Early Modern Art: The Influence of African Americans

     During the 1920-1930s New York City was exploding with culture and diversity. One of the more historic movements was the Harlem Renaissance, a resurgence of African American art, theatre, dance, and politics. Harlem was built with the intention of being an upper-class white neighborhood, however with rapid overdevelopment throughout Manhattan, a lot of the buildings sat empty (History). This prompted landlords to offer housing to middle-class black families, with some protest from the white residents. This however subsided as the white families moved out, and Harlem became the hub for African Americans in NYC.

    Louis Armstrong rocked the jazz scene in Harlem, while writers like Langston Hughes found themselves being published in mainstream magazines. While music, poetry, and novels were the foundation for this socio-economic influence, African American art also made a large impact that stretched far beyond the community of Harlem.

Black Belt by Archibald Motley, Chicago 1934.

    The reach of the Harlem Renaissance is seen in the painting Black Belt. This is a scene from Chicago nightlife, showing a bustling crowd on a lively street. There is a variety of characters in the painting from embraced lovers to an elderly man, a police officer, and even diners in a restaurant or club. Archibald Motley explained that he tried to paint black characters from memories of scenes he witnessed on the street (Black Artists). This painting was made to depict an area in Chicago known as Bronzeville which was a predominantly black community.

    The night-time scene is alive with color but doesn't depict strong details in the character's faces, leaving some to the imagination. We can however make out expressions on their faces such as a woman smiling next to a man, or the central figure looking burdened with his face cast down and hands in his pockets. I especially love the viewpoint here because it feels as though I myself am in this crowd, looking into the street and witnessing the life that seems to be radiating from the streets. The use of color to show light coming from the streetlights and headlights is especially lovely, as they even appear to illuminate a pedestrian's legs as she crosses the road. One part that throws me off a little is the lack of horizon from the street to the sky, and it seems as though one of the cars is driving off into the stars. It gives me the feeling that the rest of the world has melted away and nothing but this section of street matters in the moment, like this, is the center of the world. I would love to see this art piece hanging in a jazz club or similar setting, as it gives a romantic, lively feel when I look at it.

The Migration Series Panel 3, By Jacob Lawrence, New York, 1941

    Jacob Lawrence painted sixty panels in his Migration of the Negros series. The one I've shown here is panel number 3 out of that series. He worked on all sixty simultaneously and captioned each, titling them with only their number. Number three's caption reads: "From every Southern town migrants left by the hundreds to travel north" (The Art Story). Lawrence wanted to tell a story with his panels, so he did extensive research and even used eye-witness accounts to create his exhibit (The Art Story). The large migration of black families from the southern United States to the north happened from the 1910s-1970s, many settling in urban areas with large black communities such as Harlem (Archives).

    The painting shows a group of African Americans on a journey carrying their belongings, their bodies heavy, and some of their faces downcast and desperate. The figures however are grouped in a pyramid shape which depicts strength and unity among them. Birds can be seen flying overhead in the same direction as them, to show a sense of hope with freedom awaiting north. Lawrence used bold color blocks and straight lines on the figures, with the landscape and birds, and even the sky has a more curved design. I believe the brown, rolling hills are meant to be seen as the difficult journey they had to make. I appreciate the storytelling and meaning behind the project, but I will admit the art is not really my style. Still, I would love to view all of the panels collectively in an open-air art park.

Self Portrait by Malvin Gray Johnson, New York City, 1934

    Malvin G. Johnson was born in North Carolina but moved to New York City with his family, where he studied at the National Academy of Design (Illustration History). Johnson served in World War I, halting his education, however, he returned to the academy in 1923. Between 1925-1934 Johnson worked as an artist, participating in exhibits in the Waldorf-Astoria Hotel and even winning the Otto H. Khan prize from the Harmon Foundation (Illustration History). In 1934 he joined the Public Works of Art Project which paid a monthly stipend to artists as part of President Roosevelt's New Deal (Arts and Culture).

    Malvin Johnson's self-portrait is rich in color and dimension. He made himself the focal point, with an art easel at his side, and African masks just behind his shoulder, he shows the viewer he is confident in his identity as a black artist. The warm tones give an inviting feeling, as though he is saying "look into my life for a moment", further drawing the viewer in. The space has a distinct focus, but also gives a cramped feeling with his belongings so close together, as though his living space was small, showing the struggle of artists in large cities at the time. I quite enjoy how the brush strokes of his skin are blended, giving a soft texture to it and making it stand out against the background. I would love to see this painting and some of his other works such as "Brothers" in an exhibit in NYC.

Bibliography:

Harlem Renaissance - Definition, Artists & How It Started - HISTORY

Black Belt – Black Artists in the Museum (black-artists-in-the-museum.com)

Harlem Renaissance Art Overview | TheArtStory

The Great Migration (1910-1970) | National Archives

Self-Portrait - Malvin Gray Johnson — Google Arts & Culture