artist, was born in Colquitt County, Georgia, son of John Henry Adams, a former slave and preacher in the Methodist Church, and Mittie Rouse. Many questions surround Adams's early life. While he reported in an Atlanta Constitution article (23 June 1902) that he came from a humble background, his father served parishes throughout Georgia. According to the History of the American Negro and His Institutions (1917), Adams Sr. was a man of accomplishment, leading black Georgians in a colony in Liberia for two years and receiving two honorary doctorates, from Bethany College and Morris Brown University. Educated in Atlanta schools, Adams claimed in the Atlanta Constitution article to have traveled to Philadelphia in the late 1890s to take art classes at the Drexel Institute of Art, Science, and Industry (later Drexel University). Drexel, established in 1891 opened its doors to a diverse student ...
Amy J. Buono
Born around 1780 in Rio de Janeiro, Amaral was best known as an artist employed by the Luso-Brazilian Court in Rio. Details of Amaral’s early life and training are scant, including his parentage, but he lived and worked in Rio, where he studied under the artist José Leandro de Carvalho (c. 1770–1834). Amaral continued his studies at the officially sanctioned course of painting and drawing in Rio created by the Marquis of Aguiar (Fernando José de Portugal e Castro, viceroy between 1801 and 1806 The school was administered by the painter Manuel da Costa de Oliveira with whom Amaral studied stage design He also worked as the assistant of José Leandro at the São João Theater Amaral s talents were quickly recognized and he was summoned to do decorative work for the court leaving the theater behind Amaral s oeuvre is especially noteworthy in that it bridged the ...
Susan B. Iwanisziw
commercial painter, artist, and activist, was born in Philadelphia, Pennsylvania, the only known child of Jeremiah Bowser from Maryland and Rachel Bustill, daughter of the prosperous black abolitionist and educator Cyrus Bustill. The intermarriage among the region's free black Quaker families headed by Cyrus Bustill, Robert Douglass Sr., Jeremiah Bowser, and David Mapps created a dynamic force that benefited all African Americans and particularly spurred David s personal growth and accomplishments Jeremiah a member of the Benezet Philosophical Society served as a steward on the Liverpool lines and later it seems he was the proprietor of an oyster house near the intersection of 4th and Cherry Streets where David Bowser first hung up his sign as a commercial painter Later the Bowser family moved to the Northern Liberties section of Philadelphia into a house at 481 North 4th Street where Bowser remained for the ...
Lydia Milagros González García
was born in San Juan, Puerto Rico, on 23 December 1751 to Tomás de Rivafrecha y Campeche, a painter, decorator, and gilder, and María Jordán y Marqués, a free white woman. Tomás was a black man and former slave who had purchased his freedom from his slaveowner, Cathedral Canon Don Juan de Rivafrecha. It has been assumed that José dispensed with the name Rivafrecha to be rid of the name of his father’s master and to accentuate his birth as a freeman. In historical documents, Campeche, a mulatto, was referred to as a pardo, a designation based on skin color and birth used in the Spanish casta system José s paternal ancestors black slaves have been traced back three generations but little is known of his mother s family except that she probably came from a family of artists and craftspeople from Tenerife in the Canary Islands located ...
Born in San Juan, Puerto Rico, Campeche was the son of a free black father and a Spanish-born mother. Campeche started drawing at an early age, influenced by his father, who was an artisan. He later had contact with the Spanish painter Luis Paret, who was exiled for three years (1775–1778) in Puerto Rico. Paret, a more experienced and formally trained painter, greatly influenced the style of the gifted Campeche.
Campeche is best known for his paintings of religious images and political figures. Among his works we find some of the first artistic representations of blacks in colonial slave society: the Exvoto de la Sagrada Familia (around 1800, Institute of Puerto Rican Culture Collection) and the street scene in Gobernador Ustariz (1789–1792, Institute of Puerto Rican Culture Collection). Another example is the artist's lost Self-Portrait that survives in two copies done by Ramón ...
pioneer of abstract painting, was born Edward Clark in the Storyville section of New Orleans, Louisiana. Little is known about his family, but they moved north during the Depression, and he was raised in Chicago.
Following service in the U.S. Air Force, Clark attended the School of the Art Institute of Chicago under the G.I. Bill from 1947 to 1951. At the Art Institute, he met abstract painter Joan Mitchell, with whom he developed a lifelong friendship, and the impressionist painter Louis Ritman, who was an encouraging instructor. During this period, Clark's work was traditional and figurative. But Clark's frustration with the Institute's academic restraints, such as the directive to avoid oils during this period, led-him to create an experimental self-portrait that took two years to complete. The classic head-and-shoulders depiction was set against a Renaissance landscape consisting of subtle layers of stippled watercolors.
In 1952 Clark ...
painter, illustrator, and graphic artist, was born in Brooklyn, New York, the second oldest of nine children of Herbert and Irene Crichlow, immigrants from Barbados. Using his bricklaying and plastering skills, Crichlow's father made beautiful, patterned ceiling decorations that Ernest recalled as his earliest artistic inspiration. In the 1920s Crichlow won his first artistic commission: a neighborhood preacher paid him and a close friend to paint a black Jesus on a window shade. Not only did this assignment encourage Crichlow to pursue a career in art, it also marked the beginning of his work with black subjects.
Realizing Crichlow's artistic potential, his art teachers at Haaren High School in Brooklyn raised money for a scholarship for him to attend the School of Commercial Illustrating and Advertising Art in Manhattan. In a 1968 interview Crichlow recalled that he left school during the height of the Depression but whether this ...
Matthew Francis Rarey
was born into slavery in Rio de Janeiro, in the Portuguese colony of Brazil. At the time of Cunha’s birth, his mother, an enslaved woman of African descent, was working for the family of the Januário da Cunha Barbosa, a conêgo (canon priest). Manuel was given the priest’s surname. Cunha showed a talent for painting from an early age and, despite his enslaved status, began to study with João de Sousa (fl. eighteenth century), an established religious painter in colonial Rio. While Cunha was his student, Sousa likely also taught Leandro Joaquim (c. 1738–c. 1798), a mulatto painter also active in Rio. Sousa’s mastery of Brazilian baroque painting and many commissions for the city’s churches and religious orders helped to influence Cunha’s style and likely helped to expand Cunha’s professional connections.
In 1757 likely under Sousa s tutelage Cunha completed his most famous work a half length portrait of ...
Joseph D. Ketner
painter, was born in Fayette, New York, the son of John Dean Duncanson, a carpenter and handyman, and Lucy Nickles. Robert's grandfather Charles Duncanson was a former slave from Virginia who was emancipated and around 1790 moved north. Perhaps because he was the illegitimate offspring of his master, Charles had been permitted to learn a skilled trade and later to earn his release from bondage. After the death of Charles, the Duncanson family moved west to the boomtown of Monroe, Michigan, on the tip of Lake Erie. There Robert, along with his four brothers, was raised in the family trades of house painting, decorating, and carpentry, a legacy of his grandfather's bondage. At the age of seventeen, after several years of apprenticeship, Robert entered into the painting trade with a partner, John Gamblin, advertising as “Painters and Glaziers.”
For unknown reasons the painting partnership disbanded after ...
was born in Havana, Cuba, on 15 September 1734. Escalera may have been among the many freemen of African descent in Havana toward the end of the eighteenth and early nineteenth centuries who had come to dominate the trades in the city, such as blacksmithing, carpentry, painting, and sculpture. Some documents found in the archives of the Havana Cathedral hold Escalera to be an español (a man of Spanish descent) born to parents who were Cuban and Spanish whites. Aside from these few and inconclusive details regarding his racial identity, we know very little about his personal life.
Escalera is the first prolific Cuban colonial painter whom we know by name. He made his career amid commercial growth in the eighteenth-century Atlantic world and within the Spanish Empire, boosted by the reformist agendas of Charles III that followed the Seven Years’ War in 1763 Bureaucratic and military reforms ...
was born in Lima, Peru, in September 1785. He was the son of Francisco Carvajal Castro and María Leocadia Morales, freed slaves from the northern city of Trujillo who had settled in Lima. His elder brother Juan José had been born into slavery in 1776, at a time when his mother had not yet bought her freedom, and was to also marry a slave in 1799. Gil de Castro’s choice of profession and his social aspirations—evident in the extended signatures with which he inscribed his paintings—point to a persistent effort to transcend his family origins.
His biography must be largely traced through the evidence offered by his paintings, as contemporary references are extremely scarce. Little is thus known of his training, though the stylistic affinity of his early works with the paintings of Pedro Díaz (fl. 1770–1815 suggests that he may have practiced as an apprentice ...
See also Art in Latin America and the Caribbean.
Lisa E. Rivo
artist, was born in Tupelo, Mississippi, the seventh of eight children of Sam Gilliam, a carpenter and truck driver, and Estery C. Cousin, a schoolteacher. Around 1942 the Gilliams moved to Louisville, Kentucky, where Sam's artistic promise was encouraged by his parents and his teachers at Virginia Avenue Elementary School, Madison Junior High School, and Central High School, all segregated public facilities. Following high school graduation in 1951, he enrolled at the newly desegregated University of Louisville, earning a BA in Fine Arts in 1955. After serving two years in the U.S. Army, he returned to the University of Louisville and completed an MA in Painting in 1961 The following year Gilliam moved to Washington D C and married the journalist Dorothy Butler Over the next several years they had three daughters For the next twenty five years Gilliam worked as a teacher first ...
the first-native born portrait painter in New Orleans, and possibly the second documented painter of African descent in the United States (the first is believed to be Joshua Johnson of Baltimore), was born in the Crescent City, the son of Jeanne Susanne Desirée Marcos, a free woman of color, and John Thomas Hudson, a London-born merchant.
Historian Patricia Brady has traced Hudson's ancestry back three generations, to an enslaved woman, possibly born in Africa, named Annette, owned by a family named Leclerc. Annette may have been freed, but gaps in the documentary record leave this point uncertain. Her daughter, Françoise Leclerc, was purchased by one François Raguet in 1769, under a contract requiring that she be freed within six years. There is no record of any marriage, but Raguet freed her in 1772, purchased a home for her in 1776 and acknowledged her daughter Adelaide Raguet born ...
photographer, was born in Madison, Indiana, one of six children of Alexander A. Hunster, a barber, and Catherine Campbell Hunster. The Hunsters were both free blacks whose families had left the South in the mid- to late 1830s.
When Richard was only a few years old the Hunsters moved to Portsmouth Ohio where his father was employed as a barber aboard an Ohio River steamboat There is limited information available about Hunster s early life but his family apparently lived comfortably in Portsmouth Hunster and his siblings attended school although their education was probably limited to the elementary grades Growing up in a town along the river and having a father who worked on a steamboat Hunster no doubt visited the Portsmouth wharf regularly and marveled at the big paddle wheelers that plied up and down the Ohio River These childhood images of steam rising from the ...
Matthew Francis Rarey
was born in Salvador da Bahia, then capital of the Portuguese colony of Brazil, to António Feliciano Borges and Josefa de Santana. A pardo described as forro (freed), Jesus began his artistic career in the third quarter of the eighteenth century, a period of high artistic output for Bahia’s many artists of color, such as Francisco das Chagas (fl. eighteenth century). Early in his life, Jesus began studying with noted Bahian painter José Joaquim da Rocha (1737–1807) and worked as a painter’s assistant and gilder on a number of Rocha’s projects in Salvador.
In 1788 Jesus entered military service with Salvador s Fourth Artillery Regiment Later Rocha paid for Jesus to study painting at the Escola das Belas Artes School of Fine Arts in Lisbon To supplement Rocha s offer Jesus took out a loan from Salvador s Santa Casa de Misericórdia Holy House of Mercy a ...
Amy J. Buono
was born around 1738 in Rio de Janeiro. Historians and critics consider Joaquim to be one of the most important and innovative artists working in late-colonial Rio, largely because of his secular subject matter, colorful palette, and pioneering role in a “native” representation of the Brazilian landscape. Although details of his early life, including his birth date and parentage are obscure, the first clue as to his Afro-descent comes from nineteenth-century historian Cunha Barbosa (Leite, 2010, p. 373). Until his death in his eighties, Joaquim lived and worked in his native Rio. He trained under the artist João de Sousa and was a member of the Fluminense School of painting, the name given to the most prominent group of artists active in Rio de Janeiro during the eighteenth century.
Joaquim s artistic production coincided with a shift of the center of Brazil s economic political and cultural political ...
American painter, perhaps of West Indian heritage. Johnson was the first significant, identifiable African American professional painter. He worked primarily in Baltimore, painting portraits from 1796 to 1824. His career and his identity as a ‘Free Householder of Colour’ are sketchily documented in city records. He had once been a slave and apprenticed to a blacksmith, but was freed by the 1780s. More than 80 portraits have been attributed to him (see fig.). Sarah Ogden Gustin (c.1798–1802; Washington, DC, N.G.A.) is the only signed work and typifies his early style. Although the figure is woodenly rendered and awkwardly seated within a flattened space, the view through a window reveals a painterly landscape and an attempt at atmospheric perspective. Johnson’s early portraits closely resemble compositions by members of Charles Willson Peale’s family, particularly Peale’s nephew Charles Peale Polk suggesting that he may have studied under them ...
Juanita Patience Moss
abolitionist, Union soldier, barber, politician, and journalist, was born to free parents near Alexandria, Virginia. His mother was Patsy Johnson, but his father's name is unknown. At twelve, Johnson left Virginia and ventured to Philadelphia, Pennsylvania, to learn the apothecary business, but instead he decided to be a hairdresser. He moved to Albany, New York, in 1851 and became interested in the abolitionist movement. After returning to Philadelphia in 1855 he joined the Banneker Literary Society to write and speak against slavery. Later, in 1859, he was caught helping fugitive slaves escape via the Underground Railroad, and he was forced to flee the city to avoid imprisonment.
Johnson was a Freesoiler in his younger days, having trained with the old antislavery party that included such notables as Frederick Douglass, Bishop Logan, and Octavius Catto For many years a staunch Republican ...
David C. Driskell
Born probably in the latter part of the eighteenth century, Johnston lived as a slave in the vicinity of Baltimore, Maryland, until the 1830s. He had three masters, all of Baltimore. The first, General Samuel Smith, was a hero of the American Revolution (1775–1783). Smith served in U.S. president Thomas Jefferson's cabinet as secretary of the navy and later as United States senator from Maryland. The second, General John Stricker, was a hero of the War of 1812. The third, Colonel John Moale, was one of the leading military figures in the regiment that defended Baltimore against the British during the American Revolution. Moale later became a wealthy landlord, judge, and prosperous merchant. One of the three owners encouraged young Johnston to master “doing likenesses,” or portrait painting. Johnston painted a portrait of Colonel Moale's wife, Ellin Moale sitting in the company ...