Help
Options
Didn't know it?
click below
click below
Knew it?
click below
click below
Don't Know
Remaining cards (0)
Know
retry
shuffle
restart
0:00
Embed Code - If you would like this activity on your web page, copy the script below and paste it into your web page.
Normal Size Small Size show me how
Normal Size Small Size show me how
African American Art
20th-Century African American Art Part I & II
| Question | Answer |
|---|---|
| Still Life, 1921 | William H. Johnson: His style change from mural to abstract and narrative painting |
| Jacobia Hotel, 1930 | William H. Johnson: In the 1930s the Jacobia had fallen into disrepair and was used as a brothel. Johnson painted this scene in the expressionist style that he had adopted while in Europe, but he was arrested for loitering. |
| Young Man in a Vest, 1939 | William H. Johnson: Depicts a thinking man and the issue of black man face at the time of segeration in America |
| Self Portrait, 1937 | William H. Johnson: Know for his witty and poignant scenes of African American daily life. The cigar pipe and the smoker jacket both symbolize his worth and fortune as an African American painter. |
| Migration of the Negro, Panel 50 Race Riots, 1940-41 | Jacob Lawrence: Race riots were very numerous all over the North because of the antagonism that was caused between the Negro and white workers. Many of these riots occurred because the Negro was used as a strike breaker in many of the Northern industries |
| Migration series-Panel 1, 1941 | Jacob Lawrence: Broad in scope and dramatic in exposition, this depiction of African-Americans moving North to find jobs, better housing, and freedom from oppression. |
| Girl in a Red Dress, 1934 | Charles Alston: It depicts realism and the woman's longated neck and dark complexion |
| Yellow Hat, 1936 | Norman Lewis: Is the symbolism of socialist with an isolated female surrouned by color of murals. The head bows down covering up her face and foucses on the hat whihc was a fashion statement during that time period. |
| Woman Holding a Jug, 1932-33 | James Porter |
| Negro Mother & Child, 1940 | Elizabeth Catlett: Depicts the protection of the child and the strength of the mother, the expose breast symbolizes the nuturing of being a mother. |
| Pensive, 1946 | Elizabeth Catlett: Represents the aftermath of WWII with all the jobs nad lives being afected |
| Southern Cabins, 1930 | Lois Mailou Jones: Started her research to learn how black people lived down south |
| Les Fetiches, 1938 | Lois Mailou Jones: has merged an African art 'legacy' with the surrealistic tendencies of l'art nègre, reinvigorating the African mask, sculpture and spirit and transforming them from objects of a French colonial fixation to expressive yet problematic co |
| The Ascent of Ethiopia, 1932 | Lois Mailou Jones: Depicts the journey of African Americans who, through years of sacrifice, have established a heritage built on their trials and tribulations. Displays how they pride themselves on their accomplishments and achievements. Reveals how the |
| Emancipation Proclamation, 1913 | Meta Warrick Fuller: The 50th anniversity of the abolishement of slavery, shows several of life size images. One person is a woman who covers her face torn by embrassment of her status in society. Another is a man standing vividly strong. |
| Ethiopia Awakening, 1914 | Meta Warrick Fuller: It symbolized the emergence of the New Negro and black people to the consciousness of nationhood and anti-colonialism. The sculpture was of a woman whose lower half was wrapped like a mummy, with the head of a beautiful African woman |
| Mary Turner, 1919 | Meta Warrick Fuller: The slient protest of Mary Turner grusume death, she was lychned and burn along with her unborn child. This moralize and awakening the defince od African Americans to march |
| Mother and Child, 1914 | Meta Warrick Fuller: Depicts many African woman protecting their child from the harsh conditions of living in the southern states of United States during the 1900's. |
| Jason, n.d. | Meta Warrick Fuller |
| Crucifixion, 1927 | Aaron Douglas: The message comes alive in a visual sense that strikes out at the core of American political, social racism, tragic conditions of black slavery, human deprivation, and the denial of the black man’s existence |
| Aspect of Negro Life-From Slavery Through Reconstruction, 1934 | Aaron Douglas: Douglas's style, with graphically incisive motifs and the dynamic incorporation of such influences as African sculpture, jazz music, dance, and abstract geometric forms |
| Fetiche et Fleurs, 1926 | Palmer Hayden: It expresses the culture and traditions of the African and African-American culture.He wanted to describe an ordinary daily routine of African-Americans. To achieve African culture and tradition into a more modern, stylistic expression. |
| The Subway, 1930 | Palmer Hayden: Depicts the sterotypical image of the African American |
| Mending Socks, 1924 | Archibald J. Motley, Jr: Depicts his parental grandmaother and the importance of work and education representing the first generation of African Americans getting a degree |
| Octoroon Girl, 1925 | Archibald J. Motley, Jr: Depicts the one drop rule of Africans Americans and Mulattos. Also display the passing category of population |
| The Old Snuff Dipper, 1928 | Archibald J. Motley, Jr: Depicts the southern roots and the tradition of African Americans brought with them from Africa |
| Discontent, 1925 | Elizabeth Prophet: Full of pain, it also expressed as stoicism, determination and spirituality, “the result of a long emotional experience, of restlessness, of gnawing hunger for a way of attainment |
| Head of Cossack, 1926 | Elizabeth Prophet: The protriat of head shaped sculpture in wood had a visage quite smiliar to that of Poise, but softly polished brown woood excudes greater warmth. The cossack is indentify by his tall structure thought of intellegence and wisdom |
| Negro Head, 1928-29 | Elizabeth Prophet: Depicts the image of a African American the lips are firmly closed, the short smooth hair fits like a cap the forehead is broad |
| Gamin, 1930 | Augusta Savage: A plaster model of her nephew Ellis Ford |
| Lift Every Voice and Sing (Harp), 1939 | Augusta Savage The plaster monumental sculpture standing 16 feet (5m) tal. Shows the contribution of Afro American in music. The hands curl up symbolizes God's gift. It was destroyed at the county fair caused Savage to not work again. |
| Abstract Art | art that has no recognizable subject (non-objective and non-representational) large curvilinear shapes and geometric hard-edge and angular shapes. |
| Abstract Expressionism | a movement in painting that emerged in New York in the mid-1940s. The first significant art movement in America. It is marked by an attention to surface qualities of painting (improvisational). |
| Black Aesthetic | stems from the Black Art Movement that subscribes to art that is political, with a social agenda. |
| Collage | both a technique and type of art, but not a style. The sticking of paper or other media to a two-dimensional surface. The most common form of appropriation (postmodernism). |
| Conceptual Art | an international art movement of the mid-1960s-1970s that required the viewer to participate by trying to conceive the artist’s statement |
| Congress of Racial Equality (CORE) | integrated bus-loads of young people, (white and black) called Freedom Riders, who challenged interstate laws and practices throughout the South. |
| Hard-edge painting | flat areas of colour are circumscribed within carefully delineated forms as part of a formal investigation of colour and design problems. |
| March on Washington | the Poor People Campaign’s For Jobs and Freedom. An event where hundreds of thousands of Blacks and Whites from across the nation, chanting “Free by 63,” came together in Washington, D.C. Dr. Martin Luther King, Jr., gave his landmark “I have A Dream S |
| Postmodernism | Not a movement nor a style, but rather, a new way of examining, exhibiting, and understanding art. A concept that held an appreciation for individuality and valued cultural relativity. Postmodernism played a major role in the success of African American |
| Southern Christian Leadership Conference (SCLC) | organized in 1957 as a network of non-violent activists drawn mainly from the black Church. |
| Student Nonviolent Coordinating Committee (SNCC-1960) | a wave of sit-in demonstrations put on by a multiracial student organization whose members became the front-line foot soldiers of the civil rights movement. |
Created by:
clsecr01
Popular History sets