Harlem Renaissance
The New York City neighborhood of Harlem fostered African American achievements in the humanities such as art, music, and literature. Many African Americans were fleeing the South and sought New York City as an asylum. The exodus was brought to the community of Harlem. Due to a surplus in housing available in the community, many families took the opportunity to find a home in Harlem ("National Gallery of Art"). The exodus from the South to Harlem lead to the cultural movement known as the Harlem Renaissance.
Aaron Douglas was born in Topeka, Kansas on May 26, 1899. He used the early modern art form of cubism, geometry, and abstractions. Douglas was a member of the Harlem Artists Guild (Crée). He was famous for his murals and particularly those depicting the Jazz Age. In this piece, Douglas wrote Harriet Tubman “as a heroic leader breaking the shackles of bondage and pressing on toward a new day” (Skufca).
The concentric circles of gradient blue and green tones focus the eyes on the center silhouette, Harriet Tubman from the title of the piece. Opposite the concentric circles, a spotlight-like glimmer further centers our attention on the silhouette. One part of the piece I find interesting is how history is captured through the silhouettes. By moving from left to right, the narrative of African American history is brilliantly told (“Aaron Douglas Artworks & Famous Paintings”). In the center, we find Harriet Tubman atop a hill. The emotions of struggle and emancipation are shown in her breaking apart chains of bondage. The piece invokes warmth and optimism in me. The idea of liberation is wrought with emotions, as Aaron Douglas immaculately captures.
Augusta Savage was born in Green Cove Springs, Florida on February 29, 1892. Born Augusta Christine Fells, she was an American sculptor and educator "who battled racism to secure a place for African American women in the art world" (Encyclopædia Britannica). She was a co-founder of the short-lived Harlem Artists Guild that had raised and educated many young African American artists. In this piece, her young nephew "Ellis Ford modeled for this sculpture in 1929 while he and his family were living with her in Harlem..." (Smithsonian American Art Museum).
Savage's sculpture of her nephew brings the artist back in time to the 1920s. The tilted cap demonstrates a kind of youth that opposes wearing things as they were intended to be. The cap was "commonly worn by newspaper boys and other working youth" (Smithsonian American Art Museum). Although the attire is typical of working youth, the personality of the nephew is independent of what others may think. The sideways glance of the nephew shows curiosity or confusion as if he was in the middle of overhearing a conversation. It is incredibly striking how much life Savage was able to instill into the sculpture through such details. I particularly enjoy how Savage kept the medium of the piece prevalent by not smoothing out the contours of the plaster on the clothing like classical Greek statues. The unique undulations and divots created by the plaster medium add to Savage's unique style. By contrast, the face and physical features of the boy are smoothed out to appear life-like.
James VanDerZee was born on June 29, 1886, in Lenox, Massachusetts. He was a known photographer known for "recording Harlem's growing middle class" ("James VanDerZee"). Many of his works portray the livelihood of African Americans and the struggles they faced. He was dedicated to documenting the African American experience through a lens.
I find myself relating to this piece in many ways. The photo was taken in the GGG Photo Studio where children gather "around a luminous Christmas tree for a festive group portrait" (VanDerZee). As Harlem's resident photographer, this photo seems to be a part of an annual tradition at Christmas time. I enjoy how the children are arranged in the photo. It seems as though they organized themselves and the personalities of each child are shown in where they placed themselves. The allegorical backdrop of Roman columns and Mediterranean greenery transport the youth to a different time. It seems that James is paying homage to classical art in the backdrop. The Christmas tree in the middle is adorned with strands of gold and silver, the only color to pop out in the silver-printed photo. VanDerZee created an ambiance of elegance and through his classical backdrop, shimmering Christmas Tree, and retouching.
Works Cited
“Aaron Douglas Artworks & Famous Paintings.” The Art Story, www.theartstory.org/artist/douglas-aaron/artworks/#pnt_3.
“Augusta Savage.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 22 Mar. 2021, www.britannica.com/biography/Augusta-Savage.
“Augusta Savage.” Smithsonian American Art Museum, americanart.si.edu/artist/augusta-savage-4269.
Crée, Elle, et al. “How African American Art and Culture Blossomed During the Harlem Renaissance.” My Modern Met, 22 Feb. 2021, mymodernmet.com/harlem-renaissance/.
“James VanDerZee.” Smithsonian American Art Museum, americanart.si.edu/artist/james-vanderzee-6593.
Lawrence Christopher Skufca, J.D. “Harriet Tubman Mural.” Camden Civil Rights Project, 5 Jan. 2016, camdencivilrightsproject.com/2015/09/07/harriet-tubman/.
“National Gallery of Art.” Harlem Renaissance, www.nga.gov/education/teachers/lessons-activities/uncovering-america/harlem-renaissance.html.
VanDerZee, James. “GGG Photo Studio at Christmas.” Smithsonian American Art Museum, americanart.si.edu/artwork/ggg-photo-studio-christmas-33970.
Thank you Gerald for your blog. It is really insightful to see the works you have presented by Harlem Renaissance artists. The message is rather clear that the Harlem Renaissance is a celebration and liberation African American achievements. The celebration be it through sculptures, paintings, or photography each in combination show a life well-lived during the Harlem Renaissance. I quite enjoy aesthetics and emotions that the sculpture as provided by Savage. The life-like depiction of a young boy consistent with the times uniquely allows us to connect more deeply with that Renaissance. It is as if we can walk up to the sculpture and speak to and relate to the emotions of 'Gamin'. I consider the range of artists that came about from the Harlem Renaissance in relation to the time period of the early Modern era and wonder if this 'Harlem Renaissance' can transcend that time period and continue onwards into today?
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