Term used to describe art made by Americans of African descent. While the crafts of African Americans in the 18th and 19th centuries continued largely to reflect African artistic traditions (see Africa, §VIII), the earliest fine art made by professional African American artists was in an academic Western style (see fig.).
Regenia A. Perry, Camara Dia Holloway, Christina Knight, Dele Jegede, Bridget R. Cooks, and Jenifer P. Borum
Diane Mutti Burke
fugitive slave, was born near Richmond, Virginia, on a plantation owned by the Delaney family. Despite his memories of being well treated, his father, Aleck, was sold to pay his master's debts and taken south. Rev. Delaney justified Aleck's sale by claiming that the literate slave had shared ideas about freedom with other slaves in the neighborhood. When Rev. Delaney died in 1831, Alexander's mother, Chloe, was left to Mrs. Delaney, and eighteen-year-old Alexander was left to the master's son, Thomas. Chloe Alexander died six months after Thomas Delaney took her son with him to Missouri.
Delaney settled in western St Charles County Missouri where Alexander married a local slave woman named Louisa He later sold Alexander to Louisa s master Jim Hollman when he moved from the state and the couple spent the next twenty years living with their growing family on the Hollman farm Alexander was ...
sculptor, was born in Davidson County, Tennessee, the eldest of Orange and Jane Brown Edmondson's five children. His parents were freed slaves working as field laborers. Edmondson worked for a living from an early age: he recounted boyhood memories of laboring in the corn fields of the former Compton plantation. As he got older, urban railways and housing encroached on this rural landscape three miles from Nashville, signaling economic changes and prompting many black families to resettle in the city. Edmondson's family joined this migration in 1890, a year after his father died.
His first Nashville job was for a sewer works. Later he worked for the railroads, until a leg injury in 1907 led Edmondson to take less strenuous janitorial work at the all-white Woman's Hospital. He worked in various jobs there until the hospital ceased operations. It was 1931 and Edmondson was in his mid ...
sculptor and proprietor of a large marble yard and monument business, was born in New Orleans, Louisiana, the eldest son and third child of [René] Prosper Foy (b. 1787–d. 1854), a Napoleonic veteran, marble cutter, businessman, and writer, who had immigrated to the city from France in 1807, and Azelie Aubry (b. c. 1795–d. 1870), a free woman of color, native to New Orleans. Because interracial marriage was illegal, Foy's parents never married, but their sometimes stormy union lasted from 1810 until Prosper Foy's death; Aubry subsequently referred to herself in all public documents as his widow. The elder Prosper Foy prospered in business and fought with distinction at the Battle of New Orleans in 1815. Of Foy and Aubry's children, four daughters and Florville lived to adulthood.
Florville studied with a private tutor, and all the children were well educated, judging by their copybooks and letters. In 1836 ...
Renée R. Hanson
sculptor, illustrator, ceramicist, and entrepreneur, was born in Lexington, Kentucky, the first of three children born to the Reverend Hathaway and Mrs. Hathaway. Hathaway's mother died when he was only two years old, and his father and grandmother raised him and his two sisters, Fannie and Eva.
A trip with his father to a local museum inspired Hathaway to become an artist. Walking through the museum's galleries, which were filled with busts of famous white American heroes, Isaac noticed the absence of-many African Americans, such as Frederick Douglass. He asked his father why they were absent, and the elder Hathaway simply stated that there were no trained African American sculptors to sculpt prominent African American people. The young Hathaway determined to change this by becoming a trained artist.
Hathaway began his career as an artist at Chandler College in Lexington and continued it ...
American sculptor. Born to an African American father and a Native American mother, she was the first black American sculptor to achieve national prominence. During her early childhood she travelled with her family in the Chippewa tribe, by whom she was known as Wildfire. At 12 she attended school at Albany, NY (1857–9), then a liberal arts course at Oberlin College, OH (1860–63). Lewis then went to Boston (1863) to study with Edward Brackett (1818–1908) and Anne Whitney. Her medallion of the abolitionist John Browne and a bust of the Civil War hero Col. Robert Shaw were exhibited at the Soldiers’ Relief Fair (1864), Boston; the latter sold over 100 plaster copies, enabling Lewis to travel to Rome (1865). There she was introduced to the White Marmorean Flock, a group of women sculptors, including Harriet Hosmer and ...
Edmonia Lewis often drew upon her dual ancestry for inspiration. Her best-known work, Forever Free (1867, Howard University Gallery of Art, Washington, D.C.), was inspired by the Emancipation Proclamation and the Thirteenth Amendment, the document issued by President Abraham Lincoln in 1863 calling for the freeing of slaves in the United States. Created in marble, Forever Free depicts a man and a woman who have learned of their freedom. In an expression of gratitude, the woman kneels with her hands clasped; the man rests his foot on the ball that held them in bondage, raising his arm to display the broken shackle and chain on his wrist.
Little is known about Lewis's early life. Sources give differing birth dates (1843, 1844, and 1845 and birthplaces Ohio New York and New Jersey Her father was an African American and her mother was a member ...
Lisa E. Rivo
sculptor, was born to an African American father and a mother of African American and Mississauga descent, whose names are not known. The Mississauga, a Chippewa (Ojibway in Canada) band, lived in southern Ontario. Information about Lewis's early life remains inconsistent and unverified. She was probably born in 1844 or 1845, most likely near Albany, New York. Orphaned by age nine, Lewis and her older brother, Samuel were taken in by their maternal aunts Mississaugas living near Niagara Falls Lewis joined the tribe in hunting and fishing along Lake Ontario and the Niagara River and in making and selling moccasins baskets and other souvenirs Although she later gave her Mississauga name as Wildfire Lewis s translation from the Chippewa may have been intended to authenticate her Indian background and appeal to whites She remained with the Mississauga until age twelve when Samuel using earnings amassed during the ...
Lynda Roscoe Hartigan
Edmonia Lewis was the first major sculptress of African American and Native American heritage. Her early biographical circumstances are sketchily known at best. Although Lewis claimed 1854 as her birth date, it is more likely that she was born in 1843 or 1845. Various sources, including the artist herself, claimed Greenhigh, Ohio, and Greenbush, New York, as well as the vicinity of Albany, New York, as her birthplace, but none can be verified.
Lewis s father employed as a gentleman s servant was African American her mother was a Chippewa Indian who may have been born near Albany It was she who presumably named her daughter Wildfire Lewis appears to have spent little if any time with her father and instead lived with her mother s tribe Orphaned before she was five Lewis remained with the Chippewa until she was about twelve years old As Wildfire she learned to ...
Antônio Francisco Lisboa, better known by his nickname “Aleijadinho” (the Little Cripple), was born in Villa Rica do Ouro Preto, Minas Gerais, Brazil, where he later distinguished himself as an artist during the baroque and rococo artistic periods. The Minas Gerais variant of the baroque and rococo styles is distinct; unlike the coastal states of Rio de Janeiro and Bahia, whose frequent contact with Portugal kept the art and architecture of those provinces in tune with European artistic developments, Minas Gerias's location in the interior largely insulated it from European influences. Minas Gerais was also a more recently settled province, and it had few convents or monasteries of the regular orders, which would have otherwise encouraged the duplication of European architectural designs.
During the colonial era in Latin America the church was the center of social life and the principal patron of the arts Virtually all of Aleijadinho ...
For information on
Art movements and collections: See Art, African American; Harlem Renaissance: The Vogue of the New Negro; Art Collections in the United States.
Sculptors working before 1960: See Artis; Barthé; Catlett; Fuller; Johnson; Lewis; Prophet; Savage ...
Amy Helene Kirschke
The examination of African American history and culture must necessarily include an extended exploration of the visual arts—an African American “visual vocabulary”—that examines how African Americans visually define their own collective identity and historical identity. W. E. B. Du Bois, the towering black intellectual of the twentieth century, stated that history must be explored and felt in order to know the responsibilities of the present; imagery was and is a part of that history. Past and present would meet in this imagery with frightful intensity and authentic tragedy. Art could be a means of trying to establish a new memory of the black American experience, and in doing so, discovering an identity both American and African.
Black society and white society saw the same events differently and then also recalled them differently African American visual artists had to be empowered with political rights and access to political power which ...
Neoclassical sculpture of the 19th century is often identifiable for its obvious appropriation of a classical vocabulary but also for its fealty to white marble Its medium of choice signalled not merely a refusal of colour but the ideological preference for an abstracted whiteness which held a symbolic power intertwined with contemporary racialized ideals of beauty The medium of white marble an inherent part of 19th century neoclassical sculpture functioned to mediate the representation of the racialized body in ways that preserved a moral imperative During the mid 19th century notable neoclassical sculptors their patrons and critics openly rejected the aesthetic possibilities of applied pigment applied to a medium usually white marble and material the use of various and differently coloured materials polychromy as an overtly sensual and decorative distraction that detracted from the true intention and purpose of sculpture purity of form The racial politics of neoclassical sculpture must ...