www.artic.edu/artaccess/AA_AfAm/pages/AfAm_6.shtml,[object Object],http://en.wikipedia.org/wiki/Harlem_renaissance,[object Object],http://www.askart.com/AskART/interest/black_american_artists_1.aspx?id=33,[object Object],http://www.si.umich.edu/chico/Harlem/text/adouglas.html,[object Object]

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