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 ...
American painter . Bannister grew up in St Andrews, a small seaport in New Brunswick, Canada. His interest in art was encouraged by his mother, and he made his earliest studies, in drawing and watercolour, at the age of ten. After working as a cook on vessels on the Eastern seaboard, he moved in 1848 with his brother to Boston, where he set up as a barber serving the black community. During the 1850s and 1860s he learned the technique of solar photography, a process of enlarging photographic images that were developed outdoors in daylight, which he continued to practise while working in Boston and New York. Documented paintings from this time include religious scenes, seascapes and genre subjects, for example the noted Newspaper Boy (1869; Washington, DC, N. Mus. Amer. A.), a rare study of urban black experience.
In 1870 Bannister and his wife moved to ...
Betty Kaplan Gubert
Edward Mitchell Bannister was the first of two sons born to Edward and Hannah Alexander Bannister. His father was from Barbados; his mother, who was probably of Scottish descent, was a native of St. Andrews, New Brunswick, and fostered her older son's love of drawing. His father died when Bannister was six; his mother died in 1844. The two boys were sent to live with a wealthy white lawyer, Harris Hatch, and his family. They worked on the Hatches' farm but had access to the Hatches' library, which was filled with books and with paintings that Bannister copied incessantly.
Following the path of many young men who lived in coastal communities, Bannister went to sea, working on fishing boats and schooners. He settled in Boston in 1848 laboring at menial jobs before he learned the skilled trades of barbering and women s hair styling He ...
Pamela M. Fletcher
painter, was born in St. Andrews, New Brunswick, Canada, the son of Hannah Alexander, a native of New Brunswick, and Edward Bannister, from Barbados. While his birth date has generally been given as 1828, recent research has suggested that he was born several years earlier. After the death of his father in 1832, Edward was raised by his mother, whom he later credited with encouraging his artistic aspirations: “The love of art in some form came to me from my mother. … She it was who encouraged and fostered my childhood propensities for drawing and coloring” (Holland, Edward Mitchell Bannister, 17). His mother died in 1844 and Edward and his younger brother William were sent to work for a wealthy local family where he was exposed to classical literature music and painting Edward s interest in art continued and an early biography of the ...
María de Lourdes Ghidoli
who specialized in portraiture. Blanco de Aguirre received artistic training in Florence (Italy) thanks to a grant from the presidential administration of Domingo Faustino Sarmiento (1868–1874). Although nineteenth-century publications highlighted his work as an oil painter, the three pieces that Blanco de Aguirre is best known for are pencil drawings: Retrato de José Mármol (1871), El negro Falucho (1889), and Heroísmo del negro Falucho (1889). In 1888 Blanco de Aguirre wrote a book (Colección de Artículos Literarios) that authorship offers ample information on Blanco de Aguirre’s childhood and adolescence.
Blanco de Aguirre was born in a rural part of San José Uruguay in the 1850s to a humble family of farmers According to Blanco de Aguirre himself because of his interest in studying and limited access to formal education his family placed him under the tutelage of Colonel Manuel Fernández ...
missionary, parish priest, and religious educator, was born in Senegal on 16 April 1814, the same day that Napoleon Bonaparte left France for exile on the Island of Elba. Two years later Britain ended its occupation of Senegal and returned the fortified island territories of Gorée and Saint-Louis to France. The island of Saint-Louis du Sénégal, founded by France in 1659 as a strategic site in the period of the trans-Atlantic slave trade, gained a reputation as a cosmopolitan Atlantic port city shaped by patterns of intermarriage between African women (Signares) and European administrators, merchants, and soldiers. The son of Marie Monté, a “free mulâtresse,” and Pierre Boilat, member of the merchant marines, David Boilat came from the small but growing class of mixed race inhabitants who closely identified with the Catholic Church and sought the privileges of French education despite their relative isolation from French culture.
In 1816 ...
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 ...
was born near San Fernando, in the south of Trinidad, on 20 September 1813, into a well-off mixed-race (African/European) family. His parents were François and Rose Debonne Cazabon. His family belonged to the community known in the British Caribbean as the “free coloreds,” and it was French in language and cultural orientation. The Cazabons owned a sugar estate and enslaved laborers in the south of the island—like the Philips, the family to which Jean-Baptiste Philip, who led the free coloreds’ campaign for legal equality with whites in the 1820s, belonged.
Cazabon received his secondary education in England, at St. Edmund’s College, Ware, a Roman Catholic establishment. He began drawing and painting there. In his early twenties, he went to Paris to study art, supported by the proceeds of the sale of the family sugar estate. He lived in France between 1837 and 1848 exhibiting and selling his paintings ...
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 and Wendy Jean Katz
African American painter. A self-taught artist and landscape painter of the Hudson River school tradition, Duncanson was the first African American artist to receive international recognition (see fig.). Born into a family of painters and handymen, Duncanson first worked as a house-painter and glazier in Monroe, MI. By 1841 he was in Cincinnati, OH, where he learnt to paint by executing portraits and copying prints. Throughout the 1840s he travelled as an itinerant artist between Cincinnati, Monroe, and Detroit. His early work included portraits, including those of local abolitionists and educators, as well as a few genre subjects and ‘chemical’ paintings for paying exhibition.
Around 1850 Duncanson was awarded his largest commission, the murals for the Cincinnati estate Belmont, formerly the Martin Baum House (now Cincinnati, OH, Taft Mus.), then owned by prominent art patron Nicholas Longworth (1869–1931 These consist of eight landscape panels 2 77×2 21 ...
Joseph D. Ketner
Robert S. Duncanson was born in Fayette, New York, the son of John Dean Duncanson, a carpenter and handyman, and Lucy Nickles. His 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 Duncanson, along with his four brothers, was raised in the family trades of housepainting, decorating, and carpentry, a legacy of his grandfather's bondage. At the age of seventeen, after several years of apprenticeship, Duncanson entered into the painting trade with a partner, John Gamblin, advertising as “Painters and Glaziers.”
For unknown reasons the painting partnership ...
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 Rio de Janeiro. Monteiro was known for his voracious reading, a strong interest in color and technique, and a wide range of subjects including history and genre paintings as well as landscapes. Although Firmino Monteiro’s style maintained many conventions of the Brazilian academic tradition, his early embrace of painting en plein air produced a fresh, sometimes sentimental palette for landscapes and seascapes captured in the moment.
Little has been written about Firmino Monteiro’s private life or temperament. Death notices from 1888 indicate an unnamed wife and children. A posthumous lithograph portrait by Angelo Agostini (1843–1910 an Italian illustrator well known for his abolitionist sympathies depicted a solitary confident man of color in three quarter profile Arms crossed at his chest and sporting a mustache the artist wears a suit and tie To the sitter s right rests a palette and brush To his left through ...
Donna M. Wells
artist, photographer, and entrepreneur, was born in Alexandria, Virginia, to Thomas Freeman and Sarah Freeman. Following his father's death, in 1877 he and his sister Delilah moved with their mother to Washington, where Freeman attended Washington, D.C., public schools and excelled in drawing and painting. It is not known if he finished high school. He held a variety of jobs, including laborer and waiter, to help support the family.
In 1885, at the age of seventeen, Freeman started to advertise his services as a painter in addition to art framer and bicycle repairman. Gradually he began to pursue a career as an artist and photographer. His early work consisted of pastel drawings of Washington's elite African American community. His most famous portraits were of the Washington lawyer John Mercer Langston, completed in 1893, and of the abolitionist Frederick Douglass in 1895 That ...