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 ...
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 ...
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 ...