Summary Of The Exhibition 'Lines Of Influenced' By Jacob Lawrence

Featured and organized by the Metropolitan Museum of Art, Romare Bearden’s collection is one that appreciates and depicts life for what it really is. Bearden did not like abstract expressionism. Instead, he made many collages depicting life with different perspectives, allowing the viewer to see reality, but also try to figure out the true meaning that Bearden meant to portray in the collage that was not directly seen by just looking at the picture. These collages were made by “Cut and pasted printed, colored and metallic papers, photostats, pencil, ink marker, gouache, watercolor, and pen and ink on Masonite” (MET Museum). Bearden liked telling narratives within these collages involving Harlem life. Whether it was on the streets, inside

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.

My analysis of how successful and how did this artwork affect the society and culture as its target

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

3-1: Compare and contrast the use of lines in the works of Vincent van Gogh and Sol LeWitt. Lines can express many things. Like Vincent Van Gogh artwork lines can express emotion, and feelings of the artist at that time. Vincent Van Gogh “The Starry Night” is example of that. He used loose and free drawing lines. The lines looked as they were out of control and free. Vincent Van Gogh used thick, bold strokes of the paint brushes to show a certain “body” of their own which is known as impasto. It was consistent through he’s artwork so it was like a signature he used. Since Van Gogh was placed at a mental facility. He painted “The starry night”. The swirls in the paint seem anger and full of emotion properly from being placed in this place.

One the most distinguished artists of the twentieth century, Jacob Lawrence was born in Atlantic City and spnt part of his child hood in Pennsylvania. After his parents split up in 1924, he went with his mother and siblings to New York, settling in Harlem. "He trained as a painter at the Harlem Art Workshop, inside the New York Public Library's 113 5th Street branch. Younger than the artists and writers who took part in the Harlem Renaissance of the 1920s, Lawrence was also at an angle to them: he was not interested in the kind of idealized, fake-primitive images of blacks - the Noble Negroes in Art Deco guise - that tended to be produced as an antidote to the toxic racist stereotypes with which white popular culture had flooded

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,

All Artist are influenced by their experience of the world, their personal and cultural beginings and stories. The history and life experience of an artist flows though their work influencing their symbols, style and meaning. Frida Khalo and Gordon Bennett are rich of example this, their art is filled with strong connection to their cultural and personal backgrounds. Khalo had a troubled life of pain and loss; the story is woven through her paintings, where Bennett art is a comment on Australian cultura and the story of his people, not just himself. The art working Diego and I (1946) and Self portrait -But I always wanted to be one of the good guys (1990) are great examples of these artist drawing on their pass.

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

Jacob Lawrence's was born in 1917 and was an acclaimed African-American artist known for his detailed works that included the Migration Series and the War Series (Duggleby 7). His style consisted of water-based paintings portraying African-Americans life experiences in blacks and browns mixed with many bright and bold colors. Lawrence’s inspirations were based on Black Aesthetics and lives of black historical figures.

Jacob Lawrence was born on September 17, 1917, in Atlantic City, New Jersey, United States.He died in his sleep on June 9, 2000, in Seattle, Washington, United States due to natural causes. Lawrence was an artist/painter. He is regarded as “one of the most acclaimed African- American artists of the twentieth century.” Jacob Lawrence should be remembered because of his skill with the paintbrush as well as his achievement in successfully depicting the struggles of African Americans. He is an inspirational figure because he had the courage and ability to criticize society through methods such as cubism. He should be honored for his contributions to modern cultural art because he took advantage of his opportunity to make art and used the chance

Imagine a life without art. Jacob Lawrence allowed his horrific experiences in Harlem, and life's misfortunes to enable him to become one the most recognized African American artists ever. “During his early childhood, Jacob was surrounded by art and attended an art school which influenced his passion” (James Lawrence Biography). Furthermore, his experience with segregation and racial bias helped influence many of his most famous pieces of art. Lastly, Jacob Lawrence's artwork helped influence and usher in an era of change in the African-American community and continues to influence African American change today.

Not long after arriving in New York, Douglas became acquainted with German artist Winold Reiss. He influenced Douglas heavily and encouraged him to look at African-American art for motivation and “develop his own racially representative work.” 1 Reiss believed that an artist should get inspiration from their own experiences and wanted Douglas to identify with his own race.

The two works of art that I have chosen to analyze are 1) Jordan Casteel. Miles and JoJo. 2014. Oil on canvas, 54” x 72” and 2) Aaron Fowler. He Was. 2015. Mixed media, 134” x 165” x 108”. The themes that these works of art represent in regards to the exhibit are love, family, and pain. However, they also fall into other thematic categories. The main theme that seems to apply to both “Miles and JoJo” and “He Was” is Human Experience. Additionally, these arts differ in some ways.