Essay On Jacob Lawrence

William H. Johnson was a successful painter who was born on March 18, 1901 in Florence, South Carolina. Johnson began exploring his level of creativity as a child, and it only amplified from there because he discovered that he wanted to be an artist. After making this discovery he attended the National Academy of Design in New York which is where he met his mentor Charles Webster Hawthorne who had a strong influential impact on Johnson. Once Johnson graduated he moved to Paris where he was exposed to different artists, various artistic abilities, and evolutionary creations. Throughout Johnson’s time in Paris he grew as an artist, and adapted a “folk” style where he used lively colors and flat figures. Johnson used the “folk” style to express the experience of most African-Americans during the years of the 1930s and 1940s.

The Black Arts movement refers to a period of “furious flowering” of African American creativity beginning in the mid-1960’s and continuing through much of the 1970’s (Perceptions of Black). Linked both chronologically and ideologically with the Black Power Movement, The BAM recognized the idea of two cultural Americas: one black and one white. The BAM pressed for the creation of a distinctive Black Aesthetic in which black artists created for black audiences. The movement saw artistic production as the key to revising Black American’s perceptions of themselves, thus the Black Aesthetic was believed to be an integral component of the economic, political, and cultural empowerment of the Black

Lawrence is best known for his epic series that grew out of this influential time. Comprising as many as sixty paintings each, these series depict such subjects as the successful Haitian slave revolt led by Toussaint L'Ouverture, Harriet Tubman's work in the Underground Railroad, the life of Abolitionist writer and orator Frederick Douglass, and the Great Migration of African Americans from southern farms to northern cities.

Lawrence himself was raised in New York after his parents moved there from South Carolina, which personally tied him to The Great Migration as his parents were part of the movement. While a young man in New York Lawrence fell in love with art produced by the Harlem Renaissance and began studying African art at the 135th Street Public Library, where he then became interested in the history behind Harlem and The Great Migration. After extensive research on the topic Lawrence learned of the depths of Southern racism as well as the hardships the migrants faced during their lives and “by drawing upon his emotional responses to them” he began planning The Migration of the Negro (The Phillips Collection 1). Once started the series became the center of Lawrence's focus and all his time poured into the project as Lawrence was devoted to his “ethnic pride and his desire to reveal events” that took place in so many African-Americans lives including his own parents (The Phillips Collection 1). Through these panels he was able to illustrate the corrupt social climate that resulted in the suffering of countless migrants. For example in Panel 22, named “Another of the social causes of the migrants’ leaving was that at times they did not feel safe,

Jacob Lawrence, an African American artist, produces two best-known collections like the Migration Series and War Series. Showing in the website, fourteen over sixteen panels are the War Series. Jacob’s War Series described his experiences that he joined the gallery during World War II. Jacob Lawrence painted the War Series when he received a Guggenheim Fellowship in 1964. Drawing the outline of an object and filling in some uniform color, he was exposing the signified of situation and people’s feeling. War Series: The Letter is an art works I like the best. The picture shows a letter on a black table and a man who presses the black table by his hands. The man is lower his head. I can feel that after he reads the letter, he is very sad. Perhaps,

Even though Jacob Lawrence grew up in the Great Depression, he still became one of the more important artists of the 20th century. As a talented abstract painter with unique style, he loved to paint differently from many artists he admired. He used his art to contribute to the fight that ended segregation. He painted not to become famous, but to change the world.

Jacob Lawrence was an African American painter, who was known for his portraits of the African American life. He was best known for his series titled, the Migration. Lawrence was born in Atlantic City, New Jersey on September 7th of 1917. After his parents separated, Lawrence and his younger siblings were put into the foster care system until his mother could support her children in New York. His education into the world of art was not only formal, but informal as well. It was formal because he learned from after-school community workshops at Utopia House and later at the Harlem Art Workshop. However, it was informal because he could observe the rhythms and activity of the streets of Harlem. Not only was he a painter but he was active as a teacher, in contrast Lawrence was active as both a painter and art educator. In 1946, he began teaching at Black Mountain College in North Carolina and would go on to teach at the Skowhegan School of Painting and Sculpture in Maine and the New School for Social Research in New York. In 1971, Lawrence became a professor of painting at the University of Washington in Seattle. “Later on in his career, he was also known for his serigraphs (silkscreens), many of them versions of series of paintings completed in earlier years, as well as for his book illustrations. Lawrence was still drawing and painting in preparation for still another series of works when he died in Seattle in 2000.” (Capozzola)

The intersection of social movements and Art is one that can be observed throughout the civil right movements of America in the 1960’s and early 1970’s. The sixties in America saw a substantial cultural and social change through activism against the Vietnam war, women’s right and against the segregation of the African - American communities. Art became a prominent method of activism to advocate the civil rights movement. It was a way to express self-identity as well as the struggle that people went through and by means of visual imagery a way to show political ideals and forms of resistance. To examine how a specific movement can have a profound effects on the visual art, this essay will focus on the black art movement of the 1960s and

At 11, Wiley’s mother enrolled him and his twin in a small art conservatory program at Cal State, and in the summer of 1989, he was sent to Russia for training in classical painting. After excelling in this program, he went on to earn his BFA from the San Francisco Art Institute and his MFA for the Yale University School of Art. Although Wiley achieved things beyond his neighborhood, he did not forget the black struggle he was familiar with growing up.

He is an artist who focuses mostly on portrait art. Most of his paintings are created from oil painting on canvas, and some of his other works are paintings that are on stained glass. Many of his paintings focus on the recreation of old historical paintings in between seventeenth through the nineteenth century art. However, instead of including the historical people in the paintings, he replaces people from history with people in the black community. He wants to break the stereotype of the identity of black people and show that he is not just a black American living in America, but something more than that. In many of his paintings, he decides to use many different types of textiles and patterns from different times to bring out his artistic technique. New York Times explains that his “subjects wear hip-hop fashion or designer gowns, and in addition to posing as kings and saints, they mimic aristocratic ladies in well-known paintings from the Louvre or masterworks of African sculpture.” (New York Times 1). He also uses the bold and colorful colors to bring the painting to life. In many of his paintings, he also brings out some of the hip-hop cultures in each of his paintings, using the different looks from the hip-hop era. One of his most famous paintings was the Napoléon Leading the Army Over the Alps, which he replaces Napoléon Bonaparte with a black

Writing in the April, 1915, issue of Crisis, DuBois said: "In art and literature we should try to loose the tremendous emotional wealth of the Negro and the dramatic strength of his problems through writing ... and other forms of art. We should resurrect forgotten ancient Negro art and history, and we should set the black man before the world as both a creative artist and a strong subject for artistic treatment."

African Americans are no stranger to discrimination. Children across American are taught about the horrific times of slavery. Following slavery, we learn about the discrimination African Americans face in the light of their bittersweet freedom. Due to this unstability, many amazing young African American artist emerged with breathtaking stories to reveal; the stories weren’t easy to expose because publishing companies and the alike were very

I like to believe that art was a way for Blacks to express their pain, hopefulness, and love that everything Black wanted and could just outright say was put into art; therefore, art was a happy place even though it expressed pain but in pain there is its own beauty. DuBois (1925:53) stated that even though Black art has both personal and universal aspects, that those two things are “combined with certain groups compulsion.” meaning that there was a Black person that spoke for the group through art. His thoughts would lead to black Aesthetic.

Art is something that can only be achieved with the manipulation of the imagination. This is successful when using objects, sounds, and words. Richard Wright and Amira Baraka brought the power of art into the limelight. Wright’s perception of art was for it to be used as a means of guidance, one that could uplift the Negro towards bigger and better goals. Baraka’s perspective of art was for it to be used as an active agent, one that could kill and then imprint society permanently. Baraka and Wright both wanted the Negro to see that there was a much brighter future ahead of them. Both wanted art to leave a stain, a stain that could not be easily erased, washed, or bleached. Both believed that Black Art had no need to be silent but instead daring.

Some of his earlier series consists of domestic interior paintings of women. Those paintings communicated a sense of human hopelessness that characterized the Great Depression of the 1930s.