This document summarizes and discusses several artworks from the early to mid 20th century that depict aspects of African American life or incorporate African influences. It describes Aaron Douglas's 1934 work "The Negro in an African Setting" which depicts dancers in Africa surrounded by circles and spirits. It also summarizes Walter Ellison's 1935 piece "Train Station" showing the racial segregation of train travel at the time. Further works discussed include a print by Elizabeth Catlett focusing on a determined female farm worker, and Romare Bearden's 1977 work "The Return of Odysseus" which pays homage to both Greek and African artistic traditions.

1. By. Tameshia Petermon
Art Appreciation I
2-02-2012

2. Study for Aspects of Negro
Life: The Negro in an African
Setting (1934)
By: Aaron Douglas
In this sketch a man and
women in Africa dance to
the beat of drums as
concentric circles of light
emphasize the heat and
rhythm of their
movements. A sculpture
floating in a central circle
above the dancers’ heads
suggests the importance of
spirits in African culture.

3. Train Station (1935)
By. Walter Ellison
The composition reflects
the social values of the
time, which prevented
members of the two races
from mixing. On the left
, white passengers board
trains for vacation in the
south, while on the
right, African American
passengers head for trains
going two northern cities
such as Chicago and
Detroit. In those
cities, black travelers hoped
to find better jobs and
living conditions.

4.  The curving
shapes of the
figures, together
with the brightly
colored flowers
and stained- glass
windows, create a
composition full
of movement and
energy.

5.  This print focuses on a
female farm worker whose
face, made rough and
leathery by years of toil, s
nonetheless determined and
concerning. Emphasizing the
triumph of the worker her
harsh conditions Catlett
represented this
poor, anonymous figure with
the strength, dignity, and
heroism generally reserved
for individuals of power.

6. The Return of Odysseus
(Homage to Pintoricchio
and Benin) (1977)
In this piece Bearden pays respect
not only to ancient Greece but also
to the artistic heritage of Europe
and Africa. Bearden recast
Pintoricchio’s figures as black and
showed them in profile, in the
manner of sculpture from the
ancient African kingdom of Benin.
At the same time, Bearden’s collage
technique, consisting of fragments
of printed photographs cut from
contemporary books and
magazines.