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#4168: NYT Obit of Jacob Lawrence : A comment
From:JPS390@aol.com
keywords: Jacob Lawrence, art
Interesting editorial blunder:
"In 1937, he began work on his first multipart narrative, the Toussaint
L'Ouverture series, 41 small works done in water-passed tempera paint --
thereafter, his preferred medium -- on paper. Dramatizing Haiti's
struggle for independence and focusing on the exploitation of farm
workers by colonial settlers, the paintings' high colors and puzzled-together
abstract patterns established the distinctive style for which Mr. Lawrence
would gain fame."
"...farm workers..."? That implies being paid.
Patrick Slavin
June 10, 2000
Jacob Lawrence Is Dead at 82; Vivid Painter Who Chronicled Odyssey of
Black Americans
By HOLLAND COTTER
The Associated Press (top); Phillips Collection (bottom)
THE STORYTELLER The painter Jacob Lawrence, top, and the first panel of
his "Migration of the Negro" series from the 1930's.
------------------------------------------------------------------------
acob Lawrence, one of America's leading modern figurative painters and,
from the beginning of his career in the 1930's, among the most
impassioned visual chroniclers of the African-American experience, died
yesterday at his home in Seattle after a long illness. He was 82.
Mr. Lawrence's paintings, often modest in size and conceived in
narrative series, combined a finely-honed Cubist-inflected painting
style, a gift for vivid storytelling and a social consciousness shaped
by his memories of growing up in Harlem.
Jacob Armstead Lawrence was born on Sept. 17, 1917, in Atlantic City,
N.J., the eldest of three children. His father, a railroad cook,
deserted the family in 1924. The children lived in foster homes until
joining their mother in Philadelphia, after which they moved to Harlem.
There his education as an artist began when his mother enrolled him in
classes at the Utopia Children's Center, an arts and crafts settlement
house where met his first mentor, the artist Charles Alston.
After dropping out of high school at 16, Mr. Lawrence worked in a
laundry and a printing plant and began to attend classes taught by
Alston at the Harlem Art Workshop. As part of his studies, he regularly
walked the 60-block distance between his home and the Metropolitan
Museum of Art, where he developed a particular interest in the spare,
expressive narrative paintings of the early Italian Renaissance.
At Alston's studio, he met most of the prominent cultural figures
associated with the Harlem Renaissance, including the painters Aaron
Douglas and William Johnson, and the writers Langston Hughes, Alain
Locke, Richard Wright and Ralph Ellison. In 1936, he produced his first
significant body of paintings, satirical studies of Harlem street life,
documenting the neighborhood's poverty. Both the Social Realist subject
matter and expressive pared-down style that were the hallmarks of his
art were in place.
In 1937, he began work on his first multipart narrative, the Toussaint
L'Ouverture series, 41 small works done in water-passed tempera paint --
thereafter, his preferred medium -- on paper. Dramatizing Haiti's
struggle for independence and focusing on the exploitation of farm
workers by colonial settlers, the paintings' high colors and
puzzled-together abstract patterns established the distinctive style for
which Mr. Lawrence would gain fame.
Much of his other best-known work quickly followed. In 1938, he
completed 32 paintings devoted to the life of Frederick Douglass, and in
the next year a series of 31 more illustrating the life of Harriet
Tubman. In 1940 he received a grant from the Julius Rosenwald Fund that
enabled him to rent a studio -- a rundown space with neither heat nor
running water -- where he began the landmark series titled "The
Migration of the American Negro," chronicling the mass migration of
Southern blacks to the North in search of work following World War I.
The series had personal resonance for the artist. His parents had been
part of that migration, and from his childhood in Philadelphia he
remembered that "people in the neighborhood were always talking about a
new family arriving. They'd be so poor that they'd gather coals that had
dropped through the street grates and pick up old clothes when they
could find them. When we got to New York, it was the same."
The series was exhibited at the Downtown Gallery in 1941 and brought the
artist national renown. Fortune magazine reproduced 26 of the images in
its pages. The Museum of Modern Art in New York and the Phillips
Collection in Washington vied to acquire the complete work. They finally
purchased it jointly, dividing the paintings in half by odd and even
numbers. It was last exhibited as a whole at the Modern in 1995. More
than two dozen of the paintings are now on view in the museum's "Making
Choices" exhibition.
In 1943, Mr. Lawrence joined the Coast Guard and was assigned to the
Navy's first integrated troop carrier. With his captain's help he obtain
a rank of petty officer, third class, which allowed him to continue
working at art, with the stipulation that he depict Coast Guard life. A
series of paintings that resulted was exhibited at the Museum of Modern
Art.
In 1946 Mr. Lawrence was invited by Josef Albers to be an instructor at
Black Mountain College in North Carolina, an experience which had a
formative effect on his future work as a teacher. He made Albers's
Bauhaus method of teaching based on aesthetic principles of composition,
line and color theory his own.
In October 1949, he had himself admitted to Hillside Hospital in Queens
for what his doctor described as "nervous difficulties neither
particularly complicated nor unique." Mr. Lawrence remained in the
hospital for nine months. After leaving, he returned to his earlier
themes of city life, in paintings that became more intricately
patterned; he described the series, titled "Theatre," as a
"staccato-type-thing -- raw, sharp, rough."
His main focus during the 1950's and 60's, though, was on the explosive
political atmosphere surrounding racism in America. In his work from
these years, he addressed the subjects of intermarriage and
discrimination in public schools, and documented the progress of the
civil rights movement.
In 1962 he traveled to Nigeria for an exhibition of his "Migration"
series, then returned in 1964 to live and work there for nearly a year.
By the end of the 1960's the look of his work had began to change
somewhat. His signature primary-color palette muted toward gray, and his
narrative assumed the crisp graphic quality of illustration. Political
struggles were replaced by images of racial harmony, with blacks and
whites working together.
Between the 1970's and 90's, he completed many commissioned pieces in
the form of prints and murals. In 1997 he designed a 72-foot-long mosaic
which is scheduled to be installed in the Times Square subway complex at
Broadway and 42nd Street in 2001. He was still painting until a few
weeks before his death, and was scheduled to have an exhibition of new
work at D.C. Moore, his Manhattan gallery, in November. Instead, a
memorial retrospective will be presented.
Mr. Lawrence was the subject of three career retrospectives. The first
was at the Brooklyn Museum of Art in 1960, the second at the Whitney
Museum of American Art in 1974 and the third at the Seattle Art Museum
in 1986. A fourth retrospective is scheduled for the Phillips Collection
for 2001.
His work is in the collection of numerous museums; those in New York
include the Metropolitan Museum, the Modern, the Whitney Museum of
American Art, the Studio Museum in Harlem and the Brooklyn Museum.
In addition to Black Mountain, he taught at the Art Students League,
Pratt Institute, and the New School for Social Research, all in New York
City, and at the Skowhegan School in Maine.
In 1970, he took a job as visiting artist at the University of
Washington in Seattle and was appointed full professor the next year. He
retired with emeritus status in 1986. Harvard University, Yale
University, Howard University, Amherst College, and New York University
were among the 18 schools that awarded him honorary degrees.
His non-academic honors included the National Medal of Arts, given to
him by President George Bush, and the Spingarn Medal, the highest honor
awarded by the N.A.A.C.P.
Mr. Lawrence was a meticulous and systematic craftsman.
When working on a series, his method was fixed: after completing the
preliminary drawings for the entire series, he laid the pages out across
a room, then applied one color a time to each -- all the reds in one
session, all the blues in the next -- thereby insuring tonal consistency
throughout.
Equally crucial to quality control was the presence of his wife, the
painter Gwendolyn Knight, whose evaluating eye he relied through the 59
years of their marriage, and who survives him. In 1999, he and his wife
established the Jacob and Gwendolyn Lawrence Foundation for the
creation, presentation and study of American art, with a particular
emphasis on work by African-American artists. The Foundation is planning
to establish an art center Harlem in the artist's name.
Mr. Lawrence's painting technique was spare, and his ideas complex. The
same was true of his artistic credo. "I paint the things I know about
and the things I have experienced," he once said. "The things I have
experienced extend into my national, racial and class group. So I paint
the American scene."
Copyright 2000 The New York Times Company