Joseph Delaney Harlem Renaissance Rare Sketchbook Published Book Scarce

$5,705.82 Buy It Now, FREE Shipping, 30-Day Returns, eBay Money Back Guarantee
Seller: memorabilia111 ✉️ (808) 100%, Location: Ann Arbor, Michigan, US, Ships to: US, Item: 176292122286 JOSEPH DELANEY HARLEM RENAISSANCE RARE SKETCHBOOK PUBLISHED BOOK SCARCE. JOSEPH DELANEY EXCEEDINGLY RARE  DELANEY, JOSEPH. Artists of Today: Drawings of JOSEPH DELANEY. New York: Universal Publishing Co., 1944. ROKO GALLERY 21 pp., b&w illus., one-page biog. and a brief critical statement on Delaney. Spiral binding, unprinted card covers. First ed. IN POOR SHAPE



Delaney, Joseph. (Knoxville, TN, 1904-Knoxville, TN, 1991)   Bibliography and Exhibitions MONOGRAPHS AND SOLO EXHIBITIONS: DELANEY, JOSEPH. Artists of Today: Drawings of JOSEPH DELANEY. New York: Universal Publishing Co., 1944. 21 pp., b&w illus., one-page biog. and a brief critical statement on Delaney (signed in type "W.D.A."). Spiral binding, unprinted card covers. First ed. DELANEY, JOSEPH. Thirty-six Years Exhibiting in Washington Square Art Show. March 27, 1968. Pamphlet. [See full text: http://sunsite.utk.edu/delaney/artshow.htm]. A meditation and memoir of Washington Square from an artist's perspective from the early 1930s to 1968. Des Plaines (IL). Koehnline Museum of Art, Oakton Community College. JOSEPH DELANEY: People and Sights of Urban Life. February 8-March 23, 2007. Solo exhibition. Knoxville (TN). Ewing Gallery, University of Tennessee. JOSEPH DELANEY: Retrospective Exhibition. June 6-July 20, 1986. Unpag. (36 pp.) exhib. cat., 24 b&w and 15 color illus., 2 portrait photos, notes, exhibs., colls., checklist of 70 works. Text by Sam Yates. Oblong 4to, stapled grey paper wraps. First ed. Knoxville (TN). Ewing Gallery, University of Tennessee. Life in the City: The Art of JOSEPH DELANEY. September 10-October 31, 2004. 64 pp. exhib. cat., 22 color and 45 b&w illus. Includes work in oil, pen and ink, charcoal, marker, and pastels. Pref. Sam Yates; text by Frederick C. Moffatt; 5 poems by Delaney. [Traveled to: Samek Art Gallery, Bucknell University, Lewisburg, PA, August 23-September 27, 2006.] Narrow 4to, pictorial card wraps. First ed. Knoxville (TN). University of Tennessee. JOSEPH DELANEY 1970. September 17-October 15, 1970. Solo exhibition. Brochure (?) Moffatt, Frederick C. The Life, Art, and Times of JOSEPH DELANEY, 1904-1991. Nashville: University of Tennessee Press, 2009. xxiii, 305 pp., 96 b&w and color illus., including photos of the artist, notes, bibliog., index. The first major critical monograph on Joseph Delaney. A fine scholarly study. 8vo (9.7 x 6.9 in.), cloth, d.j. First ed. Neely, Jack. Artistic Integrity. 1997. In: Metropulse March 27, 1997. Important feature artcle on the battle over the estates of Beauford and Joseph Delaney as of 1997. [http://www.metropulse.com/news/1997/mar/27/artistic-integrity/] New York (NY). Henry Street Settlement. JOSEPH DELANEY: Parades. February 5-March 14, 1982. Exhib. cat., illus. Interview with Greta Bermon. Solo exhibition. [Review: Grace Howe, "Delaney Captures Hum and Rhythm of the City's Throngs in His Art of Parades," Villager 50, no. 8 (February 18, 1982):8; Jerry Tallmer, "Painter of the City's Big Parade," New York Post (March 6, 1982):10; Guy Trebay, "Talking Heads: The Parade Passes By," Village Voice (February 10-16, 1982):67.] New York (NY). Philippe Briet Gallery. JOSEPH DELANEY. 1991. Solo exhibition. [Review: Elizabeth Hess," Village Voice 36 (February 26, 1991):51. New York (NY). Sragow Gallery. JOSEPH DELANEY: Know What You See: Flesh and Bones. N.d.. Unpag. exhib. cat., b&w illus. Brief essay by Joseph Delaney addressing the importance of anatomical accuracy in drawing and painting, followed by several sketches of nudes. White stapled wraps. New York (NY). Studio Museum in Harlem. JOSEPH DELANEY. 1971. Exhib. cat., illus. 8vo, wraps. Newark (NJ). Paul Robeson Center Gallery, Rutgers University. JOSEPH DELANEY. July 2-September 6, 1984. 9 pp. exhib. cat., illus. Texts by Alison Weld and Hildreth York. Retrospective exhibition. 4to (26 sm.), wraps. First ed. GENERAL BOOKS AND GROUP EXHIBITIONS: ALBANY (NY). Albany Institute of History and Art. The Negro Artist Comes of Age: A National Survey of Contemporary American Artists. January 3-February 11, 1945. vii, 77 pp., 63 b&w illus., checklist of 76 works by 38 artists, with 14 others mentioned as well. A major early survey. Foreword by John Davis Hatch, Jr.; essay "Up Till Now" by Alain Locke who states that the show is both "a representative and challenging cross-section of contemporary American art and, additionally, convincing evidence of the Negro’s maturing racial and cultural self-expression in painting and sculpture." The exhibition coincided with the last months of WWII and the return of the troops. Artists mentioned or included: Charles Alston, William Artis, Henry (Mike) Bannarn, Edward M. Bannister, Richmond Barthé, Romare Bearden, Eloise Bishop, Selma Burke, William S. Carter, Elizabeth Catlett, Claude Clark, Sr., Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Joseph Delaney, Aaron Douglas, Robert S. Duncanson, Frederick Flemister, Meta Warrick Fuller, Rex Goreleigh, William A. Harper, Palmer Hayden, James Herring, May Howard Jackson, Joshua Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Lois Mailou Jones, Ronald Joseph, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Edward L. Loper, Archibald J. Motley, Frank Neal, Marion Perkins, Horace Pippin, James A. Porter, William E. Scott, Charles Sebree, Thelma Streat, Henry Ossawa Tanner, Dox Thrash, Laura Wheeler Waring, James Lesesne Wells, Charles White, Ellis Wilson, John Wilson, Vernon Winslow, Hale Woodruff. [Traveled to: Brooklyn Museum of Art.] [Locke's essay is reprinted in: The Critical Temper of Alain Locke. A Selection of His Essays on Art and Culture. New York: Garland, 191-94.] [Reviews: Carter G. Woodson, The Journal of Negro History, Vol. 30, No. 2 (April 1945):227-228; "The Negro Artist Comes of Age," ARTnews (February 1-14, 1945) reprinted in ARTnews 91 (November 1992):109-10.] 8vo (9 x 6 in.; 23 cm.), wraps. First ed. APPIAH, KWAME ANTHONY and HENRY LOUIS GATES, Jr., eds. Africana: The Encyclopedia of the African and African American Experience. Oxford University Press, 1999; 2005. 5 Vols. 4500 pp., 1000 photographs, maps, illus. Expanded to 8 vols. No new information or in-depth discussion of the visual arts. Names of visual artists included in the accounts of each period of black history are often lumped into a one sentence list; very few have additional biographical entries. [As of 2011, far more substantial information on most of the artists is available from Wikipedia than is included in this Encyclopedia.] Includes mention of: James Presley Ball, Jean-Michel Basquiat, David A. Bailey, Edward M. Bannister, Richmond Barthé, Cornelius Battey, Romare Bearden, Dawoud Bey, Everald Brown, Elizabeth Catlett, Dana Chandler, Roland Charles, Barbara Chase-Riboud, Albert V. Chong, Robert H. Colescott, Allan R. Crite, Beauford Delaney, Joseph Delaney, Murry Depillars, Jeff Donaldson, Aaron Douglas, Robert S. Duncanson, Meta Vaux Warrick Fuller, the Goodridge Brothers, Rex Goreleigh, Tapfuma Gutsa, Palmer Hayden, Lyle Ashton Harris, Chester Higgins, Joshua Johnson, Sargent Johnson, William H. Johnson, Ben Jones, Seydou Keita, Lois Mailou Jones, William (Woody) Joseph, Wifredo Lam, Jacob Lawrence, Edmonia Lewis, Fern Logan, Stephen Marc, Lynn Marshall-Linnemeier, Willie Middlebrook, Scipio Moorhead, Archibald Motley, Gordon Parks, Horace Pippin, Prentiss H. Polk, James A. Porter, Elizabeth Prophet, Faith Ringgold, Alison Saar, Betye Saar, Chéri Samba, Augusta Savage, Jeffrey Scales, Addison L. Scurlock, Charles Sebree, Johannes Segogela, Twins Seven- even, Coreen Simpson, LornaSimpson, Moneta Sleet, Marvin & Morgan Smith, Renée Stout, Henry Ossawa Tanner, Hank Willis Thomas, Dox Thrash, James Vanderzee, Christian Walker, the Wall of Respect, Laura Wheeler Waring, Augustus Washington, Carrie Mae Weems, Charles White, Cynthia Wiggins, Carla Williams, Pat Ward Williams, et al. The entry on African Women Artists includes an odd and out-of-date collection of names: Elizabeth Olowu, Agnes Nyanhongo, Alice Sani, Inji Efflatoun, Grace Chigumira, Theresa Musoke, Palma Sinatoa, Elsa Jacob, and Terhas Iyasu. Hopefully future editions will follow the path of the substantially expanded edition of 2005 and will alter the overall impression that black visual artists are not worth the time and attention of the editors. [Note: Now out-of-print and available only through exorbitant subscription to the Oxford African American Studies Center (OAASC) a single database incorporating multiple Oxford encyclopedias, ongoing addiitions will apparently be unavailable to individuals or to most small libraries in the U.S. or worldwide.] 4to (29 cm.; 10.9 x 8.6 in.), cloth. Seond ed. ATLANTA (GA). Atlanta University. Atlanta University Contemporary Art Collection. 1959. 38 pp., 22 b&w illus., biogs. and illus. for: Charles Alston, Jacob Lawrence, William Palmer, and Hale Woodruff; list of 186 African American artists whose works were the prize winner purchases from the annual Atlanta University shows, 1942-1959, with titles of works. Prizewinners: 1942: William Carter, Frederick C. Flemister, Edward L. Loper, Charles Alston, Lois Mailou Jones; 1943: John Wilson, Hughie Lee-Smith, Mark Hewitt, Henry W. Bannarn, Frederick D. Jones; 1944: Cecil D. Nelson, Jr., John Farrar, John Wilson, Walter W. Smith, Frank W. Neal, Vernon Winslow, William E. Artis, Selma Burke, Mark Hewitt, James Dallas Parks, John Wilson; 1945: Henry W. Bannarn, John Wilson, Frederick Flemister, John N. Robinson (as John D.), Robert Willis, Margery W. Brown (as Marjorie), William E. Artis, Richmond Barthé, Mark Hewitt, Jenelsie Walden Holloway (as Jenelse Walden), Margaret G. Burroughs (as Margaret Goss); 1946: Joseph Delaney, Charles White, Ellis Wilson, Franklin M. Shands (painting), Leonard Cooper, Franklin M. Shands (watercolor), Richmond Barthé, Elizabeth Catlett, Charles White, Wilmer Jennings, Roy DeCarava; 1947: Frank H. Alston, Jr., Frank Neal, John Wilson, Joseph D. Atkinson, Calvin Burnett, Julia Ann Fields, William Artis, Samella Sanders (Lewis), H.E. Chandler, Hayward L. Oubré, Frank A. Wyley; 1948: Henry Bannarn, Rose Piper, Jacob Lawrence, Clarence Shivers, Calvin Burnett, William E. Pajaud, Richmond Barthé, Houston E. Chandler (sculpture), Bob Blackburn, Houston E. Chandler (prints), Hayward L. Oubré; 1949: Lois Mailou Jones, Cecil D. Nelson, Jr., Frederick D. Jones, Jr., Romeyn Van Vleck Lippman, Walter A. Simon, Charles W. Stallings, Jewel Simon, Charles White, Samella Sanders (Lewis), James H. Malone; 1950: John Howard, James Reuben Reed, Merton D. Simpson, William Hayden, Warren L. Harris, Estella W. Johnson, Eddie F. Jordan, John W. Rhoden, Samella Sanders (Lewis), Bob Blackburn, John T. Biggers; 1951: Merton D. Simpson, Walter A. Simon, Hale A. Woodruff, Richard W. Dempsey, Donald H. Roberts, Gladys W. Renwick, William E. Artis, Charles W. Stallings, Charles White, Charles W. Enoch Jr., John Wilson; 1952: Harvey W. Lee, Jr., Fred Jones, Ernest Crichlow, Samuel A. Countee, Lois Mailou Jones, Donald H. Roberts, Guy L. Miller, William E. Artis, John Wilson, Elizabeth Catlett, Patricia C. Walker; 1953: Walter H. Simon, Irvin H. Turner, Thomas E. Goodwin, Charles White, Romeyn Van Vleck Lippman, Jewel Woodward (as Woodard) Simon, John T. Biggers (sculpture), Hayward L. Oubré, Leroy C. Weaver, John T. Biggers (print), Robert A. Daniel; 1954: Jean Flowers, Romeyn Van Vleck Lipmann, Frederick D. Jones, Jr., Harper T. Phillips, John Wilson (watercolor), Henry Bannarn, Jack Jordan, Margaret S. Collins, John Wilson (print), Charles W. Stallings, Samella S. Lewis; 1955: William E. Rice, John Wilson, James Yeargans, Lois Mailou Jones, Margaret T. Burroughs, Archie Taylor, Henry W. Bannarn, Jewel Woodward (as Woodard) Simon, Howard E. Lewis, Jimmie Mosely, Robert A. Daniel; 1956: Merton D. Simpson, Frederick D. Jones, Jr., Irene V. Clark, Leonard H. Jones, Lewis H. Stephens, Gerald F. Hooper, Marion Perkins, Elizabeth Catlett, Samella Sanders Lewis, Calvin Burnett, Charles W. Stallings; 1957: Thomas Jefferson Flanagan, Benjamin Britt, Geraldine McCullough, Walter Wallace, Jewel Woodard Simon, John Wilson (watercolor), Hayward L. Oubré (sculpture), Jack Jordan, John Wilson (print), Hayward L. Oubré (print), Howard E. Lewis; 1958: Irene V. Clark, James Watkins, Cullen C. Lowe, Benjamin Britt, June Hector, William S. Carter, Guy L. Miller, Gregory Ridley, Barbara L. Gallon, Tommie E. Price, Zenobia Hammonds; 1959: David C. Driskell, Mildred A. Braxton, James Yeargans, James Watkins, Vivian Williams, Leedell Moorehead, William E. Artis, Alfred Stevenson, Hubert C. Taylor, John W. (as H.) Arterbery, Anna E. Costley. 8vo, blue paper covers, lettered in brown. First ed. ATLANTA (GA). Atlanta University. Fifth Annual Exhibition of Paintings, Sculptures and Prints by Negro Artists. 1946. Group exhibition. Purchase award winners included: Charles White (won 2 prizes), Franklin M. Shands (won both painting and watercolor categories), Richmond Barthé, Elizabeth Catlett, Leonard Cooper, Joseph Delaney, Wilmer Jennings, Ellis Wilson, Roy DeCarava. Others in the exhibition: Selma Burke, Margaret Taylor Burroughs, William L. Cooper, John Miller Howard, Donald Redvers Reid, Charles W. Stallings, Hale Woodruff. [Review: Ebony, 1 (July 1946):46-49; illus. of work by Richmond Barthé, Charles White, Donald Reid, Franklin Shands, Jenelsie Walden, Wilbert Warren, Elizabeth Catlett, John Howard.] ATLANTA (GA). Hammonds House Museum. Joseph Delaney and Damond Howard. September 16-November 4, 2007. Two-person exhibition of well known New York social realist painter and a contemporary artist whose drawings explore issues of Black male identity and subjecthood. Delaney's works in this exhibition came from the collection of his works housed at the University of Tennessee in Knoxville. ATLANTA (GA). High Museum of Art. African American Art in Atlanta: Public and Corporate Collections. May 11-June 17, 1984. 18 pp., 16 b&w illus., checklist of 72 works by 50 artists, including numerous women artists. Text by Evelyn Mitchell. Important early reference. Includes: Jim Adair, Terry Adkins, Benny Andrews, William Artis, Ellsworth Ausby, Herman Kofi Bailey, Romare Bearden, Shirley Bolton, Beverly Buchanan, Elizabeth Catlett, Floyd Coleman, Allan Rohan Crite, Michael Cummings, Joseph Delaney, Robert Duncanson, Tina Marie Dunkley, Sam Gilliam, Michael Harris, Jenelsie Holloway, Manuel Hughes, Richard Hunt, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Viola Burley-Leak, Larry Francis Lebby, Samella Lewis, Arturo Lindsay, Jerome Meadows, John M. Howard, Lev Mills, Sana Musasama, Curtis Patterson, Maurice Pennington, Robert Edwin Peppers, K. Joy Ballard-Peters, Howardena Pindell, John Riddle, John D. Robinson, Betye Saar, Thomas Shaw, Jewel W. Simon, Freddie Styles, Henry Ossawa Tanner, Carlton Omar Thompson, Yvonne Thompson, Charles White, Claudia Widdis, Sandra Kate Williams, John Wilson, and Hale Woodruff. Sq. 8vo (22 x 22 cm; 8.5 x 8.5 in.), wraps. First ed. ATLANTA (GA). High Museum of Art. Highlights from the Atlanta University Collection of Afro-American Art. October-November, 1973. Unpag. (37 pp. plus errata slip) exhib. cat., illus. Intro. by Thomas D. Jarrett; foreword by Gudmund Vigtel; text by Richard A. Long. Over 70 artists listed. Includes: James Adair, Jackie W. Adams, Charles Alston, Frank Herman Alston, Jr., Benny Andrews, John W. Arterbery, Joseph Atkinson, William E. Artis, Herman Kofi Bailey, Mike Bannarn, Ernie Barnes, Richmond Barthé, Romare Bearden, John Biggers, Bob Blackburn, Shirley Bolton, Eva Booker, Mildred A. Braxton, Arthur L. Britt, Margery Brown, Selma Burke, Calvin Burnett, Margaret Burroughs, William S. Carter, Elizabeth Catlett, Houston E. Chandler, Irene V. Clark, Floyd Coleman, Robert Colescott, Margaret S. Collins, William Leonard Cooper, Anne A. Costley, Samuel A. Countee, Ernest Crichlow, Robert A. Daniel, Roy DeCarava, Joseph Delaney, Richard Dempsey, David Driskell, Charles Enoch, John Farrar, Julia A. Fields, Thomas J. Flanagan, Frederick Flemister, Jean Flowers, Otis Galbreath, Barbara L. Gallon, Sam Gilliam, Charles Haines, Zenobia Hammonds, Edwin A. Harleston, William A. Harper, Palmer C. Hayden, William M. Hayden, June Hector, Mark Hewitt, Leon Hicks, Jenelsie Holloway, John Miller Howard, Richard Hunt, Wilmer Jennings, Estella W. Johnson, Malvin Gray Johnson, William H. Johnson, Fred Jones, Leonard Jones, Jacob Lawrence, Samella Lewis, Norma Morgan, Marion Perkins, John Rhoden, Franklin M. Shands, Jewel Simon, Merton Simpson, Henry Ossawa Tanner, Charles White, Robert Willis, Ellis Wilson, Hale Woodruff, et al. [Traveled to: Baltimore Museum of Art, January 15-February 24, 1974; Jacksonville Art Museum, FL, March 15-April 15; Minnesota Museum of Art, St. Paul, June 1-July 15, 1974; Delta Fine Arts, Inc., Winston-Salem, NC; Museum of the National Center of Afro-American Artists, Boston; Studio Museum in Harlem; DuSable Museum of African American History, Chicago.] 4to (28 cm.), wraps. First ed. ATLANTA (GA). National Black Arts Festival. Selected Essays: Art & Artists from the Harlem Renaissance to the 1980's. July 30-August 7, 1988. Ed. Crystal A. Britton. Exhibs., biogs., bibliog. Foreword by A. Michelle Smith. Texts by Richard Long, M. Akua McDaniel, Tina M. Dunkley, Judith Wilson, Dr. Leslie King-Hammond, Gylbert Coker, Lisa Tuttle, Richard Hunt, Beverly Buchanan, Lucinda H. Gedeon, Amalia Amaki, Published to accompany the inaugural exhibition of the National Black Arts Festival. 145 featured artists include: Charles Alston, Emma Amos, William Anderson, Benny Andrews, Anna Arnold, John W. Arterbery, William Artis, Ellsworth Ausby, Herman Kofi Bailey, Henry Bannarn, Ellen Banks, Richmond Barthé, Romare Bearden, Garry Bibbs, John Biggers, Camille Billops, Robert Blackburn, Shirley Bolton, Michael D. Brathwaite, William A. Bridges, Jr., Vivian A. Browne, Beverly Buchanan, Calvin Burnett, David Butler, Carole Byard, Felix Casas, David Mora Catlett, Elizabeth Catlett, Colin Chase, Ed Clark, Kevin Cole, Larry W. Collins, Noel Copeland, Lonnie Crawford, Robert S. Duncanson, Damballah (Dolphus Smith), Alonzo Davis, Roy DeCarava, Joseph Delaney, Chuck Douglas, Sam Doyle, David C. Driskell, James E. Dupree, Melvin Edwards, Michael Ellison, Jonathan Eubanks, James Few, Thomas Jefferson Flanagan, Frederick C. Flemister, Roland L. Freeman, John W. Gaines, IV, Herbert Gentry, Eddie M. Granderson, Kevin Hamilton, Michael Harris, William Harris, Palmer Hayden, William M. Hayden, Charnelle D. Holloway, Jenelsie W. Holloway, Manuel Hughes, Margo Humphrey, Malvin G. Johnson, William H. Johnson, Frederick Jones, Lois Mailou Jones, Seitu Ken Jones, Jack Jordan, Robert W. Kelly, Gary Jackson Kirksey, Frank D. Knox, Jacob Lawrence, Spencer Lawrence, Thomas Laidman, Ron Lee, Roosevelt Lenard, Leon Leonard, Samella Lewis, Henri Linton, Romeyn Van Vleck Lippman, Juan Logan, Ulysses Marshall, Richard Mayhew, Geraldine McCullough, Juanita Miller, Gary Lewis Moore, George W. Mosely, J.B. Murry, Frank W. Neal, Otis Neals, Cecil D. Nelson, Jr., James Newton, Ronnie A. Nichols, Hayward Oubré, John Payne, Maurice Pennington, K. Joy Ballard-Peters, Howardena Pindell, John Pinderhughes, Gary Porter, Hugh Lawrence Potter, Richard J. Powell, Leslie K. Price, Mavis Pusey, Patricia Ravarra, James Reuben Reed, Calvin Reid, Patricia Richardson, Gregory D. Ridley, Jr., Faith Ringgold, Malkia Roberts, Christopher Wade Robinson, John D. Robertson, Sandra Rowe, Mahler B. Ryder, Martysses Rushin, JoeSam, Jewel W. Simon, Karl Sinclair, William G. Slack, Dolores S. Smith, Hughie Lee-Smith, Mary T. Smith, Mei Tei-Sing Smith, Henry Spiller, Freddie L. Styles, Henry O. Tanner, James 'Son' Thomas, Phyllis Thompson, Chris Walker, King Walker, Larry Walker, Delores West, Charles White, Charlotte Riley-Webb, Emmett Wigglesworth, Carleton F. Wilkinson, Michael Kelly Williams, William T. Williams, Ellis Wilson, Stanley C. Wilson, John Wilson, Hale Woodruff, Richard Yarde. Oblong 4to, wraps. First ed. ATLANTA (GA). Spelman College Museum. Hale Woodruff, Nancy Elizabeth Prophet, and the Academy: Art, Activism and the African Diaspora. January 18-May 12, 2007. 216 pp. exhib. cat., illus., bibliog., index. Exhibition of over 75 works including paintings, watercolors, woodcuts by Woodruff and all 12 known existing sculptures by Prophet. Texts by Amalia Amaki, Andrea Barnwell Brownlee, Richard Long, M. Akua McDaniel, Anne Collins Smith and Mary Parks Washington. 4to (30 cm.), cloth, d.j. First ed. BEARDEN, ROMARE and HARRY HENDERSON. A History of African-American Artists from 1792 to the Present. New York: Pantheon Books, 1993. xvii, 341 pp., 420 b&w, 61 color plates, extensive bibliog.; section on Alain Leroy Locke, Charles Christopher Seifert, Mary Beattie Brady. Artists include: Moses Williams, Joshua Johnston, Robert S. Duncanson, Edward M. Bannister, Grafton T. Brown, Edmonia Lewis, Henry Ossawa Tanner, Aaron Douglas, Richmond Barthé, Archibald J. Motley Jr., Palmer C. Hayden, Augusta Savage, Malvin Gray Johnson, William H. Johnson, Hale A. Woodruff, Sargent Johnson, Charles H. Alston, Edzier Cortor, Beauford Delaney, Joseph Delaney, Alvin C. Hollingsworth, Jacob Lawrence, Norman Lewis, Hughie Lee-Smith, Ellis Wilson, William Edmondson, Elijah Pierce, Horace Pippin, James A. Porter, Lois Mailou Jones, James Lesesne Wells, Charles White, Elizabeth Catlett, John T. Biggers, Carrol H. Simms, Alma W. Thomas, Ed Wilson, James W. Washington, Jr., Richard Mayhew. Large 4to (31 cm.), cloth, dust jacket. First ed. BEARDEN, ROMARE and HARRY HENDERSON. Six Black Masters of American Art: Joshua Johnston, Robert S. Duncanson, Henry Ossawa Tanner, Horace Pippin, Augusta Savage, Jacob Lawrence. New York: Zenith/Doubleday, 1972. 120 pp., 30 b&w, 13 color plates (incl. cover color plates), index. Biographies of Joshua Johnston, Robert Duncanson, Henry Ossawa Tanner, Augusta Savage, Horace Pippin and Jacob Lawrence with many other artists mentioned: Charles Alston, J.P. Ball, Edward M. Bannister, Edmonia Lewis, Walter J. Williams, et al. 8vo (8.5 x 5.7 in.), pictorial cloth, dust jacket. First edition. Beauford, Fred, ed. Black Creation: A Quarterly Review of Black Arts and Letters Vol. 6 (1974-5). 1974-75. Includes: Charles Alston, Emma Amos, Benny Andrews ("The Big Bash." Fiction), Emmanuel V. Asihene, Cleveland J. Bellow, Camille Billops ["Contemporary Egyptian Art"], Bob Blackburn, Kay Brown, Vivian Browne, Linda Goode Bryant, Selma Burke, Elizabeth Catlett, Gylbert Coker, Art Coppedge, Eldzier Cortor, Ernest Crichlow, Roy DeCarava, Joseph Delaney, Jeff Donaldson, Aaron Douglas, Sarah Duffy, Joseph Geran, Ray Gibson, Palmer Hayden, Adrienne Hoard, Richard Hunt, Nigel Jackson, Suzanne Jackson, Rosalind Jeffries, Ben Jones, Lois Mailou Jones, Barbara Jones-Hogu, Jacob Lawrence, Norman Lewis, Samella Lewis, Tom Lloyd, Edmund Marshall, Valerie Maynard, Lev Mills, Archibald Motley, Otto Neals, Ademola Olugebefola, Hayward Oubre, et al. BELLEVUE (WA). Bellevue Art Museum. Hidden Heritage: Afro-American Art, 1800-1950. 1985. 104 pp., 59 illus. (18 color plates including cover plates), checklist of 84 works by 42 artists, notes, bibliography. Driskell's essay is an excellent general survey including numerous artists not in the exhibition. Artists in exhibition in chronological order include: Joshua Johnson, William Simpson, David Bowser, Robert Duncanson, Edward Bannister, Grafton T. Brown, Edmonia Lewis, Henry Ossawa Tanner, William A. Harper, William E. Scott. Sargent Johnson, Horace Pippin, Elizabeth Prophet, Archibald Motley, Augusta Savage, Palmer Hayden, Malvin G. Johnson, Aaron Douglas, Meta Warrick Fuller, Ellis Wilson, Hale Woodruff, Richmond Barthé, Selma Burke, Beauford Delaney, William H. Johnson, James L. Wells, Joseph Delaney, Lois Mailou Jones, James Porter, Charles Alston, Marion Perkins, Norman Lewis, Romare Bearden, Ernest Crichlow, Charles Sebree, Hughie-Lee Smith, Claude Clark, Eldzier Cortor, Jacob Lawrence, Charles White, Elizabeth Catlett, James Lewis. [Traveling exhibition.] 4to, wraps. First ed. BOLDEN, TONYA. Wake up our Souls: A Celebration of Black American Artists. New York: Abrams in association with Smithsonian American Art Museum, 2004. 128 pp., photo of each artist and 1-3 color illustrations for each, notes, glossary of art terms, bibliog., suggested reading, index. Written for young adults. Includes 32 artists illustrated with art from the Smithsonian's collection: Edward Mitchell Bannister, Romare Bearden, John Biggers, Roy DeCarava, Beauford Delaney, Joseph Delaney, Robert S. Duncanson, Melvin Edwards, James Hampton, Palmer Hayden, Felrath Hines, Earlie Hudnall, Jr., William H. Johnson, Joshua Johnson, Lois Mailou Jones, Malvin Gray Johnson, Jacob Lawrence, Edmonia Lewis, Norman Lewis, Sister Gertrude Morgan, Winnie Owens-Hart, Gordon Parks, James Porter, Faith Ringgold, Betye Saar, Augusta Savage, Renée Stout, Hughie Lee-Smith, Henry Ossawa Tanner, Alma Thomas, James VanDerZee, Hale Woodruff. 4to (27 cm.; 10 x 8 in), cloth, d.j. First ed. BOSTON (MA). Boston University Art Gallery. Syncopated Rhythms: 20th-Century African American Art from the George and Joyce Wein Collection. November 18, 2005-January 22, 2006. 100 pp. exhib. cat., 64 color illus. Curated with text by Patricia Hills and catalogue entries by Hills and Melissa Renn; foreword by Ed Bradley. Includes 60 works (paintings, sculpture, drawings and a painted story quilt.) Exhibition of a range of works done in the late 1920s through the 1990s and is particularly strong in works of the 1940s-'70s. Artists include: Charles Alston, Benny Andrews, Ernie Barnes, Richmond Barthé, Romare Bearden, John Biggers, Bruce Brice, Elizabeth Catlett, Eldzier Cortor, Allan Rohan Crite, Miles Davis, Beauford Delaney, Joseph Delaney, Aaron Douglas, Minnie Evans, Palmer Hayden, Oliver Johnson, William H. Johnson, Lois Mailou Jones, Wifredo Lam, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Sister Gertrude Morgan, Faith Ringgold, Betye Saar, Augusta Savage, Bob Thompson, Charles White, Michael Kelly Williams, William T. Williams, Ellis Wilson, John Wilson, Hale Woodruff and Richard Yarde. 4to (28 x 22 cm.), wraps. BRAUN-REINITZ, JANET and JANE WEISSMAN, eds. On the Wall: Four Decades of Community Murals in New York City. Jackson, MS: University of Mississippi Press, 2009. xvii, 244 pp., color illus. Texts by Braun-Reinitz and Weissman; foreword by Amy Goodman and Denis Moynihan; intro. by Timothy W. Drescher. Oblong 4to (24 x 32 cm.), cloth, d.j. BRITTON, CRYSTAL A. African-American Art: The Long Struggle. New York: Smithmark, 1996. 128 pp., 107 color plates (mostly full-page and double-page), notes, index. Artists include: Terry Adkins, Charles Alston, Amalia Amaki, Emma Amos, Benny Andrews, William E. Artis, Radcliffe Bailey, Xenobia Bailey, James P. Ball, Jean-Michel Basquiat, Romare Bearden, Edward Mitchell Bannister, John T. Biggers, Camille Billops, Willie Birch, Bob Blackburn, Betty Blayton, David Bustill Bowser, Grafton Tyler Brown, James Andrew Brown, Kay Brown, Vivian Browne, Beverly Buchanan, Selma Burke, Margaret Burroughs, Carole Byard, Elizabeth Catlett, Dana Chandler, Barbara Chase-Riboud, Ed Clark, Robert Colescott, Houston Conwill, Eldzier Cortor, Renée Cox, Ernest Crichlow, Allan Rohan Crite, Giza Daniels-Endesha, Dave [the Potter], Thomas Day, Beauford Delaney, Joseph Delaney, Jeff Donaldson, Aaron Douglas, Leonardo Drew, Robert S. Duncanson, William Edmondson, Melvin Edwards, Minnie Evans, William Farrow, Gilbert Fletcher, James Forman, Meta Vaux Warrick Fuller, Michele Godwin, David Hammons, Edwin Harleston, William A. Harper, Palmer Hayden, Thomas Heath, white artist Jon Hendricks (no illus.), Robin Holder, May Howard Jackson, Wadsworth Jarrell, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Joshua Johnston, Napoleon Jones-Henderson, Barbara Jones-Hogu, Lois Mailou Jones, Cliff Joseph, Jacob Lawrence, Hughie-Lee Smith, Edmonia Lewis, Norman Lewis, Juan Logan, Valerie Maynard, Dindga McCannon, Sam Middleton, Scipio Moorhead, Keith Morrison, Archibald J. Motley, Jr., Sana Musasama, Marilyn Nance, Gordon Parks, Marion Perkins, Howardena Pindell, Adrian Piper, Horace Pippin, James A. Porter, Harriet Powers, Nancy Elizabeth Prophet, Martin Puryear, Patrick Reason, Gary Rickson, Faith Ringgold, Alison Saar, Betye Saar, Raymond Saunders, Augusta Savage, Joyce J. Scott, William E. Scott, Charles Sebree, Lorna Simpson, William H. Simpson, Clarissa Sligh, Frank Smith, Vincent D. Smith, Nelson Stevens, Renée Stout, Freddie L. Styles, Henry Ossawa Tanner, Alma Thomas, Jean Toche (no illus.), Lloyd Toone, Bill Traylor, James Vanderzee, Annie E. Walker, William Walker, Laura Wheeler Waring, Carrie Mae Weems, James Lesesne Wells, Charles White, Grace Williams, Michael Kelly Williams, Pat Ward Williams, William T. Williams, Ellis Wilson, Fred Wilson, Hale Woodruff, et al. 4to (32 cm.), pictorial boards, d.j. First ed. BROOKLYN (NY). New Muse Community Museum of Brooklyn. Black Artists in the WPA, 1933-1943: An Exhibition of Drawings, Paintings and Sculpture. February 15-March 30, 1976. 24 pp. exhib. cat., illus. Curated by Charlene Claye VanDerzee; asst. curator; George Carter, assistant. Texts by VanDerzee and Ed Spriggs. Short biographies for Richmond Barthé, Jacob Lawrence, Charles White, Charles Sebree, Charles Alston, Ernest Crichlow, Norman Lewis, Palmer Hayden, Joseph Delaney, Selma Burke, Lois Mailou Jones, Wilmer A. Jennings, Malvin Gray Johnson, Earl Richardson, Hale Woodruff. [Others mentioned in foreword: Benny Andrews and Nii Ahene La Mettle-Nunoo] 8vo (21 cm.), stapled wraps. BROOKLYN (NY). Parsons School of Design. New York WPA Art, Then 1934-1943 and Now 1960-1977. November 8-December 10, 1977. Exhib. cat., illus., checklist. Texts by Emily Genauer, Audrey McMahon, Norman Barr, Greta Berman. Artists included: Joseph Delaney, Rex Goreleigh, Palmer C. Hayden and Robert Pious. CALO, MARY ANN. African American Art and Critical Discourse Between World Wars. 1999. In: American Quarterly Vol. 51, No. 3 (September 1999):580-621. CHASE, JUDITH WRAGG. Afro-American Art and Craft. New York: Van Nostrand Reinhold Company, 1971. 142 pp., 227 b&w illus., bibliog. Noteworthy inclusion of early plantation craftsmen, cabinetmakers, weavers, quiltmakers, basketmakers and woodcarvers as well as contemporary African American art and crafts. Includes: Charles Alston, William Artis, Ernest Crichlow, Allan Rohan Crite, Eldzier Cortor, William Craft, Dale Brockman Davis, Aaron Douglas, Minnie Evans, Regina Foreman, Allan Freelon, Reginald Gammon, William Hayden, Jacob Lawrence, Horace Pippin, Phillip P. Simmons, Peter Simmons, Elmer Davis Taylor, James Lesesne Wells, and hundreds of others. 4to, cloth, d.j. First ed. CHICAGO (IL). Aaron Galleries. A Collection of Works on Paper by Joseph Delaney and Other African American Masters. Fall, 2002. Exhibition catalogue of 118 works, mostly prints and drawings, including 45 works by African American artists: Joseph Delaney (19 works), Romare Bearden (1 watercolor), John Biggers (1), Margaret Burroughs (5), William Carter, Robert Colescott (2), Irene Clark (5), Eldzier Cortor (1), Aaron Douglas (4 block prints), Berry Horton (5), Richard Hunt (1). CHICAGO (IL). Art Institute of Chicago. A Century of Collecting: African American Art in the Art Institute of Chicago. February 15-May 18, 2003. Group exhibition. Curated by Daniel Schulman, associate curator of modern and contemporary art. 60 artists (over half contemporary) including: Benny Andrews, Radcliffe Bailey, Richmond Barthé, Jean-Michel Basquiat, Romare Bearden, Dawoud Bey, Hilda Wilkinson Brown, Margaret Burroughs, William S. Carter, Elizabeth Catlett, Edward Clark, Kerry Stuart Coppin, Eldzier Cortor, Allan Rohan Crite, Charles C. Dawson, Aaron Douglas, John E. Dowell, Beauford Delaney, Joseph Delaney, Melvin Edwards, Walter Ellison, Sam Gilliam, David Hammons, William Harper, George Herriman, Earlie Hudnall, Jr., Richard Hunt, Joshua Johnson, Rashid Johnson, Sargent Johnson, Joseph Kersey, Jacob Lawrence, Norman Lewis, Glenn Ligon, Kerry James Marshall, Willie Middlebrook, Keith Morrison, Archibald J. Motley, Marion Perkins, Allie Pettway, Jessie T. Pettway, Robert Pious, Adrian Piper, Horace Pippin, Martin Puryear, Faith Ringgold, William Edouard Scott, Vincent Smith, Nelson Stevens, Alma Thomas, Bob Thompson, Henry Ossawa Tanner, James Vanderzee, Kara Walker, Carrie Mae Weems, Gearldine Westbrook, Charles White, Sarah Ann Wilson, Hale Woodruff, Joseph E. Yoakum. CHICAGO (IL). Art Institute of Chicago. African Americans in Art: Selections from the Art Institute of Chicago. 1999. Museum studies, v. 24, no. 2, 140-272, illus. (some in color), substantial bibliog. pp. 260-272. Essays by Susan F. Rossen, Colin L. Westerbeck, Amy M. Mooney (on Archibald J. Motley, Jr.), Andrea D. Barnwell and Kirsten P. Buick, Daniel Schulman (very important text on Marion Perkins), Cherise Smith (on Simpson, Weems and Willie Robert Middlebrook). Artists include: Samuel J. Miller, Archibald J. Motley, Jr., Marion Perkins, Lorna Simpson; Carrie Mae Weems, Willie Robert Middlebrook, Joshua Johnson, Henry Ossawa Tanner, Joseph Delaney, Aaron Douglas, Walter Ellison, Horace Pippin, James Vanderzee, Eldzier Cortor, Hilda Wilkinson Brown, William H. Johnson, Richmond Barthé, Beauford Delaney, Jacob Lawrence, Norman Lewis, Margaret Burroughs, Roy DeCarava, Charles White, Elizabeth Catlett, Richard Hunt, Melvin Edwards, Vincent D. Smith; Robert Thompson, Joseph Yoakum, Alma Thomas, Romare Bearden, Adrian Piper, Kerry Coppin, Kerry James Marshall, Kara Walker. Topics include Frederick A. Douglass, definitions of African American Art, mixed media work, sculpture. 4to (26 cm.), wraps. CHICAGO (IL). Chicago Public Library. WPA and the Black Artist: Chicago and New York. 1978. 16 pp., color cover illus., 17 b&w illus. Checklist of 62 works by 13 New York artists and 21 Chicago artists. Intro. by Ruth Ann Stewart. Artists included: Charles Alston, Robert Blackburn, Selma Burke, Margaret Burroughs, Eldzier Cortor, Ernest Crichlow, Joseph Delaney, Aaron Douglas, Rex Goreleigh, Vertis Hayes, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Archibald Motley, Gordon Parks, Augusta Savage, Charles White, Henry Avery, Richmond Barthé, William Carter, Charles Dawson, Walter W. Ellison, Ramon Gabriel, Bernard Goss, Fred Hollingsworth, Joseph Kersey, William McBride, Frank Neal, Marion Perkins, Charles Sebree, Dox Thrash, Vernon Winslow. Biographies mention Alonzo Aden, James Porter, Hale Woodruff. [Traveled to: Studio Museum in Harlem, New York, NY.] 8vo, stapled stiff wraps. CHICAGO (IL). Tanner Art Galleries. Exhibition of the Art of the American Negro (1851-1940). July 4-September 2, 1940. Exhib. cat., 18 illus. Assembled by the American Negro Exposition. Statement by Alain Locke, chairman of the art committee; lists selections jury, awards jury, exhibition committees. Included 100 artists: Charles Alston, William E. Artis, John Ingliss Atkinson, Henry Avery, Edward M. Bannister, Richmond Barthé, Leslie G. Bolling, Selma Burke, Margaret Burroughs, Simms Campbell, Fred Carlo, William S. Carter, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Charles C. Davis, Charles C. Dawson, Beauford Delaney, Joseph Delaney, Aaron Douglas, Robert S. Duncanson, Elba Lightfoot DeReyes, Walter Ellison, William M. Farrow, Elton Fax, Frederick C. Flemister, Allan R. Freelon, Meta Vaux Fuller, Reginald Gammon, Rex Goreleigh, Bernard Goss, J. Eugene Grigsby, John Hardrick, Edwin Harleston, William A. Harper, Palmer C. Hayden, William M. Hayden, Vertis Hayes, James Herring, Fred Hollingsworth, Zell Ingram, Burt Jackson, Robert M. Jackson, Louise E. Jefferson, Wilmer Jennings, Malvin Johnson, Sargent Johnson, William H. Johnson, Lawrence Arthur Jones, Lois Mailou Jones, Joseph Kersey, Jacob Lawrence (won second prize), Clarence Lawson, Edmonia Lewis, Norman Lewis, Richard Lindsey, Romeyn Van Vleck Lippman, Ed Loper, Rosemary Louis, John Lutz, Francis McGee, Ron Moody, Archibald J. Motley, George E. Neal, Robert L. Neal, Marion Perkins, Frederick Perry, Robert Pious, Horace Pippin, James A. Porter, Georgette Powell, Teodoro Ramos-Blanco (South American artist), Donald Reid, John Rollins, David Ross, Charles Sallee, Augusta Savage, Charles Sebree, Samuel Simms, Albert A. Smith, Marvin Smith, Mary E. Smith, William E. Smith, Thelma Streat, Henry Ossawa Tanner, Dox Thrash, Daniel N. Tillman, Earl Walker, Laura Wheeler Waring, Wilbert (Masood Ali) Warren, Claude Weaver, Albert Wells, James Lesesne Wells, Charles White, Ellis Wilson, Leroy Winbush, Hale Woodruff, Leon Wright. [Among the many reviews: Selma Gordon, "Seventy-Five Years of Negro Progress," The Criss 48 (January 1941):10-11+; mainstream review in Newsweek Vol XVI, No 11, September 9, 1940.] 8vo, pictorial wraps. Exhibition poster and catalogue cover design by James Lesesne Wells. CINCINNATI (OH). Taft Museum of Art. The Great Migration: The Evolution of African American Art, 1790-1945. June 16-October 22, 2000. 25 pp. exhib. cat., 35 illus. including cover plates (27 in color), bibliog., checklist of 49 works. Text by R. Kumasi Hampton. Many lesser-known works from Ohio and Kentucky collections, including numerous women artists. Georgia E. Beasley, Rozelle (Zell) Ingram, Vera Jackson, Mary Edmonia Lewis, Geneva Higgins McGee, James Presley Ball, Jr., Edward Bannister, Romare Bearden, Elmer W. Brown, Fred Carlo, Eldzier Cortor, Allan Rohan Crite, Joseph Delaney, Robert S. Duncanson, John Wesley Hardrick, Sargent Claude Johnson, William Henry Johnson, Joshua Johnston, Fredrick Douglas Jones, Jr., Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Gordon Parks, Marion Perkins, Elijah Pierce, Horace Pippin, Charles E. Porter, James A. Porter, Patrick Reason, Charles Sallee, William E. Scott, Charles Sebree, Marvin and Morgan Smith, William E. Smith, Henry Ossawa Tanner, Dox Thrash, James VanDerZee, James Lesesne Wells, Hale Woodruff. Oblong 4to (22 x 28 cm.), stapled wraps. First ed. COLLEGE PARK (MD). David C. Driskell Center, University of Maryland. Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art. February 18-May 29, 2009. 101 pp. exhib. cat., illus. Artists included: Charles Alston, Benny Andrews, Herman Kofi Bailey, Radcliffe Bailey, Amiri Baraka, Camille J. Billops, Moe Brooker, Vivian Browne, Archie Byron, Carl Christian, Claude Clark, Sr., Kevin E. Cole, Ernest Crichlow, Beauford Delaney, Joseph Delaney, Louis Delsarte, David C. Driskell, Michael Ellison, David Fludd, Ramon Gabriel, Reginald Gammon, Sam Gilliam, John W. Hardrick, Palmer Hayden, Vertis Hayes, Humbert Howard, Stefanie Jackson, Wadsworth A. Jarrell, Fred Jones, Lois Mailou Jones, Ronald Joseph, Larry Lebby, Norman Lewis, Donald Locke, James H. Malone, Edward Martin, Richard Mayhew, Valerie Maynard, Ealy Mays, E.J. Montgomery, Norma Morgan, Hayward Oubre, Joe Overstreet, Howardena Pindell, Charles Porter, James A. Porter, Teri Richardson, Preston Sampson, William E. Scott, Charles Sebree, Jewel Simon, Walter A. Simon, Thelma Johnson Streat, Freddy Styles, Henry Ossawa Tanner, Bill Taylor, Bob Thompson, Mildred J. Thompson, Larry Walker, Joyce Wellman, Jack H. White, William T. Williams, Ellis Wilson, Hale Woodruff, Hartwell Yeargans, James Yeargans. [Traveled to: Georgia Museum of Art, Athens, GA, January 30-March 28, 2011, and other venues.) CONCORD (MA). Brock & Co. Selections II. 2003. Group exhibition. Included: Joseph Delaney. DRISKELL, DAVID C. Two Centuries of Black American Art. Los Angeles: Museum of Art, 1976. 221 pp. exhib. cat., 205 illus., 32 in color, bibliog., index. Groundbreaking survey exhibition of African American art. Texts by Driskell; catalogue notes by Leonard Simon. Includes Dave the Potter, Charles H. Alston, William E. Artis, Edward M. Bannister, Richmond Barthé, Romare Bearden, John Biggers, Grafton Tyler Brown, David Butler, Selma Burke, Calvin Burnett, Margaret Burroughs, Elizabeth Catlett, Claude Clark, Eldzier Cortor, Allan Rohan Crite, Thomas Day, Joseph Delaney, Aaron Douglas, Robert S. Duncanson, William Edmondson, Minnie Evans, Edwin A. Harleston, Palmer Hayden, Felrath Hines, Earl J. Hooks, Julien Hudson, Clementine Hunter, Wilmer Jennings, James Butler Johnson, Joshua Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Richard Mayhew, Sam Middleton, Leo Moss, Archibald J. Motley, Jr., Marion Perkins, Horace Pippin, James A. Porter, Patrick Reason, John Rhoden, Gregory Ridley, Jr., William E. Scott, Charles Sebree, Henry Ossawa Tanner, William (Bill) Taylor, Alma Thomas, Dox Thrash, Laura Wheeler Waring, Edward Webster, James Lesesne Wells, Charles White, Walter Williams, Ed Wilson, Ellis Wilson, John Wilson, Hale Woodruff. Additional artists mentioned in the text: James Allen, Leslie Bolling, John Kane (?), Jules Lion, James Vanderzee, many more. [Traveled to Los Angeles County Museum of Art, Los Angeles, CA; High Museum of Art, Atlanta, GA; Museum of Fine Arts, Dallas, TX; and the Brooklyn Museum, NY.] 4to, wraps. First ed. FALK, PETER HASTINGS, ed. Who Was Who in American Art, 1564-1975. Madison, CT: Sound View Press, 1999. 3 Vols. 3724 pp. The 1985 publication is a summary compiled from the original 34 volumes of American Art Annual: Who's Who in Art, no new entries. It is in some ways an account of the spotty knowledge that the white art world had acquired about black artists during the decades after WWII. Many glaring omissions. The 1999 edition seems to have substantial additions. Included: Alonzo Aden, Frank Herman Alston, Jr., Frederick Cornelius Alston, Dorothy Austin, Henry Avery, Henry Bannarn, Edward Bannister, Richmond Barthé, John Biggers, James Bland, Leslie Bolling, William E. Braxton, Wendell T. Brooks, Elmer William Brown, Eugene J. Brown, Samuel Joseph Brown, Selma Burke, Calvin Burnett, Margaret Taylor Goss Burroughs, Elmer Simms Campbell, John Carlis, Jr., William S. Carter, Dana C. Chandler, Jr., Samuel O. Collins, Eldzier Cortor, Norma Criss, Allan Crite, Charles C. Dawson, Beauford Delaney, Joseph Delaney, Arthur Diggs, Frank J. Dillon, Aaron Douglas, Charles Early, Walter W. Ellison, Annette Ensley, William M. Farrow, Allan Freelon, Meta Fuller, Robert Gates, Rex Goreleigh, Donald O. Greene, Samuel P. Greene, Charles E. Haines, John Wesley Hardrick, William A. Harper, John Taylor Harris, Palmer Hayden, Dion Henderson, James V. Herring, Clifton Thompson Hill, Hector Hill, Raymond Howell, Bill Hutson, May Howard Jackson, Oliver Jackson, Wilmer Jennings, George H. Benjamin Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Frederick D. Jones, Jr., Henry B. Jones, Lois Mailou Jones, Joseph Kersey, Vivian Schuyler Key, Jacob Lawrence, Bertina B. Lee, Hughie Lee-Smith, Edmonia Lewis, Elba Lightfoot, Ed Loper, John Lutz, William McBride, Sr., Archibald J. Motley, Jr., Robert L. Neal, John B. Payne, Horace Pippin, James A. Porter, Nancy Prophet, Oliver Richard Reid, Earl Richardson, Marion Sampler, Augusta Savage, William E. Scott, Charles Sebree, Albert Alexander Smith, Teressa Staats, Thelma J. Streat, Henry O. Tanner, Dox Thrash, Laura Waring, James Lesesne Wells, Charles White, Benjamin L. Wigfall, Ellis Wilson, John W. Wilson, Hale Woodruff, Terrance Yancey. 4to, cloth. FAYETTEVILLE (NC). Walton Arts Center. Images of America, African American Voices: Selections from the Collection of Mr. and Mrs. Darrell Walker. January 9-March 27, 2004. 125 pp., 83 color plates, 1 b&w illus., plus color and b&w text photos, checklist of 64 works in all media, endnotes, bibliog. Text by Michael D. Harris. A very substantial collection. Artists include: Ron Adams, Charles Alston, Emma Amos, Radcliffe Bailey, Romare Bearden, Phoebe Beasley, Frank Bowling, Calvin Burnett, Nanette Carter, William S. Carter, Ed Clark, Kevin Cole, Robert Colescott, Tarrance D. Corbin, Allan Rohan Crite, Beauford Delaney, Joseph Delaney, Louis Delsarte, David Driskell, Edward J. Dwight, Michael Ellison, Herbert Gentry, Sam Gilliam, Luther Hampton, Margo Humphrey, Richard Hunt, Bill Hutson, Lois Mailou Jones, Gwendolyn Knight, Jacob Lawrence, Henri Linton, Juan Logan, Juan Logan, Whitfield Lovell, Alvin D. Loving, Clarence Morgan, Reginald McGhee, Mary Lovelace O'Neal, James Phillips, Alison Saar, Betye Saar, Ray Saunders, John T. Scott, Charles Searles, Charles Sebree, A. J. Smith, Cedric Smith, Frank E. Smith, John H. Smith, Bill Taylor, Mildred J. Thompson, Dudley Vaccianna, James Vanderzee, Larry Walker, Joyce Wellman, William T. Williams. [Traveled to Tubman African American Museum, Macon, GA, July 23-September 26, 2004; Diggs Gallery, Winston-Salem State University, Winston-Salem, NC, June 11-September 17, 2005; Aronoff Center for the Arts, Cincinnati, OH, September 15-November 11, 2006; and other venues.] Oblong 4to, pictorial wraps. First ed. FINE, ELSA HONIG. The Afro-American Artist: A Search for Identity. New York: Holt Rinehart and Winston, 1973. x, 310 pp., 342 b&w illus., 38 color plates, bibliography and notes, index. Survey of work from the colonial period through the 1970s. Approx. 100 artists represented. An important reference work with many women artists included: Charles Alston, Benny Andrews, Malcolm Bailey, Edward Bannister, Amiri Baraka, Richmond Barthé, Romare Bearden, Henry Bibb, Betty Blayton, Grafton Tyler Brown, Kay Brown, Dana Chandler, Barbara Chase-Riboud, Eldzier Cortor, Ernest Crichlow, Emilio Cruz, Thomas Day, Beauford Delaney, Joseph Delaney, Jeff Donaldson, Aaron Douglas, Robert M. Douglass, Jr., Robert S. Duncanson, Melvin Edwards, Frederick J. Eversley, Allan Freelon, Meta Vaux Warrick Fuller, Reginald Gammon, Sam Gilliam, Henry Gudgell, David Hammons, Marvin Harden, William A. Harper, Palmer Hayden, Felrath Hines, Alvin C. Hollingsworth, Julien Hudson, Richard Hunt, Bill Hutson, Walter C. Jackson, Daniel Larue Johnson, Malvin Gray Johnson, Marie Johnson, Milton Derr (as Milton Johnson), Joshua Johnston, Ben Jones, Lois Mailou Jones, Cliff Joseph, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, James Lewis, Norman Lewis, Tom Lloyd, Al Loving, Richard Mayhew, Donald McIlvaine, Scipio Moorhead, Norma Morgan, Archibald Motley, George Neal, Joe Overstreet, Horace Pippin, James A. Porter, Patrick Reason, Robert Reid, Gary Rickson, Faith Ringgold, Raymond Saunders, William E. Scott, Christopher Shelton, Thomas Sills, Merton Simpson, William H. Simpson, John H. Smith, Tony Smith, Henry Ossawa Tanner, Alma Thomas, Bob Thompson, Lovett Thompson, Neptune Thurston, Ulysses Vidal, Bill Walker, Eugene Warburg, Charles White, William T. Williams, A. B. Wilson, Hale Woodruff. [Excellent quality reprint in sturdy cloth binding with all original color plates was issued by Hacker, NY, 1982.] Small, 4to, black cloth with silver lettering, d.j. First ed. FRYE, DANIEL J. African American Visual Artists: an annotated bibliography of educational resource materials. Lanham, MD: Scarecrow Press, 2001. xvi, 378 pp. Many misspellings of artists' names and a handful of white artists included. 8vo (23 cm.), cloth. GATES, HENRY LOUIS and EVELYN BROOKS HIGGINBOTHAM, eds. African American National Biography. 2009. Originally published in 8 volumes, the set has grown to 12 vollumes with the addition of 1000 new entries. Also available as online database of biographies, accessible only to paid subscribers (well-endowed institutions and research libraries.) As per update of February 2, 2009, the following artists were included in the 8-volume set, plus addenda. A very poor showing for such an important reference work. Hopefully there are many more artists in the new entries: Jesse Aaron, Julien Abele (architect), John H. Adams, Jr., Ron Adams, Salimah Ali, James Latimer Allen, Charles H. Alston, Amalia Amaki, Emma Amos, Benny Andrews, William E. Artis, Herman "Kofi" Bailey, Walter T. Bailey (architect), James Presley Ball, Edward M. Bannister, Anthony Barboza, Ernie Barnes, Richmond Barthé, Jean-Michel Basquiat, Cornelius Marion Battey, Romare Bearden, Phoebe Beasley, Arthur Bedou, Mary A. Bell, Cuesta Ray Benberry, John Biggers, Camille Billops, Howard Bingham, Alpha Blackburn, Robert H. Blackburn, Walter Scott Blackburn, Melvin R. Bolden, David Bustill Bowser, Wallace Branch, Barbara Brandon, Grafton Tyler Brown, Richard Lonsdale Brown, Barbara Bullock, Selma Hortense Burke, Calvin Burnett, Margaret Taylor Goss Burroughs, John Bush, Elmer Simms Campbell, Elizabeth Catlett, David C. Chandler, Jr., Raven Chanticleer, Ed Clark, Allen Eugene Cole, Robert H. Colescott, Eldzier Cortor, Ernest T. Crichlow, Michael Cummings, Dave the Potter [David Drake], Griffith J. Davis, Thomas Day, Beauford Delaney, Joseph Delaney, Thornton Dial, Sr., Joseph Eldridge Dodd, Jeff Donaldson, Aaron Douglas, Sam Doyle, David Clyde Driskell, Robert S. Duncanson, Ed Dwight (listed as military, not as artist); Mel Edwards, Minnie Jones Evans, William McNight Farrow, Elton Fax, Daniel Freeman, Meta Warrick Fuller, Reginald Gammon, King Daniel Ganaway, the Goodridge Brothers, Rex Goreleigh, Tyree Guyton, James Hampton, Della Brown Taylor (Hardman), Edwin Augustus Harleston, Charles "Teenie" Harris, Lyle Ashton Harris, Bessie Harvey, Isaac Scott Hathaway, Palmer Hayden, Nestor Hernandez, George Joseph Herriman, Varnette Honeywood, Walter Hood, Richard L. Hunster, Richard Hunt, Clementine Hunter, Bill Hutson, Joshua Johnson, Sargent Claude Johnson, William H. Johnson, Lois Mailou Jones, Ann Keesee, Gwendolyn Knight, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Samella Lewis, Glenn Ligon, Jules Lion, Edward Love, Estella Conwill Majozo, Ellen Littlejohn, Kerry James Marshall, Lynn Marshall-Linnemeier, Richard Mayhew, Carolyn Mazloomi, Aaron Vincent McGruder, Robert H. McNeill, Scipio Moorhead, Archibald H. Motley, Jr., Jeanne Moutoussamy-Ashe, Mr. Imagination (Gregory Warmack), Lorraine O'Grady, Jackie Ormes, Joe Overstreet, Carl Owens, Gordon Parks, Sr., Gordon Parks, Jr., C. Edgar Patience, Howardena Pindell, Adrian Margaret Smith Piper, Rose Piper, Horace Pippin, William Sidney Pittman, Stephanie Pogue, Prentiss Herman Polk (as Prentice), James Amos Porter, Harriet Powers, Elizabeth Prophet, Martin Puryear, Patrick Henry Reason, Michael Richards, Arthur Rose, Alison Saar, Betye Saar, Raymond Saunders, Augusta Savage, Joyce J. Scott, Addison Scurlock, George Scurlock, Willie Brown Seals, Charles Sebree, Joe Selby, Lorna Simpson, Norma Merrick Sklarek, Clarissa Sligh, Albert Alexander Smith, Damballah Smith, Marvin and Morgan Smith, Maurice B. Sorrell, Simon Sparrow, Rozzell Sykes, Henry Ossawa Tanner, Alma Thomas, J.J. Thomas, Robert Louis (Bob) Thompson, Mildred Jean Thompson, Dox Thrash, William Tolliver, Bill Traylor, Leo F. Twiggs, James Augustus Joseph Vanderzee, Kara Walker, William Onikwa Wallace, Laura Wheeler Waring, Augustus Washington, James W. Washington, Jr., Carrie Mae Weems, James Lesesne Wells, Charles White, John H. White, Jack Whitten, Carla Williams, Daniel S. Williams, Paul Revere Williams (architect), Deborah Willis, Ed Wilson, Ellis Wilson, Fred Wilson, John Woodrow Wilson, Ernest C. Withers, Beulah Ecton Woodard, Hale Aspacio Woodruff. GREENSBORO (NC). Weatherspoon Art Gallery, University of North Carolina. The 19th Annual Exhibition of Art on Paper 1983. November 13-December 11, 1983. Exhib. cat., illus., checklist. Foreword, Gilbert Carpenter. Includes: Joseph Delaney, Howardena Pindell, Vincent Smith, and Bill Traylor. 4to, wraps. HARLEY, RALPH L., JR. Checklist of Afro-American Art and Artists. Kent State University Libraries, 1970. In: Serif 7 (December 1970):3-63. What could have been the solid foundation of future scholarship is unfortunately marred by errors of all kinds and the inclusion of numerous white artists. All Black artists are cross-referenced. HILDEBRANDT, LORRAINE and RICHARD S. AIKEN, eds. A Bibliography of Afro-American Print and Non-Print Resources in Libraries of Pierce County, Washington. Tacoma Community College Library, 1969. Artists include: Charles Alston, William Artis, Henry Avery, Henry Bannarn, Edward Bannister, Richmond Barthé, Carter Bazile, Romare Bearden, Rigaud Bénoit, Charles Bible, John Biggers, Wilson Bigaud, Eloise Bishop, Robert Blackburn, Ramos Blanco (Uruguayan), James Bland, Leslie Bolling, Seymour Bottex, Elmer Brown, Fred Brown, Samuel Brown, Selma Burke, Calvin Burnett, E. Simms Campbell, William Carter, Elizabeth Catlett, Barbara Chase, Ernest Crichlow, Claude Clark, William Arthur Cooper, Eldzier Cortor, Ernest Crichlow, Allan Crite, Harvey Cropper, Charles Dawson, Joseph Delaney, Richard Dempsey, Lillian A. Dorsey, Aaron Douglas, Glanton Dowdell, Robert S. Duncanson, William Edmondson, William Farrow, Elton Fax, Fred Flemister, Allan Freelon, Meta Fuller, Rex Goreleigh [as Gorleigh], Bernard Goss, Eugene Grigsby, John Hardrick, Edwin Harleston, William Harper, Isaac Hathaway, Palmer Hayden, William Hayden, Vertis Hayes, Geoffrey Holder, Al Hollingsworth, Humbert Howard, Richard Hunt, May Jackson, Daniel Larue Johnson, Malvin Gray Johnson, Sargent C. Johnson, William H. Johnson, Joshua Johnston, Henry B. Jones, Lois Jones, Ronald Joseph, Paul Keene, Joseph Kersey, Oliver LaGrone, Jacob Lawrence, Clarence Lawson, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Edward Loper, John C. Lutz, Geraldine McCullough, Charles McGee, Lloyd McNeil, William Majors, Sam Middleton, Ronald C. Moody, Scipio Moorhead, Norma Morgan, Archibald Motley, Robert L. Neal, Hayward L. Oubré, Joe Overstreet, Pastor Argudin y Pedroso [as Argudin (Pastor) Pedrosa], Marion Perkins, Harper Phillips, Delilah Pierce, Horace Pippin, Robert Pious, James Porter, Elizabeth Prophet, Florence Purviance, John Robinson, Leo Robinson, Augusta Savage, William Edouard Scott, Georgette Seabrooke, Charles Sebree, Merton Simpson, William H. Simpson, Albert Alexander Smith, Marvin Smith, Thelma Johnson Streat, Henry O. Tanner, Bob Thompson, Dox Thrash [as Thrasher], Laura Waring, James Washington, James Wells [see also Lesesne Wells], Charles White, Jack Whitten, Walter Williams, Ellis Wilson, John Wilson, Hale Woodruff. HOLMES, OAKLEY N., JR. Black artists in America. Part two [Film]. (1971), 1991. Producer: Oakley N. Holmes; music by Billy Taylor. Sole documentation of the 1971 national panel on African-American art. Major African-American sculptors, painters, curators, historians, and museum directors reveal the complex aspects of their unique status in the United States. An historical introduction by Romare Bearden is accompanied by rare footage of the Black art shows of the 1930s. Artists in the film include: Romare Bearden, Benny Andrews, Dana Chandler, Art Coppedge, Ernest Crichlow, Joseph Delaney, Melvin Edwards, Alvin C. Hollingsworth, Nigel Jackson, Cliff Joseph, Norman Lewis, Richard Mayhew, Louise Parks, Faith RInggold, George Smith, Edward Spriggs, Ed Taylor, Hale Woodruff. Re-release on video (transfer from original 16mm. film.) VHS-NTSC. Sd, col. 41 min. HOLMES, OAKLEY N., JR. The Complete Annotated Resource Guide to Black American art: Books, doctoral dissertations, exhibition catalogs, periodicals, films, slides, large prints, speakers, filmstrips, video tapes, Black museums, art galleries, and much more. Spring Valley, NY: Black Artists in America, 1978. iii, 275 pp. A bibliographical reference superceded by Igoe who incorporated all of this information. AAVAD has not yet consulted or copied this information into the database, except where the reference appeared through other sources. Note: numerous misspellings of artists' names. 8vo (23 cm.), glossy printed wraps; text mimeographed. First ed. HUNTSVILLE (AL). Huntsville Museum of Art. Black Artists / South. April 1-July 29, 1979. 64 pp., illus., bibliog. Dedicated to Aaron Douglas. One of the most substantial exhibitions of Black artists of the '70s, curated by Ralph M. Hudson. 150 artists included: Charles H. Alston, Frederick C. Alston, Emma Amos, William Anderson, Benny Andrews, Emmanuel V. Asihene, William E. Artis, Richmond Barthé, Romare Bearden, Herman Beasley, John T. Biggers, Betty Blayton, Shirley Bolton, Arthur L. Britt, Sr., Wendell T. Brooks, Arthur Carraway, George Washington Carver, Yvonne Parks Catchings, Elizabeth Catlett, Don Cincone, Claude Clark, Claude Lockhart Clark, Benny Cole, Tarrence Corbin, G. C. Coxe, Ernest Crichlow, Ernest J. Davidson, Jr., Joseph Delaney, James Denmark, Murry N. Depillars, Hayward R. Dinsmore, Sr., Jeff R. Donaldson, Aaron Douglas, David Driskell, William Edmondson, Marion Epting, Burford E. Evans, Minnie Evans, Elton Fax, Sam Gilliam, J. Eugene Grigsby, Robert Hall, Phillip Hampton, Isaac Hathaway, Wilbur Haynie, Alfred Hinton, Fannie Holman, Earl J. Hooks, John W. Howard, Jean Paul Hubbard, Earnestine Huff, James Huff, Clementine Hunter, A.B. Jackson, Wilmer Jennings, Bill Johnson, Harvey L. Johnson, Joshua Johnson, Malvin Gray Johnson, William H. Johnson, William E. Johnston, James Edward Jones, Lawrence A. Jones, Lois Mailou Jones, Ted Jones, Jack Jordan, James E. Kennedy, Virginia Jackson Kiah, Simmie L. Knox, Lawrence Compton Kolawole, Jean Lacy, Larry Francis Lebby, Hughie Lee-Smith, Samella Lewis, Henri Linton, Oscar Logan, Jesse Lott, Nina Lovelace, Edward McCluney, Jr., Phillip L. Mason, Steve Matthews, Grady Garfield Miles, Minnie Marianne Miles, Lev Mills, Clifford Mitchell, Corinne Mitchell, Sister Gertrude Morgan, Jimmie Mosely, Jr., Archibald J. Motley, Jr., Otto Neals, Trudell Mimms Obey, Hayward L. Oubré, John Outterbridge, Joe Overstreet, Roderick Owens, William Pajaud, Curtis Patterson, John Payne, Clifton Pearson, Marion Perkins, Harper Phillips, Robert Pious, Stephanie Pogue, P.H. Polk, Nancy Elizabeth Prophet, Roscoe C. Reddix, Robert Reid, Leon Renfro, John W. Rhoden, John T. Riddle, Jr., Gregory D. Ridley, Jr., Haywood Rivers, Arthur Rose, John T. Scott, Thomas Sills, Carroll H. Simms, Jewel Woodard Simon, Merton D. Simpson, Van E. Slater, Maurice Strider, Clarence Talley, James Tanner, Alma Thomas, Elaine F. Thomas, Bob Thompson, Mose Tolliver, Dox Thrash, Leo F. Twiggs, Harry Vital, Larry Walker, James W. Washington, Jr., James Watkins, Clifton G. Webb, James Lesesne Wells, Amos White, Charles White, Jessie Whitehead, Claudia Widdiss, Chester Williams, Walter J. Williams, William T. Williams, Ed Wilson, Ellis Wilson, Everett L. Winrow, Viola Wood, Hale Woodruff, Doris Woodson, Charles A. Young, Kenneth Young, Milton Young. 4to (29 cm.), felt-covered wraps. First ed. Ivoryton (CT). ART Gallery Magazine. The ART Gallery Magazine: Afro-American issue (Vol. 11, no. 7, April 1968). 1968. Special Afro-American issue. Approx. 100 pp., b&w and color illus. Includes: Alonzo J. Aden, Charles Alston, Emma Amos, Eric Anderson, Benny Andrews, William E. Artis, Edward M. Bannister, Richmond Barthé, Romare Bearden, Sheman Beck, Ed Bereal, John T. Biggers, Betty Blayton, Sylvester Britton, Calvin Burnett, Margaret Burroughs, William S. Carter, Bernie Casey, Elizabeth Catlett, Barbara Chase-Riboud, Edward Christmas, Claude Clark, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Emilio Cruz, Mary Reed Daniel, Charles C. Dawson, Beauford Delaney, Joseph Delaney, Avel DeKnight, Richard Dempsey, Jeff Donaldson, Aaron Douglas, David C. Driskell, Robert S. Duncanson, Eugene Eda, William Edmondson, Melvin Edwards, John Farrar, Frederick C. Flemister, Meta Warrick Fuller, Reginald Gammon, Sam Gilliam, Robert Glover, Russell T. Gordon, Bernard Goss, Phillip Hampton, Marvin Harden, Romaine Harris, Eugene Hawkins, Palmer Hayden, Wilbur Haynie, Reginald Helm, James Herring, Leon Hicks, Vivian Hieber (?), Felrath Hines, Alvin Hollingsworth, Humbert Howard, Richard Hunt, A.B. Jackson, Hiram E. Jackson, Daniel LaRue Johnson, Joshua Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Frederic Jones (presumably Frederick D. Jones, Jr.), Lois Mailou Jones, Robert Edmond Jones, Jack Jordan, Sr., Louis Joseph Jordan, Ronald Joseph (as Joseph Ronald), Paul Keene, Joseph Kersey, Herman King, Sidney Kumalo, Jacob Lawrence, Clarence Lawson, Clifford Lee, Hughie Lee-Smith, James Edward Lewis, Jr., Edmonia Lewis, Norman Lewis, Tom Lloyd, Alvin Loving, William Majors, Howard Mallory, Jr., David Mann, Richard Mayhew, Anna McCullough, Geraldine McCullough, Charles W. McGee, Lloyd McNeill, Jr., Earl Miller, Norma Morgan, Jimmie Mosely, Archibald J. Motley, Jr., Texeira Nash, Frank W. Neal, George E. Neal, Hayward L. Oubre, Jr., James D. Parks, Marion Perkins, Robert S. Pious, Horace Pippin, James A. Porter, Judson Powell, Ramon Price, Nancy Elizabeth Prophet, Noah Purifoy, Mavis Pusey, Robert D. Reid, John W. Rhoden, Haywood "Bill" Rivers, Henry C. Rollins, Mahler Ryder, Betye Saar, Raymond Saunders, William E. Scott, Charles Sebree, Jewel Simon, Merton D. Simpson, Van Slater, Carroll Sockwell, John Stevens, Henry Ossawa Tanner, Ralph M. Tate, Lawrence Taylor, John Torres, Jr., Alfred J. Tyler, Ruth G. Waddy, William Walker, Eugene Warburg, Howard N. Watson, James Lesesne Wells, Charles White, Jack H. White, Jack Whitten, Garrett Whyte, Sam William, Douglas R. Williams, Jose Williams, Todd Williams, Walter H. Williams, Stan Williamson, Ed Wilson, Ellis Wilson, John W. Wilson, Roger Wilson, Hale A. Woodruff, James E. Woods, Roosevelt (Rip) Woods, Charles Yates, Hartwell Yeargans, et al. 8vo (24 cm.; 9 x 6 in.), wraps. JAMAICA (NY). Jamaica Arts Center. Masters and Pupils: The Education of the Black Artist in New York: 1900-1980. December 13, 1986-February 28, 1987. Recto: Color poster, exhibition announcement and list of artists; verso: exhib. brochure. (8 pp.) text, 8 b&w illus. Foreword by William P. Miller, Jr.; important text by Kellie Jones, synopsizing the 'artists' history' of studio education, passed from artist to artist. Discussion of the educational role of the National Academy of Design, Cooper Union, the Harlem Art Center, Art Students League, City College, and other educational venues. Artists include: Charles Abramson, Charles Alston, Candida Alvarez, Emma Amos, Romare Bearden, Camille Billops, Robert Blackburn, Elizabeth Catlett, Ernest Crichlow, Beauford Delaney, Joseph Delaney, Aaron Douglas, Rex Goreleigh, William H. Johnson, Jacob Lawrence, Joe Lewis, Norman Lewis, Hughie Lee-Smith, Whitfield Lovell, Tyrone Mitchell, Sana Musasama, Faith Ringgold, Augusta Savage, Vincent Smith, Charles White, Jack Whitten, Randy Williams, William T. Williams, Hale Woodruff and important white instructors such as Charles Hawthorne, Robert Gwathmey, Carl Holty, George Negroponte, Winold Reiss, Vaclav Vytlacil, and others. [Traveled to: Metropolitan Life Gallery, NY, March 10-April 24, 1987.] Single folded sheet poster-catalogue, printed on both sides. KNOXVILLE (TN). Ewing Gallery, University of Tennessee. Bicentennial Exhibition. November 1-17, 1991. Group exhibition. Included: Joseph Delaney. LEWISBURG (PA). Center Gallery, Bucknell University. Since the Harlem Renaissance: 50 Years of Afro-American Art. April 13-June 6, 1984. 124 pp. exhib. cat., 96 illus. (19 in color), exhib. checklist of 133 works by 77 artists, bibliog. Text includes interviews with 12 of the artists: Benny Andrews, Romare Bearden, David Driskell, Sam Gilliam, Lois Mailou Jones, James Little, Al Loving, Howardena Pindell, Faith Ringgold, Frank E. Smith, Jack Whitten, William T. Williams. Intro. mentions the following artist interviews which were not used but which are on deposit with the Hatch-Billops Collection: Jeff Donaldson, Mel Edwards, Bill Hutson, Richard Mayhew, Joe Overstreet. Excellent survey with many dozens of additional artists mentioned in passing. [Traveled to: SUNY, Old Westbury, November 1-December 9; Munson-Williams- Proctor Institute, Utica , NY, January 11-March 3, 1985; University of Maryland, College Park, MD, March 27-May 3; Museum of Art, Pennsylvania State University, July 19-September 1, 1985; The Chrysler Museum, Norfolk, VA, September 22-November 1, 1985.] 4to (31 cm.; 12 x 9 in.), wraps. First ed. LIPPARD, LUCY R. Mixed Blessings: New Art in A Multicultural America. New York: Pantheon, 1990. viii, 278 pp, illus., notes, bibliog., index. [Reissued in 2000 with new introduction.] African American artists include: Charles Abramson, Emma Amos, Benny Andrews, Trena Banks, Jean-Michel Basquiat, Romare Bearden, Willie Birch, Fred Brathwaite, Beverly Buchanan, Carole Byard, Albert Chong, Robert Colescott, Houston Conwill, Aaron Douglas, Beauford Delaney, Joseph Delaney, Murry DePillars, Thornton Dial, Melvin Edwards, Meta Warrick Fuller, David Hammons, Bessie Harvey, Maren Hassinger, William L. Hawkins, Candace Hill-Montgomery, Lonnie Holley, Clifford Jackson, Martha Jackson-Jarvis, Rosalind Jeffries, Noah Jemison, William H. Johnson, K.O.S., Ben Jones, Jacob Lawrence, James Lewis, Joe Lewis, Samella Lewis, Tyrone Mitchell, Keith Morrison, Lorraine O'Grady, John Outterbridge, Joe Overstreet, Lorenzo Pace, Howardena Pindell, Adrian Piper, Willie Posey, Martin Puryear, Faith Ringgold, Nellie Mae Rowe, Alison Saar, Betye Saar, Juan Sanchez, Joyce Scott, Coreen Simpson, Lorna Simpson, Clarissa Sligh, George Smith, Mary T. Smith, James (Son Ford). Thomas, Danny Tisdale, Kaylynn Sullivan TwoTrees, Christian Walker, Pat Ward Williams. Numerous others named in passing or mentioned briefly in the footnotes. Sq. 8vo, cloth backed boards, d.j. First ed. LOCKE, ALAIN, ed. The Negro in Art: A Pictorial Record of The Negro Artist and of The Negro Theme In Art. Washington, DC: Associates in Negro Folk education, 1940. 224 pp., leaf of plates, illus. (1 in color), selected bibliography. Reprinted by Hacker Books, 1968, 1968, 1971, 1979 (0878170138). 4to (31 cm.), green gilt-lettered cloth. First printing, December 1940. LOGAN, FERN, MARGARET R. VENDRYES and DEBORAH WILLIS. The Artist Portrait Series: Images of Contemporary African American Artists. Carbondale: Southern Illinois University Press, 2001. xviii, 122 pp., 61 b&w illus., index. Foreword by Margaret Rose Vendryes; intro. by Deborah Willis. Portrait images by photographer Fern Logan. Subjects include: Candida Alvarez, Emma Amos, Benny Andrews, Ellsworth Ausby, Romare Bearden, Dawoud Bey Camille Billops, Bob Blackburn, Vivian Browne, Selma Burke, Nanette Carter, Elizabeth Catlett, Ed Clark, Eldzier Cortor, Adger Cowans, Ernest Crichlow, Roy DeCarava, Louis Delsarte, Joseph Delaney, Melvin Edwards, Herbert Gentry, Rosa Guy, Manuel Hughes, Richard Hunt, Bill Hutson, Lois Mailou Jones, Gwendolyn Knight (as Gwendolyn Lawrence), Jacob Lawrence, Samella Lewis, James Little, Al Loving, Fern Logan, Andrew Lyght, Richard Mayhew, Arthur Mitchell, Tyrone Mitchell, Jeanne Moutoussamy-Ashe, Gordon Parks, Howardena Pindell, John Pinderhughes, Faith Ringgold, Betye Saar, Coreen Simpson, Merton Simpson, Charles Smalls, Vincent Smith, Frank Stewart, Raymond Bo Walker, Jack Whitten, William T. Williams, Mel Wright, and others. 4to (27 cm.; 10 x 8 in.), cloth, d.j. First ed. MORRISTOWN (NJ). Morris Museum of Art. African-American Masters. February 13-April 1, 2007. Group exhibition. Included: Benny Andrews, Romare Bearden, Joseph Delaney, Robert Duncanson, Richard Hunt, Jacob Lawrence, Richard Mayhew, Faith Ringgold, Aminah Robinson, and Charles White. MURFREESBORO (TN). Tennessee State Museum. A Creative Legacy: African American Arts in Tennessee. Thru August 31, 2014. Group exhibition of 46 works by 16 artists who were born/and or worked in Tennesee. Included: Aaron Douglas, Joseph and Beauford Delaney, William Edmondson, Bessie Harvey, Greg Ridley, Barbara Bullock, David Driskell, Samuel Dunson, Alicia Henry, George Hunt, Simon Jackson, Ted Jones, Michael McBride, James Threalkill, and Vannoy Streeter. MURFREESBORO (TN). Tennessee State Museum. Visions of My People: Sixty Years of African American Art in Tennessee. Nashville African American Arts Association (N4ART), 1997. 48 pp. exhib. cat., color illus. Text by curator Gregory Ridley, Jr. Included Barbara Bullock, Joseph Delaney, Aaron Douglas, Samuel Dunson, Donald Earley, William Edmondson, Ashley Dolores Harris, Bessie Harvey, George Hunt, Nina Lovelace, Michael McBride, Minnie Miles, Sammie Nicely, Frances Euphemia Thompson, Everett Charles Yates, et al. [Review: David Ribar, NashvilleScene, October 20, 1997.] Oblong 4to (22 x 28 cm.), wraps. NEW YORK (NY).. The New York Public Library African American Desk Reference. Wiley, 1999. Includes a short and dated list of the usual 110+ artists, with a considerable New York bias, and a random handful of Haitian artists, reflecting the collection at the Schomburg: architect Julian Francis Abele. Josephine Baker, Edward M. Bannister, Amiri Baraka, Richmond Barthé, Jean-Michel Basquiat, Romare Bearden, John T. Biggers, Camille Billops, Bob Blackburn, Betty Blayton, Frank Bowling, Grafton Tyler Brown, Selma Burke, Margaret Burroughs, David Butler, Elizabeth Catlett, Barbara Chase-Riboud, Edward Clark, Robert Colescott, Ernest Crichlow, Emilio Cruz, William Dawson, Roy DeCarava, Beauford Delaney, Joseph Delaney, Aaron Douglas, John Dowell, Robert S. Duncanson, John Dunkley, William Edmondson, Melvin Edwards, Minnie Evans, Meta Vaux Warrick Fuller, Sam Gilliam, Henry Gudgell, David Hammons, James Hampton, William A. Harper, Bessie Harvey, Isaac Hathaway, Albert Huie, Eugene Hyde, Jean-Baptiste Jean, Florian Jenkins, Sargent Johnson, William H. Johnson, Joshua Johnston, Lois Mailou Jones, Lou Jones, Napoleon Jones-Henderson, Ronald Joseph, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Georges Liautaud, Seresier Louisjuste, Richard Mayhew, Jean Metellus, Oscar Micheaux, David Miller, Scipio Moorhead, Archibald J. Motley, Abdias do Nascimento, Philomé Obin, Joe Overstreet, Gordon Parks, David Philpot, Elijah Pierce, Howardena Pindell, Horace Pippin, James A. Porter, David Pottinger, Harriet Powers, Martin Puryear, Gregory D. Ridley, Faith Ringgold, Sultan Rogers, Leon Rucker, Alison Saar, Betye Saar, Raymond Saunders, Augusta Savage, William Edouard Scott, Senegalese filmmaker Ousmane Sembene, Ntozake Shange, Philip Simmons, Lorna Simpson, Moneta J. Sleet, Vincent D. Smith, Micius Stéphane, Renée Stout, SUN RA, Alma Thomas, Neptune Thurston, Mose Tolliver (as Moses), Bill Traylor, Gerard Valcin, James Vanderzee, Melvin Van Peebles. Derek Walcott, Kara Walker, Eugene Warburg, Laura Wheeler Waring, James W. Washington, Barrington Watson, Carrie Mae Weems, James Lesesne Wells, Charles White, Jack Whitten, Lester Willis, William T. Williams, John Wilson, Hale Woodruff, Richard Yarde. 8vo (9.1 x 7.5 in.), cloth, d.j. NEW YORK (NY). ACA Galleries. ACA Summer Show. July 10-September 13, 2003. Group exhibition. Includes: Benny Andrews, Romare Bearden, Alan Davie, Joseph Delaney, Robert S. Duncanson (River Landscape, 1872), Richard Mayhew, Faith Ringgold (A Family Portrait - storyquilt.) NEW YORK (NY). ACA Galleries. The Human Figure. January 11-March 1, 2003. Group exhibition. Works by Benny Andrews, Romare Bearden, John Biggers, Beauford Delaney, Joseph Delaney, Barkley Hendricks, Norman Lewis, Richard Mayhew, Faith Ringgold, and Charles White. [www.acagalleries.com/exh_archive_files/human_figure_011103.htm] NEW YORK (NY). ACA Galleries. Visions of America: A Black Perspective. January 19-March 2, 2002. Group exhibition spanning the period of the Harlem Renaissance era to the present. Artists included: Benny Andrews, Romare Bearden, Beauford Delaney, Joseph Delaney, Aaron Douglas, Barkley Hendricks, Richard Hunt, Jacob Lawrence, Norman Lewis, Richard Mayhew, Faith Ringgold, Bob Thompson, Charles White, and Hale Woodruff. [12 images of work from the exhibition at the gallery website: http://www.acagalleries.com/exh_archive_files/visions_1.02.htm] NEW YORK (NY). Acts of Art, Inc. Rebuttal to Whitney Museum Exhibition: Black Artists in Rebuttal at Acts of Art Gallery. April 6-May 10, 1971. Unpag. (20 pp.) exhib. cat., 54 b&w illus., brief biogs. of 48 artists. Historically significant protest exhibition. The text consists of an unsigned foreword (probably by Nigel L. Jackson, director of Acts of Art); a reprint of Z. D. Allen's review of the exhibition, "Rebuttal to the Whitney," from Chelsea Clinton News (April 15, 1971). The catalogue was published after the show opened. Artists included: Benny Andrews, James Belfon, Betty Blayton, Lynn (Chuck) Bowers, Vivian Browne, Calvin Burnett, Jo Butler, Robert Carter, Art Coppedge, Adger Cowans, Joseph Delaney, J. Brooks Dendy, III, James Denmark, Reginald Gammon, Moses Paul Groves, Lester Gunter, Byron Hall, William Charles Henderson, II, Leon Hicks, Nigel L. Jackson, Kenneth Vrook Johnson, Cliff Joseph, Philip Martin, Kenneth Matthews, Richard Mayhew, Dindga McCannon, Alexander S. McMath, Ademola Olugebefola, William Payne, James Phillips, Kenneth Radcliffe, Junius Redwood, Enid Richardson, Gregory Ridley, Jr., Haywood (Bill) Rivers, Donald J. Robertson, Philippe G. Smith, Ann Tanksley, Bob Thompson, Russell Thompson, Robert Threadgill, Lloyd Toone, Bennie White, Timothy Wilkins, Walter H. Williams, Ed Wilson, Frank W. Wimberley, Hale Woodruff. 8vo, tan stapled wraps, lettered in brown. First ed. NEW YORK (NY). City College, CUNY. The Evolution of Afro-American Artists; 1800-1950. 1967. 70 pp., 47 full-page b&w illus., biogs. and checklist of works exhibited. Co-curated by Romare Bearden and Carroll Greene, Jr. Includes: 6 works of African heritage art and 54 artists: Joshua Johnson (as Johnston), Edward M. Bannister, Edmonia Lewis, Robert S. Duncanson, William Simpson, Henry Ossawa Tanner, Meta Warrick Fuller, Aaron Douglas, Richmond Barthé, Palmer Hayden, Hale Woodruff, Archibald Motley, Augusta Savage, William E. Scott, Albert Smith, James A. Porter, Allan Rohan Crite, Malvin Gray Johnson, William H. Johnson, O. Richard Reid, Laura Waring, William E. Braxton, James L. Wells, Edwin A. Harleston, Lois Mailou Jones, Hughie Lee-Smith, Fred Flemister, John T. Biggers, Jacob Lawrence, Romare Bearden, Charles Alston, Charles White, John Wilson, Elizabeth Catlett, William Artis, William Edmondson (as Edmonson), Horace Pippin, Earle Richardson (as Earl), Claude Clark, Ernest Crichlow, Ellis Wilson, Robert Blackburn, Robert S. Pious, Norman Lewis, Beauford Delaney, Joseph Delaney, Selma Burke, Eldzier Cortor, Ronald Joseph, Humbert Howard, Heywood Rivers, Richard Mayhew, Merton D. Simpson, and John Farrar. NEW YORK (NY). Downtown Gallery. American Negro Art, 19th and 20th Centuries. December 9, 1941-January 3, 1942. Exhib. cat. The first show of African American art held at a mainstream commercial gallery, the exhibition, curated by gallery owner Edith Halpert, was sponsored by a committee of prominent white patrons including Mayor Fiorello La Guardia, Archibald MacLeish, A. Philip Randolph, and Eleanor Roosevelt. Among its aims were to raise money for the Negro Art Fund, to promote museum acquisitions of work by Black artists, and to encourage galleries to represent the living participants. In addition to providing its facilities, the Downtown Gallery donated all sales commissions to the Negro Art Fund and added Jacob Lawrence to its roster of artists at this time. Artists included: 19th century: Edward Bannister, Robert Duncanson, Edwin Harleston, William H. Simpson, Henry O. Tanner; 20th century: Charles Alston, Henry Avery, Romare Bearden, Samuel J. Brown, William S. Carter, Elizabeth Catlett, Felton Coleman, Eldzier Cortor, Cleo Crawford, Ernest Crichlow, Allan Crite, Charles Davis, Beauford Delaney, Joseph Delaney, Palmer Hayden, Malvin Gray Johnson, William H. Johnson, Ron Joseph, Paul Keene, Joseph Kersey, Jacob Lawrence, Norman Lewis, Elba Lightfoot, Archibald Motley, Frederick Perry, Horace Pippin, Charles Sebree, George N. Victory, Charles White, Ellis Wilson, Hale Woodruff. Printmakers: Robert Blackburn, John Borican, Claude Clarke, Wilmer Jennings, Bryant Pringle, Raymond Steth, Dox Thrash, James L. Wells. Sculptors: William Artis, Richmond Barthé, Selma Burke, William Edmondson, Sargent Johnson, Martha Manning, Augusta Savage, John Henry Smith. [See copy of catalogue in National Museum of American Art, Smithsonian, vertical files.] [Listed in Magazine of Art 34 (Nov. 1941):497 with incorrect dates. Review in Art Digest, December 15, 1941, praises the show, but in exceedingly demeaning racist language: "The American Negro has at last spoken in art -- firmly and distinctively, his voice having as definite an intonation with colors as his soul has in singing and dancing. His choice of dazzling colors is just as typical as his exaggerated sense of humor, his strut and guffaw; his concern with the burdened just as characteristic as his pleading songs to his Maker." NEW YORK (NY). Harmon Foundation in cooperation with the Delphic Studios. Negro Artists. An Illustrated Review of Their Achievements. April 22-May 4, 1935. 59 (1) pp. exhib. cat., 39 b&w illus. and photographs. Contains an important 18 page artist directory with addresses, brief bios and exhibition info. on 113 artists. Illustrations of work by Richmond Barthé, Malvin Gray Johnson, Sargent Johnson, Charles Alston, Hale Woodruff, Lawrence Edelin, Samuel Joseph Brown, Suzanne Ogunjami Wilson (as Suzanna Ogunjami), Leslie Garland Bowling, Aaron Douglas, Palmer Hayden, Wilmer Jennings; news notes on exhibitions by many others. The last and largest of the blockbuster Harmon Foundation exhibitions of the 1930s. Included roughly 150 artists in all media. The Malvin Gray Johnson Memorial section included the equivalent of a large solo exhibition: 35 oils and 18 watercolors; 21 works by Barthé and Johnson. [Reprint editions issued by Freeport, N.Y., Books for Libraries Press, 1971 and by Ayer Co., Salem, NH, 1991.] 8vo (23 cm.), stapled wraps. Cover illus. by Malvin Gray Johnson. NEW YORK (NY). Kenkeleba House. Unbroken Circle: Exhibition of African American Artists of the 1930's and 1940's. 1986. 36 pp., 55 b&w illus., checklist of work by 56 artists (including 10 women artists). Intro. Corinne Jennings; text by David C. Driskell, and beautiful memoir by curator / artist Vincent D. Smith. Well-chosen examples of each artist's work. Includes: Charles Alston, Richmond Barthé, Romare Bearden, John Biggers, Robert Blackburn, William Braxton, Selma Burke, Samuel J. Brown, Elizabeth Catlett, Claude Clark, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Beauford Delaney, Joseph Delaney, Richard Dempsey, Reba Dickerson-Hill, Aaron Douglas, Elton Fax, Charlotte White Franklin, Meta Fuller, Herbert Gentry, Rex Goreleigh, Palmer Hayden, Humbert L. Howard, May Howard Jackson, Wilmer A. Jennings, Malvin G. Johnson, William H. Johnson, Lois Mailou Jones, Paul Keene, Jacob Lawrence, Hughie Lee-Smith, James Lewis, Norman Lewis, Joan Maynard, Archibald Motley, Delilah Pierce, Robert Pious, Georgette Powell, Daniel Pressley, Donald Reid, John Rhoden, Charles Sebree, Thomas Sills, Alma Thomas, Dox Thrash, Masood A. Warren, James Wells, Charles White, Walter Williams, Ed Wilson, Ellis Wilson, John Wilson, Hale Woodruff. Text includes discussion of some additional artists: Robert Duncanson, Edmonia Lewis, Henry Tanner, Valerie Maynard, James Porter. 4to, stapled wraps. First ed. NEW YORK (NY). Kennedy Galleries. Art Students League Hundredth Anniversary Exhibition of Paintings and Sculpture. March 6-29, 1975. 284 pp. exhib. cat., illus. Group exhibition of 100 artists. Included: Charles Alston, Romare Bearden, Joseph Delaney, et al. [Review: Nancy G. Heller, "The Art Students League: 100 Years," American Artist Vol. 39, Issue 398 (September 1975):58.] NEW YORK (NY). McMillen Inc. Negro Art: Contemporary. October 16-November 7, 1941. 4 pp. exhib. cat., checklist of 50 paintings and 6 sculptures. Includes three works by Selma Burke, and more than one work by each of the following: Joseph Delaney, Lorraine Williams, Ramon Gabriel, Beauford Delaney, William Carter, Romare Bearden, Eldzier Cortor, William H. Johnson, Norman Lewis, Joseph Artur Kersey, Charles Sebree, along with numerous others such as John Carlis, Ernest Crichlow, Charles T. Haig, Ronald Joseph. [Review: James W. Lane, "Afro-American Art on Both Continents: The Great Contribution of the Artistic Negro," Art News 40 (October 15, 1941):25.] 8vo, blue paper wraps. First ed. NEW YORK (NY). Metropolitan Museum of Art. African-American Artists, 1929-1945: Prints, Drawings and Paintings in the Metropolitan Museum of Art. New Haven: Yale University Press, 2003. 91 pp., 60 b&w illus., 7 color plates, checklist of 47 works, notes. Catalogue of an exhibition held at the Metropolitan Museum of Art, January 15-July 6, 2003. The collection is discussed topically rather than in chronological order: Cultural Heritage, North, South, Religion, Labor, Recreation, War. Texts by Lisa Mintz Messinger, Lisa Gail Collins and Rachel Mustalish ("Printmaking Techniques of the WPA Printmakers.") Artists include: Charles Alston, Romare Bearden, Bob Blackburn, Elmer W. Brown, Samuel Joseph Brown, Calvin Burnett, Elizabeth Catlett, Claude Clark, Ernest Crichlow, Allan Rohan Crite, Joseph Delaney, Palmer Hayden, Carl G. Hill, Louise E. Jefferson, Wilmer Jennings, William H. Johnson, Lois Mailou Jones, Ronald Joseph, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Horace Pippin, David Ross, Charles Sallee, Albert A. Smith, William E. Smith, Raymond Steth, Dox Thrash, Bill Traylor, James Lesesne Wells, Charles White, John Wilson, Hale Woodruff. 4to (28 cm.; 10.8 x 8.4 in.), laminated pictorial self-wraps. First ed. NEW YORK (NY). Michael Rosenfeld Gallery. African American Art: 200 Years: 40 distinctive voices reveal the breadth of nineteenth and twentieth century art. January 11-March 15, 2008. 156 pp. exhib. cat., color illus. Texts by Jonathan P. Binstock and Lowery Stokes Sims. Includes: Charles Alston, Benny Andrews, Edward Mitchell Bannister, Richmond Barthé, Romare Bearden John Biggers, Elizabeth Catlett, Eldzier Cortor, Harold Cousins, Beauford Delaney, Joseph Delaney, Aaron Douglas, Robert S. Duncanson, William Edmondson, Allan Freelon, Sam Gilliam, Palmer Hayden, Joshua Johnson, Sargent Johnson, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Archibald Motley Jr., Marion Perkins, Horace Pippin, Charles Ethan Porter, Betye Saar, Augusta Savage, William Edouard Scott, Charles Sebree, Henry Ossawa Tanner, Alma Thomas, Bob Thompson, Laura Wheeler Waring, Charles White, Ellis Wilson, Hale Woodruff. 4to (34 cm.), boards. NEW YORK (NY). Michael Rosenfeld Gallery. African American Art: 20th century Masterworks, III. February 1-April 6, 1996. 48 pp. exhib. cat., 49 color plates (most full-page), exhib. checklist; statements by artists and brief biogs. of each. Includes: Charles Alston, Benny Andrews, Bearden, Richmond Barthé, Eldzier Cortor, Beauford Delaney, Joseph Delaney, William Edmondson, Sam Gilliam, Palmer Hayden, Sargent Johnson, William H. Johnson, Lois. Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Richard Mayhew, Prentiss Polk, James Porter, Betye Saar, Augusta Savage, Henry O. Tanner, Alma Thomas, Bob Thompson, James Vanderzee, Charles White, Ellis Wilson, Hale Woodruff. 8vo (23 cm.; 8.5 x 6 in.), pictorial stiff wraps. First ed. NEW YORK (NY). Michael Rosenfeld Gallery. African-American Art: 20th Century Masterworks. November 18-February 12, 1994. 32 pp., 29 color illus. Text by Beryl Wright. Work by 23 artists: Charles Alston, Benny Andrews, Richmond Barthé, Romare Bearden, Elizabeth Catlett, Eldzier Cortor, Alan Rohan Crite, Beauford Delaney, Joseph Delaney, Aaron Douglas, Palmer Hayden, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Archibald Motley, Jr., Hayward Oubré, Augusta Savage, Henry Ossawa Tanner, Bob Thompson, Charles White, Hale Woodruff. Sq. 8vo (8.5 x 6 in.), pictorial stiff wraps. First ed. NEW YORK (NY). Michael Rosenfeld Gallery. African-American Art: 20th Century Masterworks, IX. January 17-March 9, 2002. 64 pp. exhib. catalogue, 40 illus. (most in color), biogs., bibliog. Text by Dr. Leslie King-Hammond. Artists include: Charles Alston, Benny Andrews, William E. Artis, Romare Bearden, Eldzier Cortor, Ernest Crichlow, Beauford Delaney, Joseph Delaney, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Archibald J. Motley, Jr., Marion Perkins, Horace Pippin, Betye Saar, Augusta Savage, Charles Sebree, Henry Ossawa Tanner, Alma Thomas, Bob Thompson, Bill Traylor, James VanDerZee, Laura Wheeler Waring, Charles White, and Hale Woodruff. 8vo (23 cm.; 8.5 x 6 in.), pictorial stiff wraps. First ed. NEW YORK (NY). Michael Rosenfeld Gallery. African-American Art: 20th Century Masterworks, VII. Educating our children. January 13-March 4, 2000. 70 pp., color illus., bibliog. Charles Alston, Benny Andrews, William E. Artis, Richmond Barthé, Romare Bearden, John Biggers, Selma Burke, Elizabeth Catlett, Eldzier Cortor, Harold Cousins, Beauford Delaney, Joseph Delaney, Palmer Hayden, Sargent Johnson, William H. Johnson, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Edward Loper, Marion Perkins, Horace Pippin, Betye Saar, Albert Alexander Smith, Henry Ossawa Tanner, Alma Thomas, Bob Thompson, Bill Traylor, James VanDerZee, Laura Wheeler Waring, Charles White, Ellis Wilson, Hale Woodruff. [Traveled to Appleton Museum, Florida State University, Ocala, FL.] 8vo (23 cm., 8.5 x 6 in.), pictorial stiff wraps. First ed. NEW YORK (NY). Michael Rosenfeld Gallery. African-American art: 20th Century Masterworks, X. January 17-March 8, 2003. 80 pp. exhib. cat., illus. (44 in color), bibliog. Text by Robin Kelley. 27 artists included: Charles Alston, Benny Andrews, Richmond Barthé, Romare Bearden, John Biggers, Eldzier Cortor, Beauford Delaney, Joseph Delaney, Palmer Hayden, William H. Johnson, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Marion Perkins, Horace Pippin, Betye Saar, Augusta Savage, William Edouard Scott, Charles Sebree, Henry Ossawa Tanner, Alma Thomas, Bob Thompson, Bill Traylor, James VanderZee, Charles White, Ellis Wilson, Hale Woodruff. 8vo (23 cm.; 8.5 x 6 in.), pictorial stiff wraps. First ed. NEW YORK (NY). Michael Rosenfeld Gallery. Building Community: The African American Scene. January 13-March 11, 2006. 28 pp. exhib. cat., color illus. 19 artists included: Charles Alston, Romare Bearden, John Biggers, Eldzier Cortor, Allan Rohan Crite, Beauford Delaney, Joseph Delaney, Aaron Douglas, Robert Duncanson, Allan Freelon, Palmer Hayden, Malvin Gray Johnson, William H. Johnson, Jacob Lawrence, Norman Lewis, Hughie Lee-Smith, Horace Pippin, William Edouard Scott, Henry Ossawa Tanner, James Vanderzee, Hale Woodruff. Poem by Richard Wright "We of the Streets." 12mo (16 cm.), card wraps. NEW YORK (NY). Michael Rosenfeld Gallery. Exultations: African American Art: 20th century Masterworks, II. February 1-April 8, 1995. 48 pp., 45 color plates, 3 b&w illus., exhib. checklist of 51 works by 29 artists. Text by Richard J. Powell. Includes: Charles Alston, Benny Andrews, Ernie Barnes, Richmond Barthé, Romare Bearden, Elizabeth Catlett, Eldzier Cortor, Norman Cousins, Allan Rohan Crite, Beauford Delaney, Joseph Delaney, Aaron Douglas, Sam Gilliam, Palmer Hayden, Sargent Johnson, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Horace Pippin, Robert Pious, Prentice H. Polk, James A. Porter, Betye Saar, Augusta Savage, Henry O. Tanner, Bob Thompson, James VanDerZee, Charles White, Ellis Wilson, and Hale Woodruff. [Traveled to Flint Art Institute, Flint, MI.] Sq. 8vo (23 cm.; 8.5 x 6 in.), pictorial stiff wraps. First ed. NEW YORK (NY). Sacks Fine Art, Inc. African American Artists of the Harlem Renaissance period and later. ca. 1992. 24 pp. exhibition catalogue, b&w illus., 1 color plate, brief biogs. of artists. Intro. by Beverly Sacks. Includes: Benny Andrews, Romare Bearden, Ernest Crichlow, Allan Crite, Roy DeCarava, Joseph Delaney, Aaron Douglas, Minnie Evans, John Hardrick, Palmer Hayden, Jacob Lawrence, Norman Lewis (The Group, gouache on masonite, 8 x 4.5 in.), Edward Loper, Bernie Robynson (3 brush and ink drawings), Charles Sebree, Bob Thompson, Ellis Wilson, Hale Woodruff. Small 4to, wraps. NEW YORK (NY). Sacks Fine Art, Inc. African American Artists Then and Now. 1993. Unpag. sale catalogue, illus. A greatly expanded roster over the previous year's offering including several women artists for the first time. Listing of New York. Artists currently available includes: Richmond Barthé, Romare Bearden, Ernest Crichlow, Alan Rohan Crite, Eldzier Cortor, Roy DeCarava, Joseph Delaney, Beauford Delaney, John Wesley Hardrick, Palmer Hayden, Lois Mailou Jones, Jacob Lawrence, Norman Lewis, Augusta Savage, Charles Sebree, Allen Stringfellow, Henry O. Tanner, Alma Thomas, Bob Thompson, Ellis Wilson, Hale Woodruff, et al. NEW YORK (NY). Schomburg Center for Research in Black Culture. Black New York Artists of the 20th Century: Selections from the Schomburg Center Collections. November 19, 1998-March 31, 1999. 96 pp. exhib. cat., 127 illus. (36 in color), bibliog. Ed. and text by curator Victor N. Smythe. Includes 125 artists: Tina Allen, Charles Alston, Emma Amos, Benny Andrews, Ellsworth Ausby, Abdullah Aziz, Xenobia Bailey, Ellen Banks, Richmond Barthé, Romare Bearden, Camille Billops, Bob Blackburn, Kabuya Bowens, William E. Braxton, Kay Brown, Selma Burke, Carole Byard, Elmer Simms Campbell, Nanette Carter, Elizabeth Catlett, Violet Chandler, Colin Chase, Schroeder Cherry, Ed Clark, Houston Conwill, Eldzier Cortor, Ernest Crichlow, Emilio Cruz, Michael Cummings, Diane Davis, Lisa Corinne Davis, Francks Francois Deceus, Avel C. DeKnight, Beauford Delaney, Joseph Delaney, Louis Delsarte, James Denmark, Aaron Douglas, Taiwo Duvall, Melvin Edwards, Elton Fax, Tom Feelings, Robert T. Freeman, Herbert Gentry, Rex Goreleigh, Theodore Gunn, Inge Hardison, Oliver Harrington, Verna Hart, Palmer Hayden, Carl E. Hazlewood, Alvin C. Hollingsworth, Manuel Hughes, Bill Hutson, Harlan Jackson, Laura James, Wadsworth Jarrell, Jamillah Jennings, M.L.J. Johnson, Malvin Gray Johnson, Oliver Johnson, Gwen Knight, Jacob Lawrence, Cecil Lee, Hughie Lee-Smith, Richard Leonard, Norman Lewis, Bell Earl Looney, Valerie Maynard, Dindga McCannon, Sam Middleton, Onaway K. Millar, Louis E. Mimms, Tyrone Mitchell, Mark Keith Morse, George J.A. Murray, Sr., Sana Musasama, Otto Neals, Jide Ojo, Ademola Olugebefola, James Phillips, Anderson Pigatt, Robert S. Pious, Rose Piper, Georgette Seabrooke Powell, Debra Priestly, Ronald Okoe Pyatt, Abdur-Rahman, Patrick Reason, Donald A. Reid, Earle Richardson, Faith Ringgold, Winfred J. Russell, Alison Saar, Augusta Savage, Charles Searles, Charles Sebree, James Sepyo, Milton Sherrill, Danny Simmons, Deborah Singletary, Albert Alexander Smith, Mei Tei Sing-Smith, Vincent Smith, Tesfaye Tessema, Dox Thrash, Haileyesus Tilahun, Bo Walker, Arlington Weithers, James Lesesne Wells, Charles White, Emmett Wigglesworth, Billy Doe Williams, Grace Williams, Michael Kelly Williams, Walter H. Williams, William T. Williams, Ellis Wilison, George Wilson, Ron and Addelle Witherspoon, Hale Woodruff. as well as work by members of the collectives Spiral and Weusi and the early '70s exhibit by black women artists called Where We At, and dozens more. 4to (28 x 22 cm.), pictorial wraps. First ed. NEW YORK (NY). Studio Museum in Harlem. Invisible Americans: Black Artists of the 1930s. 1968. Group exhibition. Curated by Henri Ghent. Included: Benny Andrews, Richmond Barthé, Romare Bearden, Vivian Browne, Ernest Crichlow, Joseph Delaney, Aaron Douglas, Felrath Hines, Malvin Gray Johnson, Jacob Lawrence, Norman Lewis, Faith Ringgold, Augusta Savage, Hale Woodruff, and perhaps others as well. [Reviews: "Blacks Talk Back to Whitney Museum," New York Amsterdam News (November 23, 1968):30; see Hilton Kramer's negative (racist) review "Differences in Quality," NYT, November 28, 1968; and Henri Ghent's response "White is not Superior," NYT, December 8, 1968.] OTFINOSKI, STEVEN. African Americans in the Visual Arts. New York: Facts on File, 2003. x, 262 pp., 50 b&w photos of some artists, brief 2-page bibliog., index. Part of the A to Z of African Americans series. Lists over 170 visual artists (including 18 photographers) and 22 filmmakers with brief biographies and token bibliog. for each. An erratic selection, far less complete than the St. James Guide to Black Artists, and inexplicably leaving out over 250 artists of obvious historic importance (for ex.: Edwin A. Harleston, Grafton Tyler Brown, Charles Ethan Porter, Wadsworth Jarrell, John Outterbridge, Noah Purifoy, William Majors, Camille Billops, Whitfield Lovell, Al Loving, Ed Clark, John T. Scott, Maren Hassinger, Lorraine O'Grady, Winnie Owens-Hart, Adrienne Hoard, Oliver Jackson, Frederick Eversley, Glenn Ligon, Sam Middleton, Ed Hamilton, Pat Ward Williams, etc. and omitting a generation of well-established contemporary artists who emerged during the late 70s-90s. [Note: a newly revised edition of 2012 (ten pages longer) has not rendered it a worthy reference work on this topic.] 8vo (25 com), laminated papered boards. PAINTER, NELL IRVIN. Creating Black Americans: African American History and its Meanings 1619 to the Present. New York: Oxford University Press, 2005. xvi, 458 pp., 148 illus. (110 in color), 4 maps, bibliog., index. Valuable for its images. A historical and cultural narrative that stretches from Africa to hip-hop with unusual attention paid to visual work. However, Painter is a historian not an art historian and therefore deals with the art in summary fashion without discussion of its layered imagery. Artists named include: Sylvia Abernathy, Tina Allen, Charles Alston, Emma Amos, Xenobia Bailey, James Presley Ball, Edward M. Bannister, Amiri Baraka (as writer), Richmond Barthé, Jean-Michel Basquiat, C. M. Battey, Romare Bearden, Arthur P. Bedou, John T. Biggers, Camille Billops, Carroll Parrott Blue, Leslie Bolling, Chakaia Booker, Cloyd Boykin, Kay Brown, Calvin Burnett, Margaret Burroughs, Elizabeth Catlett, Dana Chandler, Barbara Chase-Riboud, Chris Clark, Claude Clarke, Houston Conwill, Brett Cook-Dizney, Allan Rohan Crite, Willis "Bing" Davis, Roy DeCarava, Beauford Delaney, Joseph Delaney, Jeff Donaldson, Aaron Douglas, David C. Driskell, Robert S. Duncanson, Melvin Edwards, Tom Feelings, Roland L. Freeman, Meta Warrick Fuller, Paul Goodnight, Robert Haggins, Ed Hamilton, David Hammons, Inge Hardison, Edwin A. Harleston, Isaac Hathaway, Palmer Hayden, Kyra Hicks, Freida High-Tesfagiogis, Paul Houzell, Julien Hudson, Margo Humphrey, Richard Hunt, Clementine Hunter, Wadsworth Jarrell, Joshua Johnson, Malvin Gray Johnson, William H. Johnson, Barbara Jones-Hogu, Jacob Lawrence, Viola Burley Leak, Charlotte Lewis, Edmonia Lewis, Samella Lewis, Glenn Ligon, Estella Conwill Majozo, Valerie Maynard, Aaron McGruder, Lev Mills, Scipio Moorhead, Archibald Motley, Jr., Howardena Pindell, Horace Pippin, James A. Porter, Harriet Powers, Faith Ringgold, Alison Saar, Betye Saar, JoeSam, Melvin Samuels (NOC 167), O.L. Samuels, Augusta Savage, Joyce J. Scott, Herbert Singleton, Albert A. Smith, Morgan & Marvin Smith, Vincent Smith, Nelson Stevens, Ann Tanksley, Henry Ossawa Tanner, Dox Thrash, James Vanderzee, Kara Walker, Paul Wandless, Augustus Washington, James Lesesne Wells, Charles White, Pat Ward Williams, Hale Woodruff, Purvis Young. 8vo (9.4 x 8.2 in.), cloth, d.j. First ed. PHILADELPHIA (PA). Pyramid Club. Eighth Annual Exhibition of Art. 1948. Checklist includes: Samuel Joseph Brown, Claude Clark, Francis Couch, Joseph Delaney. Allan Freelon, Rex Goreleigh, Humbert Howard, Henry Bozeman Jones, Paul Keene, Edward L. Loper, Sr., Beatrice Overton, Dox Thrash, Laura Wheeler Waring, and dozens more. PHILADELPHIA (PA). Woodmere Art Museum. In Search of Missing Masters: The Lewis Tanner Moore Collection of African American Art. September 28, 2008-February 22, 2009. 119 pp. exhib. cat., 133 color plates (most full-page) and several b&w illus., checklist of 135 paintings, sculptures, and works on paper by 92 artists. Texts by Lewis Tanner Moore, Curlee Raven Holton, Margaret Rose Vendryes; brief biogs. by W. Douglas, Paschall. Includes: Henry Ossawa Tanner, Amelia Amaki, Emma Amos, James Atkins, Edward M. Bannister, Richmond Barthé, Romare Bearden, Cleveland Bellow, Bob Blackburn, Berrisford Boothe, James Brantley, Benjamin Britt, Moe Brooker, Samuel Joseph Brown, Barbara Bullock, Selma urke, Calvin Burnett, Margaret Burroughs, Charles Burwell, Donald Camp, James Camp, William S. Carter, Elizabeth Catlett, Barbara Chase-Riboud, Claude Clark, Irene V. Clark, Nanette Clark, Kevin Cole, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Roy Crosse, Joseph Delaney, Marita Dingus, David C. Driskell, James Dupree, Walter Edmonds, Allan Edmunds, James Edwards, Melvin Edwards, Allan Freelon, Reginald Gammon, Herbert Gentry, Sam Gilliam, Rex Goreleigh, Barkley Hendricks, Curley Holton, Humbert Howard, Edward Ellis Hughes, Bill Hutson, Leroy Johnson, Martina Joshnson-Allen, Lois Mailou Jones, Ron H. Jones, Paul Keene, Glenn F. Kellum, Columbus Knox, Jacob Lawrence, Hughie Lee-Smith, Ed Loper, Al Loving, Deryl Daniel Mackie, Ulysses Marshall, Richard Mayhew, John McDaniel, Thaddeus G. Mosley, Frank Neal, George Neal, Hayward Oubre, Carlton Parker, Janet Taylor Pickett, Howardena Pindell, Charles Pridgen, Faith Ringgold, Leo Robinson, Qaaim Salik, Raymond Saunders, Charles Searles, Charles Sebree, Sterling Shaw, Louis Sloan, Raymond Steth, Phil Sumpter, Dox Thrash, Ellen Powell Tiberino, Andrew Turner, Howard Watson, Richard Watson, James Lesesne Wells, William T. Williams, Ellis Wilson, John Wilson, and Hale Woodruff. 4to, self-wraps. First ed. PLOSKI, HARRY A. and ERNEST KAISER, eds. AFRO USA: A Reference Wok on the Black Experience. New York: Bellwether Co., 1971. [x], 1110 pp., 14 b&w illus. of art and visual artists, bibliog., index. Massive encyclopedic reference work with small section (pp. 702-723) devoted to visual art. Includes entries on Charles Alston, Robert Bannister, Richmond Barthe, Romare Bearden, John Biggers, William Carter, Dana Chandler, Ernest Crichlow, Aaron Douglas, Robert Duncanson, Meta Vaux Warrick Fuller, Alice Gafford, Sam Gilliam, Rose Green, David Hammons, William Harper, Isaac Hathaway, Hector Hill, Richard Hunt, May Howard Jackson, Jack Jordan, Jacob Lawrence, Hughie Lee Smith, Edmonia Lewis, Geraldine McCullough, Earl Miller, P'lla Mills, Joseph Overstreet, Horace Pippin, Augusta Savage, Vincent Smith, Henry Ossawa Tanner, Bob Thompson, Laura Wheeler Waring, Charles White, Jack Whitten, Beulah Woodard, and Hale Woodruff. The list of "Other Noted Negro Painters and Sculptors" includes: Benny Andrews, William E. Artis, Henry W. Bannarn, Eloise Bishop, Betty Blayton, Selma H. Burke, E. Simms Campbell, Elizabeth Catlett, Eldzier Cortor, Charles C. Dawson, Avel DeKnight, Joseph Delaney, William McKnight Farrow, Fred C. Flemister, Allan R. Freelon, Reginald Gammon, William Giles (?), Rex Gorleigh, Stephen Greene (white artist?), Edward A. Harleston, Palmer Hayden, Felrath Hines, Al Hollingsworth, Sargent C. Johnson, William H. Johnson, Ben Jones, Henry B. Jones, Lois Mailou Jones, Larry Lewis, Norman Lewis, Tom Lloyd, Edward L. Loper, Leon Meeks, Archibald Motley, Marion Perkins, James A. Porter, Elizabeth Prophet, William Edouard Scott, Charles Sebree, Thelma Johnson Streat, James L. Wells, Jack White and John Wilson. Scipio Moorhead and Malcolm Bailey mentioned in passing. Large stout 4to, cloth. (First revised enlarged edition. (Previously pub. as Negro Almanac). PLOSKI, HARRY A., ed. The Negro Almanac: A Reference Work on the Afro-American. New York: A Wiley-Interscience Publication, 1983. 1550 pp. Includes essay on The Black Artist. Gylbert Coker cited as art consultant. Many misspellings. Artists mentioned include: Scipio Moorhead, James Porter, Eugene Warburg, Robert Duncanson, William H. Simpson, Edward M. Bannister, Joshua Johnston, Robert Douglass, David Bowser, Edmonia Lewis, Henry O. Tanner, William Harper, Dorothy Fannin, Meta Fuller, Archibald Motley, Palmer Hayden. Malvin Gray Johnson, Laura Waring, William E. Scott, Hughie Lee-Smith, Zell Ingram, Charles Sallee, Elmer Brown, William E. Smith, George Hulsinger, James Herring, Aaron Douglas, Augusta Savage, Charles Alston, Hale Woodruff, Charles White, Richmond Barthé, Malvin Gray Johnson, Henry Bannarn, Florence Purviance, Dox Thrash, Robert Blackburn, James Denmark, Dindga McCannon, Frank Wimberly, Ann Tanksley, Don Robertson, Lloyd Toones, Lois Jones, Jo Butler, Robert Threadgill, Faith Ringgold, Romare Bearden, Ernest Crichlow, Norman Lewis, Jimmy Mosley, Samella Lewis, F. L. Spellmon, Phillip Hampton, Venola Seals Jennings, Juanita Moulon, Eugene Jesse Brown, Hayward Oubré, Ademola Olugebefola, Otto Neals, Kay Brown, Jean Taylor, Genesis II, David Hammons, Senga Nengudi, Randy Williams, Howardena Pindell, Edward Spriggs, Beauford Delaney, James Vanderzee, Melvin Edwards, Vincent Smith, Alonzo Davis, Dale Davis, Margaret Burroughs, Elizabeth Catlett, Gordon Parks, Rex Goreleigh, William McBride, Jr., Eldzier Cortor, James Gittens, Joan Maynard. Kynaston McShine, Coker, Cheryl McClenney, Faith Weaver, Randy Williams, Florence Hardney, Dolores Wright, Cathy Chance, Lowery Sims, Richard Hunt, Roland Ayers, Frank Bowling, Marvin Brown, Walter Cade, Catti, Barbara Chase-Riboud, Manuel Hughes, Barkley Hendricks, Juan Logan, Alvin Loving, Tom Lloyd, Lloyd McNeill, Algernon Miller, Norma Morgan, Mavis Pusey, Betye Saar, Raymond Saunders, Thomas Sills, Thelma Johnson Streat, Alma Thomas, John Torres, Todd Williams, Mahler Ryder, Minnie Evans, Jacob Lawrence, Haywood Rivers, Edward Clark, Camille Billops, Joe Overstreet, Louise Parks, Herbert Gentry, William Edmondson, James Parks, Marion Perkins, Bernard Goss, Reginald Gammon, Emma Amos, Charles Alston, Richard Mayhew, Al Hollingsworth, Calvin Douglass, Merton Simpson, Earl Miller, Felrath Hines, Perry Ferguson, William Majors, James Yeargans. Ruth Waddy; Evangeline Montgomery, Jeff Donaldson, Wadsworth Jarrell, Gerald Williams, Carolyn Lawrence, Barbara Jones-Hogu, Frank Smith, Howard Mallory, Napoleon Jones-Henderson, Nelson Stevens, Vivian Browne, Kay Brown, William Harper, Isaac Hathaway, Julien Hudson, May Howard Jackson, Edmonia Lewis, Patrick Reason, William Simpson, A. B. Wilson, William Braxton, Allan Crite, Alice Gafford, Sargent Johnson, William H. Johnson, William Artis, John Biggers, William Carter, Joseph Delaney, Elton Fax, Frederick Flemister, Ronald Joseph, Horace Pippin, Charles Sebree, Bill Traylor, Ellis Wilson, John Wilson, Starmanda Bullock, Dana Chandler, Raven Chanticleer, Roy DeCarava, John Dowell, Sam Gilliam, David Hammons, Daniel Johnson, Geraldine McCullough, Earl Miller, Clarence Morgan, Norma Morgan, Skunder Boghossian, Bob Thompson, Clifton Webb, Jack Whitten. 4to, cloth. 4th ed. PORTER, JAMES A. Modern Negro Art. New York: Dryden Press, 1943. 200 pp. text and indices, bibliog, index of names, plus 76 pp. illus. (4 colorplates.) Foundation reference work from which many others still take their information. Includes: John Henry Adams, Jr., Charles Alston, William E. Artis, Henry A. Avery, Henry (Mike) Bannarn, Edward Mitchell Bannister, Richmond Barthé, Romare Bearden, Gwendolyn Bennett, Edmund Bereal, Bob Blackburn, Leslie G. Bolling, David Bustill Bowser, William Ernest Braxton, Elmer Brown, Hilda Brown (also listed as Hilda Wilkerson), Richard L. Brown, Samuel J. Brown, Selma Burke, John P. Burr, E. Simms Campbell, John Carlis, Jr., Fred Carlo, William S. Carter, Elizabeth Catlett, John G. Chaplin, Samuel O. Collins, William Arthur Cooper, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Robert Crump, Charles Davis, Thomas Day, Charles C. Davis, Beauford Delaney, Joseph Delaney, Elba Lightfoot DeReyes, Joseph C. DeVillis, Frank J. Dillon, Aaron Douglas, Robert S. Duncanson, William Edmondson, William M. Farrow, Slave of Thomas Fleet, Frederick C. Flemister, B.E. Fountaine (as Fontaine), Allan Freelon, Meta Vaux Warrick Fuller, John W. Gore, Rex Goreleigh, Bernard Goss, Henry Gudgell, John Hailstalk, Clark Hampton, John W. Hardrick, John T. Hailstalk, Edwin A. Harleston, William A. Harper, Oliver Harrington (as Henry), Marcellus Hawkins, Palmer Hayden, Vertis Hayes, James V. Herring, G. W. Hobbs (now known to have been a white artist), Charles F. Holland, Fred Hollingsworth, Julien Hudson, George Hulsinger, Thomas W. Hunster, Sterling V. Hykes, Zell Ingram, John Spencer Jackson, May Howard Jackson, Wilmer Jennings, Everett Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Joshua Johnston, Allen Jones, Henry B. Jones, Lois Mailou Jones, Ronald Joseph, Joseph Kersey, Jacob Lawrence, Clarence Lawson, Bertina Lee, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Robert H. Lewis, Gerrit Loguen, Edward Loper, Scipio Moorhead, Lenwood Morris, Lottie E. Moss, Archibald J. Motley, Jr., George E. Neal, Robert L. Neal, Alexandre Pickhil, Horace Pippin, Georgette Seabrooke Powell, Pauline Powell, Nelson A. Primus, Elizabeth Prophet, Patrick Reason, Earle W. Richardson, William Ross, Winfred Russell, Charles L. Sallee, Augusta Savage, William E. Scott, Charles Sebree, William Simpson, Albert A. Smith, William E. Smith, Ella Spencer, Teresa Staats, Edward Stidum, Curtis E. Tann, Henry Ossawa Tanner, Dox Thrash, W.O. Thompson, Neptune Thurston, Thurmond Townsend, Vidal, Earl Walker, Daniel Warburg, Eugene Warburg, Laura Wheeler Waring, James Lesesne Wells, Aedina White, Charles White, James Williams, A.B. Wilson, Hale Woodruff. [Reprinted in 1969 with a new preface by Porter; and in 1992 in an important scholarly edition by Howard University Press with new introduction by David Driskell, a James A. Porter chronology by Constance Porter Uzelac, and including the prefaces to all prior editions.] 8vo, wraps. Reprint ed. PRINCETON (NJ). Princeton University Art Museum. Fragments of American Life: An Exhibition of Paintings. January 25-March 28, 1976. 75 pp. exhib. cat., 35 illus. Text by John Ralph Willis; biographies and bibliographies compiled by Anne Jones Willis. Group exhibition of 7 artists. Included: Romare Bearden, Joseph Delaney, Rex Gorleigh, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Hale Woodruff. 8vo (21 x 25 cm), wraps. RIGGS, THOMAS, ed. St. James Guide to Black Artists. Detroit: St. James Press, 1997. xxiv, 625 pp., illus. A highly selective reference work listing only approximately 400 artists of African descent worldwide (including around 300 African American artists, approximately 20% women artists.) Illus. of work or photos of many artists, brief descriptive texts by well-known scholars, with selected list of exhibitions for each, plus many artists' statements. A noticeable absence of many artists under 45, most photographers, and many women artists. Far fewer artists listed here than in Igoe, Cederholm, or other sources. Stout 4to (29 cm.), laminated yellow papered boards. First ed. SAN ANTONIO (TX). San Antonio Museum of Art. The Harmon and Harriet Kelley Collection of African American Art. February 4-April 3, 1994. 68 pp. exhib. cat., 59 illus., 23 color plates, checklist of 124 works, bibliog. Essays by Gylbert Coker and Corinne Jennings. Artists in the exhibition: Charles Alston, Benny Andrews, John W. Banks, Edward Bannister, Basquiat, Romare Bearden, John Biggers, Grafton Tyler Brown, Samuel J. Brown, William Carter, Elizabeth Catlett, Claude Clark, Sr., John Coleman, Eldzier Cortor, Ernest Crichlow, Allan Crite, Mary R. Daniel, Alonzo Davis, Joseph Delaney, Thornton Dial, Aaron Douglas, Robert S. Duncanson, Minnie Evans, William Farrow, Rex Goreleigh, John W. Hardrick, William A. Harper, Palmer Hayden, Clementine Hunter, J. Johnson, William H. Johnson, Frank Jones, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Samella Lewis, Lionel Lofton, Edward L. Loper, Ulysses Marshall, Sam Middleton, Sister Gertrude Morgan, Ike Morgan, Emma Lee Moss, Archibald Motley, Marion Perkins, Charles Ethan Porter, Patrick Reason, Charles Sallee, Raymond Saunders, William E. Scott, Charles Sebree, William E. Smith, Henry Ossawa Tanner, Alma Thomas, Dox Thrash, William Tolliver, Bill Traylor, James Vanderzee, Laura Wheeler Waring, James Lesesne Wells, Charles White, Ellis Wilson, John Wilson, Hale Woodruff, and Joseph Yoakum. [Traveled to: El Paso Museum of Art, El Paso, TX; Michael C. Carlos Museum, Emory University, Atlanta, GA; Butler Institute of American Art, Youngstown, OH; Hunter Museum of Art, Chattanooga, TN.] 4to (28 cm.), pictorial wraps. First ed. SANTA MONICA (CA). M. Hanks Gallery. Masterpieces of African American Art: An African American Perspective. February, 2011. Group exhibition. Included: Herman "Kofi" Bailey, Romare Bearden, Phoebe Beasley, Elizabeth Catlett, Beauford Delaney, Joseph Delaney, Meta Warrick Fuller, Inge Hardison, Palmer Hayden, Lawrence Jones, Jacob Lawrence, Michael Massenburg, Sam Middleton, John Offutt, William Pajaud, John T. Riddle, Augusta Savage, Charles Searles, Charles Sebree, William Tolliver, Charles White, William T. Williams, and Hale Woodruff. SANTA MONICA (CA). M. Hanks Gallery. Masterpieces of African American Art: An African American Perspective. January 18-April 1, 2006. iv, 65 pp. exhib. cat., color illus., bibliog. Interview by Marie Johnson-Calloway with Elizabeth Catlett; and an essay, printed in 1985, by Benny Andrews entitled "Is There a Black Aesthetic?" Includes: Charles H. Alston, Benny Andrews, Phoebe Beasley, Elizabeth Catlett, Erika Cosby, Ernest Crichlow, David C. Driskell, Robert S. Duncanson, Joseph Delaney, Palmer Hayden, Varnette Honeywood, Bill Hutson, Lois M. Jones, Michael Massenburg, Jerome Meadows, Richard Mayhew, Temisan Okpaku, William Pajaud, Charles Ethan Porter, Augusta Savage, Keinyo White, Walter Williams. 8vo (23 cm.), wraps. First ed. SPRADLING, MARY MACE. In Black and White: Afro-Americans in Print. Kalamazoo: Kalamazoo Public Library, 1980. 2 vols. 1089 pp. Includes: John H. Adams, Ron Adams, Alonzo Aden, Muhammad Ali, Baba Alabi Alinya, Charles Alston, Charlotte Amevor, Benny Andrews, Ralph Arnold, William Artis, Ellsworth Ausby, Jacqueline Ayer, Calvin Bailey, Jene Ballentine, Casper Banjo, Henry Bannarn, Edward Bannister, Dutreuil Barjon, Ernie Barnes, Carolyn Plaskett Barrow, Richmond Barthé, Beatrice Bassette, Ad Bates, Romare Bearden, Phoebe Beasley, Roberta Bell, Cleveland Bellow, Ed Bereal, Arthur Berry, DeVoice Berry, Cynthia Bethune, Charles Bible, John Biggers, Camille Billops, Bob Blackburn, Irving Blaney, Bessie Blount, Gloria Bohanon, Leslie Bolling, Shirley Bolton, Charles Bonner, Michael Borders, John Borican, Earl Bostic, Augustus Bowen, David Bowser, David Bradford, Edward Brandford, Brumsic Brandon, William Braxton, Arthur Britt Sr., Benjamin Britt, Sylvester Britton, Elmer Brown, Fred Brown, Kay Brown, Margery Brown, Richard L. Brown, Samuel Brown, Vivian E. Browne, Henry Brownlee, Linda Bryant, Starmanda Bullock, Juana Burke, Selma Burke, Eugene Burkes, Viola Burley, Calvin Burnett, John Burr, Margaret Burroughs, Nathaniel Bustion, Sheryle Butler, Elmer Simms Campbell, Thomas Cannon, Nick Canyon, Edward Carr, Art Carraway, Ted Carroll, Joseph S. Carter, William Carter, Catti, George Washington Carver, Yvonne Catchings, Elizabeth Catlett, Mitchell Caton, Dana Chandler, Kitty Chavis, George Clack, Claude Clark, Ed Clark, J. Henrik Clarke, Leroy Clarke, Ladybird Cleveland, Floyd Coleman, Donald Coles, Margaret Collins, Paul Collins, Sam Collins, Dan Concholar, Arthur Coppedge, Wallace X. Conway, Leonard Cooper, William A. Cooper, Art Coppedge, Eldzier Cortor, Samuel Countee, Harold Cousins, William Craft, Cleo Crawford, Marva Cremer, Ernest Crichlow, Allan Crite, Jerrolyn Crooks, Harvey Cropper, Doris Crudup, Robert Crump, Dewey Crumpler, Frank E. Cummings, William Curtis, Mary Reed Daniel, Alonzo Davis, Charles Davis, Willis "Bing" Davis, Dale Davis, Charles C. Dawson, Juette Day, Thomas Day, Roy DeCarava, Paul DeCroom, Avel DeKnight, Beauford Delaney, Joseph Delaney, Richard Dempsey, Murry DePillars, Robert D'Hue, Kenneth Dickerson, Leo Dillon, Raymond Dobard, Vernon Dobard, Jeff Donaldson, Aaron Douglas, Emory Douglas, Robert Douglass, Glanton Dowdell, David Driskell, Yolande Du Bois, Robert Duncanson, Eugenia Dunn, John Dunn, Adolphus Ealey, Eugene Eda, Melvin Edwards, Gaye Elliington, Annette Ensley, Marion Epting, Minnie Evans, Frederick Eversley, James Fairfax, Kenneth Falana, Allen Fannin, John Farrar, William Farrow, Elton Fax, Muriel Feelings, Tom Feelings, Frederick Flemister, Mikelle Fletcher, Curt Flood, Thomas Floyd, Doyle Foreman, Mozelle Forte (costume and fabric designer), Amos Fortune, Mrs. C.R. Foster, Inez Fourcard (as Fourchard), John Francis, Miriam Francis, Allan Freelon, Meta Warrick Fuller, Stephany Fuller, Gale Fulton-Ross, Ibibio Fundi, Alice Gafford, Otis Galbreath, West Gale, Reginald Gammon, Jim Gary, Herbert Gentry, Joseph Geran, Jimmy Gibbez, Sam Gilliam, Robert Glover, Manuel Gomez, Russell Gordon, Rex Goreleigh, Bernard Goss, Samuel Green, William Green, Donald Greene, Joseph Grey, Ron Griffin, Eugene Grigsby, Henry Gudgell, Charles Haines, Clifford Hall, Horathel Hall, Wesley Hall, David Hammons, James Hampton, Phillip Hampton, Lorraine Hansberry, Marvin Harden, Arthur Hardie, Inge Hardison, John Hardrick, Edwin Harleston, William A. Harper, Gilbert Harris, John Harris, Maren Hassinger, Isaac Hathaway, Frank Hayden, Kitty Hayden, Palmer Hayden, Vertis Hayes, Wilbur Haynie, Dion Henderson, Ernest Herbert, Leon Hicks, Hector Hill, Tony Hill, Geoffrey Holder, Al Hollingsworth, Varnette Honeywood, Earl Hooks, Humbert Howard, James Howard, Raymond Howell, Julien Hudson, Manuel Hughes, Margo Humphrey, Thomas Hunster, Richard Hunt, Clementine Hunter, Norman Hunter, Orville Hurt, Bill Hutson, Nell Ingram, Tanya Izanhour, Ambrose Jackson, Earl Jackson, May Jackson, Nigel Jackson, Suzanne Jackson, Walter Jackson, Louise Jefferson, Ted Joans, Daniel Johnson, Lester L. Johnson, Jr., Malvin Gray Johnson, Marie Johnson, Sargent Johnson, William H. Johnson, Joshua Johnston, Barbara Jones, Ben Jones, Calvin Jones, Frederick D. Jones Jr., James Arlington Jones, Lawrence Jones, Lois Mailou Jones, Eddie Jack Jordan, Ronald Joseph, Lemuel Joyner, Paul Keene, Elyse J. Kennart, Joseph Kersey, Gwendolyn Knight, Lawrence Compton Kolawole, Oliver LaGrone, Artis Lane, Doyle Lane, Raymond Lark, Lewis H. Latimer, Jacob Lawrence, Clarence Lawson, Bertina Lee, Joanna Lee, Peter Lee, Hughie Lee-Smith, Leon Leonard, Curtis Lewis, Edmonia Lewis, James Edward Lewis, Norman Lewis, Samella Lewis, Charles Lilly, Henri Linton, Jules Lion, Romeyn Lippman, Tom Lloyd, Jon Lockard, Juan Logan, Willie Longshore, Ed Loper, Ed Love, Al Loving, Geraldine McCullough, Lawrence McGaugh, Charles McGee, Donald McIlvaine, James McMillan, William McNeil, Lloyd McNeill, David Mann, William Marshall, Helen Mason, Philip Mason, Winifred Mason, Calvin Massey, Lester (Nathan) Mathews, William Maxwell, Richard Mayhew, Valerie Maynard, Yvonne Meo, Sam Middleton, Onnie Millar, Aaron Miller, Eva Miller, Lev Mills, P'lla Mills, Evangeline J. Montgomery, Arthur Monroe, Frank Moore, Ron Moore, Scipio Moorhead, Norma Morgan, Ken Morris, Calvin Morrison, Jimmie Mosely, Leo Moss, Lottie Moss, Archibald Motley, Hugh Mulzac, Frank Neal, George Neal, Otto Neals, Shirley Nero, Effie Newsome, Nommo, George Norman, Georg Olden, Ademola Olugebefola, Conora O'Neal (fashion designer), Cora O'Neal, Lula O'Neal, Pearl O'Neal, Ron O'Neal, Hayward Oubré, John Outterbridge, Carl Owens, Lorenzo Pace, Alvin Paige, Robert Paige, William Pajaud, Denise Palm, Norman Parish, Jules Parker, James Parks, Edgar Patience, Angela Perkins, Marion Perkins, Michael Perry, Jacqueline Peters, Douglas Phillips, Harper Phillips, Delilah Pierce, Howardena Pindell, Horace Pippin, Julie Ponceau, James Porter, Leslie Price, Ramon Price, Nelson Primus, Nancy Prophet, Noah Purifoy, Teodoro Ramos Blanco y Penita, Otis Rathel, Patrick Reason, William Reid, John Rhoden, Barbara Chase-Riboud, William Richmond, Percy Ricks, Gary Rickson, John Riddle, Gregory Ridley, Faith Ringgold, Malkia Roberts, Brenda Rogers, Charles Rogers, George Rogers, Arthur Rose, Nancy Rowland, Winfred Russell, Mahler Ryder, Betye Saar, Charles Sallee, Marion Sampler, John Sanders, Walter Sanford, Raymond Saunders, Augusta Savage, William E. Scott, Charles Sebree, Thomas Sills, Carroll Simms, Jewel Simon, Walter Simon, Merton Simpson, William H. Simpson, Louis Slaughter, Gwen Small, Albert A. Smith, Alvin Smith, Hughie Lee-Smith, John Henry Smith, Jacob Lawrence, John Steptoe, Nelson Stevens, Edward Stidum, Elmer C. Stoner, Lou Stovall, Henry O. Tanner, Ralph Tate, Betty Blayton Taylor, Della Taylor, Bernita Temple, Herbert Temple, Alma Thomas, Elaine Thomas, Larry Thomas, Carolyn Thompson, Lovett Thompson, Mildred Thompson, Mozelle Thompson, Robert (Bob) Thompson, Dox Thrash, Neptune Thurston, John Torres, Nat Turner, Leo Twiggs, Bernard Upshur, Royce Vaughn, Ruth Waddy, Anthony Walker, Earl Walker, Larry Walker, William Walker, Daniel Warburg, Eugene Warburg, Carole Ward, Laura Waring, Mary P. Washington, James Watkins, Lawrence Watson, Edward Webster, Allen A. Weeks, Robert Weil, James Wells, Pheoris West, Sarah West, John Weston, Delores Wharton, Amos White, Charles White, Garrett Whyte, Alfredus Williams, Chester Williams, Douglas R. Williams, Laura Williams, Matthew Williams, Morris Williams, Peter Williams, Rosetta Williams (as Rosita), Walter Williams, William T. Williams, Ed Wilson, Ellis Wilson, Fred Wilson, John Wilson, Stanley Wilson, Vincent Wilson, Hale Woodruff, Bernard Wright, Charles Young, Kenneth Young, Milton Young. [Note the 3rd edition consists of two volumes published by Gale Research in 1980, with a third supplemental volume issued in 1985.] Large stout 4tos, red cloth. 3rd revised expanded edition. ST LOUIS (MO). St. Louis Public Library. An index to Black American artists. St. Louis: St. Louis Public Library, 1972. 50 pp. Also includes art historians such as Henri Ghent. In this database, only artists are cross-referenced. 4to (28 cm.) TAHA, HALIMA. Collecting African American Art: Works on Paper and Canvas. New York: Crown, 1998. xvi, 270 pp., approx. 150 color plates, brief bibliog., index, appendices of art and photo dealers, museums and other resources. Intro. by Ntozake Shange. Forewords by Dierdre Bibby and Samella Lewis. Text consists of a few sentences at best on most of the hundreds of listed artists. Numerous typos and other errors and misinformation throughout. 4to (29 cm.), laminated papered boards, d.j. THOMISON, DENNIS. The Black Artist in America: An Index to Reproductions. Metuchen: Scarecrow Press, 1991. Includes: index to Black artists, bibliography (including doctoral dissertations and audiovisual materials.) Many of the dozens of spelling errors and incomplete names have been corrected in this entry and names of known white artists omitted from our entry, but errors may still exist in this entry, so beware: Jesse Aaron, Charles Abramson, Maria Adair, Lauren Adam, Ovid P. Adams, Ron Adams, Terry Adkins, (Jonathan) Ta Coumba T. Aiken, Jacques Akins, Lawrence E. Alexander, Tina Allen, Pauline Alley-Barnes, Charles Alston, Frank Alston, Charlotte Amevor, Emma Amos (Levine), Allie Anderson, Benny Andrews, Edmund Minor Archer, Pastor Argudin y Pedroso [as Y. Pedroso Argudin], Anna Arnold, Ralph Arnold, William Artis, Kwasi Seitu Asante [as Kwai Seitu Asantey], Steve Ashby, Rose Auld, Ellsworth Ausby, Henry Avery, Charles Axt, Roland Ayers, Annabelle Bacot, Calvin Bailey, Herman Kofi Bailey, Malcolm Bailey, Annabelle Baker, E. Loretta Ballard, Jene Ballentine, Casper Banjo, Bill Banks, Ellen Banks, John W. Banks, Henry Bannarn, Edward Bannister, Curtis R. Barnes, Ernie Barnes, James MacDonald Barnsley, Richmond Barthé, Jean-Michel Basquiat, Daniel Carter Beard, Romare Bearden, Phoebe Beasley, Falcon Beazer, Arthello Beck, Sherman Beck, Cleveland Bellow, Gwendolyn Bennett, Herbert Bennett, Ed Bereal, Arthur Berry, Devoice Berry, Ben Bey, John Biggers, Camille Billops, Willie Birch, Eloise Bishop, Robert Blackburn, Tarleton Blackwell, Lamont K. Bland, Betty Blayton, Gloria Bohanon, Hawkins Bolden, Leslie Bolling, Shirley Bolton, Higgins Bond, Erma Booker, Michael Borders, Ronald Boutte, Siras Bowens, Lynn Bowers, Frank Bowling, David Bustill Bowser, David Patterson Boyd, David Bradford, Harold Bradford, Peter Bradley, Fred Bragg, Winston Branch, Brumsic Brandon, James Brantley, William Braxton, Bruce Brice, Arthur Britt, James Britton, Sylvester Britton, Moe Brooker, Bernard Brooks, Mable Brooks, Oraston Brooks-el, David Scott Brown, Elmer Brown, Fred Brown, Frederick Brown, Grafton Brown, James Andrew Brown, Joshua Brown, Kay Brown, Marvin Brown, Richard Brown, Samuel Brown, Vivian Browne, Henry Brownlee, Beverly Buchanan, Selma Burke, Arlene Burke-Morgan, Calvin Burnett, Margaret Burroughs, Cecil Burton, Charles Burwell, Nathaniel Bustion, David Butler, Carole Byard, Albert Byrd, Walter Cade, Joyce Cadoo, Bernard Cameron, Simms Campbell, Frederick Campbell, Thomas Cannon (as Canon), Nicholas Canyon, John Carlis, Arthur Carraway, Albert Carter, Allen Carter, George Carter, Grant Carter, Ivy Carter, Keithen Carter, Robert Carter, William Carter, Yvonne Carter, George Washington Carver, Bernard Casey, Yvonne Catchings, Elizabeth Catlett, Frances Catlett, Mitchell Caton, Catti, Charlotte Chambless, Dana Chandler, John Chandler, Robin Chandler, Barbara Chase-Riboud, Kitty Chavis, Edward Christmas, Petra Cintron, George Clack, Claude Clark Sr., Claude Lockhart Clark, Edward Clark, Irene Clark, LeRoy Clarke, Pauline Clay, Denise Cobb, Gylbert Coker, Marion Elizabeth Cole, Archie Coleman, Floyd Coleman, Donald Coles, Robert Colescott, Carolyn Collins, Paul Collins, Richard Collins, Samuel Collins, Don Concholar, Wallace Conway, Houston Conwill, William A. Cooper, Arthur Coppedge, Jean Cornwell, Eldzier Cortor, Samuel Countee, Harold Cousins, Cleo Crawford, Marva Cremer, Ernest Crichlow, Norma Criss, Allan Rohan Crite, Harvey Cropper, Geraldine Crossland, Rushie Croxton, Doris Crudup, Dewey Crumpler, Emilio Cruz, Charles Cullen (White artist), Vince Cullers, Michael Cummings, Urania Cummings, DeVon Cunningham, Samuel Curtis, William Curtis, Artis Dameron, Mary Reed Daniel, Aaron Darling, Alonzo Davis, Bing Davis, Charles Davis, Dale Davis, Rachel Davis, Theresa Davis, Ulysses Davis, Walter Lewis Davis, Charles C. Davis, William Dawson, Juette Day, Roy DeCarava, Avel DeKnight, Beauford Delaney, Joseph Delaney, Nadine Delawrence, Louis Delsarte, Richard Dempsey, J. Brooks Dendy, III (as Brooks Dendy), James Denmark, Murry DePillars, Joseph DeVillis, Robert D'Hue, Kenneth Dickerson, Voris Dickerson, Charles Dickson, Frank Dillon, Leo Dillon, Robert Dilworth, James Donaldson, Jeff Donaldson, Lillian Dorsey, William Dorsey, Aaron Douglas, Emory Douglas, Calvin Douglass, Glanton Dowdell, John Dowell, Sam Doyle, David Driskell, Ulric S. Dunbar, Robert Duncanson, Eugenia Dunn, John Morris Dunn, Edward Dwight, Adolphus Ealey, Lawrence Edelin, William Edmondson, Anthony Edwards, Melvin Edwards, Eugene Eda [as Edy], John Elder, Maurice Ellison, Walter Ellison, Mae Engron, Annette Easley, Marion Epting, Melvyn Ettrick (as Melvin), Clifford Eubanks, Minnie Evans, Darrell Evers, Frederick Eversley, Cyril Fabio, James Fairfax, Kenneth Falana, Josephus Farmer, John Farrar, William Farrow, Malaika Favorite, Elton Fax, Tom Feelings, Claude Ferguson, Violet Fields, Lawrence Fisher, Thomas Flanagan, Walter Flax, Frederick Flemister, Mikelle Fletcher, Curt Flood, Batunde Folayemi, George Ford, Doyle Foreman, Leroy Foster, Walker Foster, John Francis, Richard Franklin, Ernest Frazier, Allan Freelon, Gloria Freeman, Pam Friday, John Fudge, Meta Fuller, Ibibio Fundi, Ramon Gabriel, Alice Gafford, West Gale, George Gamble, Reginald Gammon, Christine Gant, Jim Gary, Adolphus Garrett, Leroy Gaskin, Lamerol A. Gatewood, Herbert Gentry, Joseph Geran, Ezekiel Gibbs, William Giles, Sam Gilliam, Robert Glover, William Golding, Paul Goodnight, Erma Gordon, L. T. Gordon, Robert Gordon, Russell Gordon, Rex Goreleigh, Bernard Goss, Joe Grant, Oscar Graves, Todd Gray, Annabelle Green, James Green, Jonathan Green, Robert Green, Donald Greene, Michael Greene, Joseph Grey, Charles Ron Griffin, Eugene Grigsby, Raymond Grist, Michael Gude, Ethel Guest, John Hailstalk, Charles Haines, Horathel Hall, Karl Hall, Wesley Hall, Edward Hamilton, Eva Hamlin-Miller, David Hammons, James Hampton, Phillip Hampton, Marvin Harden, Inge Hardison, John Hardrick, Edwin Harleston, William Harper, Hugh Harrell, Oliver Harrington, Gilbert Harris, Hollon Harris, John Harris, Scotland J. B. Harris, Warren Harris, Bessie Harvey, Maren Hassinger, Cynthia Hawkins (as Thelma), William Hawkins, Frank Hayden, Kitty Hayden, Palmer Hayden, William Hayden, Vertis Hayes, Anthony Haynes, Wilbur Haynie, Benjamin Hazard, June Hector, Dion Henderson, Napoleon Jones-Henderson, William Henderson, Barkley Hendricks, Gregory A. Henry, Robert Henry, Ernest Herbert, James Herring, Mark Hewitt, Leon Hicks, Renalda Higgins, Hector Hill, Felrath Hines, Alfred Hinton, Tim Hinton, Adrienne Hoard, Irwin Hoffman, Raymond Holbert, Geoffrey Holder, Robin Holder, Lonnie Holley, Alvin Hollingsworth, Eddie Holmes, Varnette Honeywood, Earl J. Hooks, Ray Horner, Paul Houzell, Helena Howard, Humbert Howard, John Howard, Mildred Howard, Raymond Howell, William Howell, Calvin Hubbard, Henry Hudson, Julien Hudson, James Huff, Manuel Hughes, Margo Humphrey, Raymond Hunt, Richard Hunt, Clementine Hunter, Elliott Hunter, Arnold Hurley, Bill Hutson, Zell Ingram, Sue Irons, A. B. Jackson, Gerald Jackson, Harlan Jackson, Hiram Jackson, May Jackson, Oliver Jackson, Robert Jackson, Suzanne Jackson, Walter Jackson, Martha Jackson-Jarvis, Bob James, Wadsworth Jarrell, Jasmin Joseph [as Joseph Jasmin], Archie Jefferson, Rosalind Jeffries, Noah Jemison, Barbara Fudge Jenkins, Florian Jenkins, Chester Jennings, Venola Jennings, Wilmer Jennings, Georgia Jessup, Johana, Daniel Johnson, Edith Johnson, Harvey Johnson, Herbert Johnson, Jeanne Johnson, Malvin Gray Johnson, Marie Johnson-Calloway, Milton Derr (as Milton Johnson), Sargent Johnson, William H. Johnson, Joshua Johnston, Ben Jones, Calvin Jones, Dorcas Jones, Frank A. Jones, Frederick D. Jones, Jr. (as Frederic Jones), Henry B. Jones, Johnny Jones, Lawrence Arthur Jones, Leon Jones, Lois Mailou Jones, Nathan Jones, Tonnie Jones, Napoleon Jones-Henderson, Barbara Jones-Hogu, Jack Jordan, Cliff Joseph, Ronald Joseph, Lemuel Joyner, Edward Judie, Michael Kabu, Arthur Kaufman, Charles Keck, Paul Keene, John Kendrick, Harriet Kennedy, Leon Kennedy, Joseph Kersey; Virginia Kiah, Henri King, James King, Gwendolyn Knight, Robert Knight, Lawrence Kolawole, Brenda Lacy, (Laura) Jean Lacy, Roy LaGrone, Artis Lane, Doyle Lane, Raymond Lark, Carolyn Lawrence, Jacob Lawrence, James Lawrence, Clarence Lawson, Louis LeBlanc, James Lee, Hughie Lee-Smith, Lizetta LeFalle-Collins, Leon Leonard, Bruce LeVert, Edmonia Lewis, Edwin E. Lewis, Flora Lewis, James E. Lewis, Norman Lewis, Roy Lewis, Samella Lewis, Elba Lightfoot, Charles Lilly [as Lily], Arturo Lindsay, Henry Linton, Jules Lion, James Little, Marcia Lloyd, Tom Lloyd, Jon Lockard, Donald Locke, Lionel Lofton, Juan Logan, Bert Long, Willie Longshore, Edward Loper, Francisco Lord, Jesse Lott, Edward Love, Nina Lovelace, Whitfield Lovell, Alvin Loving, Ramon Loy, William Luckett, John Lutz, Don McAllister, Theadius McCall, Dindga McCannon, Edward McCluney, Jesse McCowan, Sam McCrary, Geraldine McCullough, Lawrence McGaugh, Charles McGee, Donald McIlvaine, Karl McIntosh, Joseph Mack, Edward McKay, Thomas McKinney, Alexander McMath, Robert McMillon, William McNeil, Lloyd McNeill, Clarence Major, William Majors, David Mann, Ulysses Marshall, Phillip Lindsay Mason, Lester Mathews, Sharon Matthews, William (Bill) Maxwell, Gordon Mayes, Marietta Mayes, Richard Mayhew, Valerie Maynard, Victoria Meek, Leon Meeks, Yvonne Meo, Helga Meyer, Gaston Micheaux, Charles Mickens, Samuel Middleton, Onnie Millar, Aaron Miller, Algernon Miller, Don Miller, Earl Miller, Eva Hamlin Miller, Guy Miller, Julia Miller, Charles Milles, Armsted Mills, Edward Mills, Lev Mills, Priscilla Mills (P'lla), Carol Mitchell, Corinne Mitchell, Tyrone Mitchell, Arthur Monroe, Elizabeth Montgomery, Ronald Moody, Ted Moody, Frank Moore, Ron Moore, Sabra Moore, Theophilus Moore, William Moore, Leedell Moorehead, Scipio Moorhead, Clarence Morgan, Norma Morgan, Sister Gertrude Morgan, Patricia Morris, Keith Morrison, Lee Jack Morton, Jimmie Mosely, David Mosley, Lottie Moss, Archibald Motley, Hugh Mulzac, Betty Murchison, J. B. Murry, Teixera Nash, Inez Nathaniel, Frank Neal, George Neal, Jerome Neal, Robert Neal, Otto Neals, Robert Newsome, James Newton, Rochelle Nicholas, John Nichols, Isaac Nommo, Oliver Nowlin, Trudell Obey, Constance Okwumabua, Osira Olatunde, Kermit Oliver, Yaounde Olu, Ademola Olugebefola, Mary O'Neal, Haywood Oubré, Simon Outlaw, John Outterbridge, Joseph Overstreet, Carl Owens, Winnie Owens-Hart, Lorenzo Pace, William Pajaud, Denise Palm, James Pappas, Christopher Parks, James Parks, Louise Parks, Vera Parks, Oliver Parson, James Pate, Edgar Patience, John Payne, Leslie Payne, Sandra Peck, Alberto Pena, Angela Perkins, Marion Perkins, Michael Perry, Bertrand Phillips, Charles James Phillips, Harper Phillips, Ted Phillips, Delilah Pierce, Elijah Pierce, Harold Pierce, Anderson Pigatt, Stanley Pinckney, Howardena Pindell, Elliott Pinkney, Jerry Pinkney, Robert Pious, Adrian Piper, Horace Pippin, Betty Pitts, Stephanie Pogue, Naomi Polk, Charles Porter, James Porter, Georgette Powell, Judson Powell, Richard Powell, Daniel Pressley, Leslie Price, Ramon Price, Nelson Primus, Arnold Prince, E. (Evelyn?) Proctor, Nancy Prophet, Ronnie Prosser, William Pryor, Noah Purifoy, Florence Purviance, Martin Puryear, Mavis Pusey, Teodoro Ramos Blanco y Penita, Helen Ramsaran, Joseph Randolph; Thomas Range, Frank Rawlings, Jennifer Ray, Maxine Raysor, Patrick Reason, Roscoe Reddix, Junius Redwood, James Reed, Jerry Reed, Donald Reid, O. Richard Reid, Robert Reid, Leon Renfro, John Rhoden, Ben Richardson, Earle Richardson, Enid Richardson, Gary Rickson, John Riddle, Gregory Ridley, Faith Ringgold, Haywood Rivers, Arthur Roach, Malkia Roberts, Royal Robertson, Aminah Robinson, Charles Robinson, John N. Robinson, Peter L. Robinson, Brenda Rogers, Charles Rogers, Herbert Rogers, Juanita Rogers, Sultan Rogers, Bernard Rollins, Henry Rollins, Arthur Rose, Charles Ross, James Ross, Nellie Mae Rowe, Sandra Rowe, Nancy Rowland, Winfred Russsell, Mahler Ryder, Alison Saar, Betye Saar, Charles Sallee, JoeSam., Marion Sampler, Bert Samples, Juan Sanchez, Eve Sandler, Walter Sanford, Floyd Sapp, Raymond Saunders, Augusta Savage, Ann Sawyer, Sydney Schenck, Vivian Schuyler Key, John Scott (Johnny) , John Tarrell Scott, Joyce Scott, William Scott, Charles Searles, Charles Sebree, Bernard Sepyo, Bennie Settles, Franklin Shands, Frank Sharpe, Christopher Shelton, Milton Sherrill, Thomas Sills, Gloria Simmons, Carroll Simms, Jewell Simon, Walter Simon, Coreen Simpson, Ken Simpson, Merton Simpson, William Simpson, Michael Singletary (as Singletry), Nathaniel Sirles, Margaret Slade (Kelley), Van Slater, Louis Sloan, Albert A. Smith, Alfred J. Smith, Alvin Smith, Arenzo Smith, Damballah Dolphus Smith, Floyd Smith, Frank Smith, George Smith, Howard Smith, John Henry Smith, Marvin Smith, Mary T. Smith, Sue Jane Smith, Vincent Smith, William Smith, Zenobia Smith, Rufus Snoddy, Sylvia Snowden, Carroll Sockwell, Ben Solowey, Edgar Sorrells, Georgia Speller, Henry Speller, Shirley Stark, David Stephens, Lewis Stephens, Walter Stephens, Erik Stephenson, Nelson Stevens, Mary Stewart, Renée Stout, Edith Strange, Thelma Streat, Richard Stroud, Dennis Stroy, Charles Suggs, Sharon Sulton, Johnnie Swearingen, Earle Sweeting, Roderick Sykes, Clarence Talley, Ann Tanksley, Henry O. Tanner, James Tanner, Ralph Tate, Carlton Taylor, Cecil Taylor, Janet Taylor Pickett, Lawrence Taylor, William (Bill) Taylor, Herbert Temple, Emerson Terry, Evelyn Terry, Freida Tesfagiorgis, Alma Thomas, Charles Thomas, James "Son Ford" Thomas, Larry Erskine Thomas, Matthew Thomas, Roy Thomas, William Thomas (a.k.a. Juba Solo), Conrad Thompson, Lovett Thompson, Mildred Thompson, Phyllis Thompson, Bob Thompson, Russ Thompson, Dox Thrash, Mose Tolliver, William Tolliver, Lloyd Toone, John Torres, Elaine Towns, Bill Traylor, Charles Tucker, Clive Tucker, Yvonne Edwards Tucker, Charlene Tull, Donald Turner, Leo Twiggs, Alfred Tyler, Anna Tyler, Barbara Tyson Mosley, Bernard Upshur, Jon Urquhart, Florestee Vance, Ernest Varner, Royce Vaughn, George Victory, Harry Vital, Ruth Waddy, Annie Walker, Charles Walker, Clinton Walker, Earl Walker, Lawrence Walker, Raymond Walker [a.k.a. Bo Walker], William Walker, Bobby Walls, Daniel Warburg, Eugene Warburg, Denise Ward-Brown, Evelyn Ware, Laura Waring, Masood Ali Warren, Horace Washington, James Washington, Mary Washington, Timothy Washington, Richard Waters, James Watkins, Curtis Watson, Howard Watson, Willard Watson, Richard Waytt, Claude Weaver, Stephanie Weaver, Clifton Webb, Derek Webster, Edward Webster, Albert Wells, James Wells, Roland Welton, Barbara Wesson, Pheoris West, Lamonte Westmoreland, Charles White, Cynthia White, Franklin White, George White, J. Philip White, Jack White (sculptor), Jack White (painter), John Whitmore, Jack Whitten, Garrett Whyte, Benjamin Wigfall, Bertie Wiggs, Deborah Wilkins, Timothy Wilkins, Billy Dee Williams, Chester Williams, Douglas Williams, Frank Williams, George Williams, Gerald Williams, Jerome Williams, Jose Williams, Laura Williams, Matthew Williams, Michael K. Williams, Pat Ward Williams, Randy Williams, Roy Lee Williams, Todd Williams, Walter Williams, William T. Williams, Yvonne Williams, Philemona Williamson, Stan Williamson, Luster Willis, A. B. Wilson, Edward Wilson, Ellis Wilson, Fred Wilson, George Wilson, Henry Wilson, John Wilson, Stanley C. Wilson, Linda Windle, Eugene Winslow, Vernon Winslow, Cedric Winters, Viola Wood, Hale Woodruff, Roosevelt Woods, Shirley Woodson, Beulah Woodard, Bernard Wright, Dmitri Wright, Estella Viola Wright, George Wright, Richard Wyatt, Frank Wyley, Richard Yarde, James Yeargans, Joseph Yoakum, Bernard Young, Charles Young, Clarence Young, Kenneth Young, Milton Young. WALKER, SANDRA C. Hidden treasures : Beauford and Joseph Delaney of Knoxville, Tennessee. 1997. In: VRA Bulletin. 24, no. 1 (Spring 1997):45-51, thumbnail illus., bibliog. [http://sunsite.utk.edu/delaney/walker/walker.htm] WASHINGTON (DC). American Art Museum, Smithsonian Institution. African American Art: Harlem Renaissance, Civil Rights Era and Beyond. April 27-September 3, 2012. 256 pp. exhib. cat., color and b&w illus. Text by Richard J. Powell, with catalogue entries by Virginia Mecklenburg, Theresa Slowik and Maricia Battle. Curated by Virginia Mecklenburg. A selection of paintings, sculpture, prints, and photographs by forty-three black artists who explored the African American experience from the Harlem Renaissance through the Civil Rights era and the decades beyond. [Traveling to: Muscarelle Museum of Art, The College of William and Mary, Williamsburg, VA, September 28, 2012-January 6, 2013; Mennello Museum of American Art, Orlando, FL, February 1-April 28, 2013; Peabody Essex Museum, Salem, MA, June 1-September 2, 2013; Hunter Museum of American Art, Chattanooga, TN, February 14-May 25, 2014; Crocker Art Museum, Sacramento, CA, June 28-September 21, 2014; Everson Museum of Art, Syracuse, NY, October 18, 2014-January 4, 2015.] 4to (12.3 x 10.3 in.), cloth, d.j. First ed. WASHINGTON (DC). Archives of American Art, Smithsonian Institution. A Checklist of the Collection. Washington, DC: Smithsonian, 1977. Description of holdings as of 1977, including materials by: Charles Alston, Benny Andrews, Romare Bearden, Cinque Gallery, Eldzier Cortor, Ernest Crichlow, Roy DeCarava, Avel DeKnight, Joseph Delaney, Melvin Edwards, Allen Fannin and Dorothy Fannin [as Farmen], Dakar Festival, Harmon Foundation, Palmer Hayden, Al Hollingsworth, Sargent Johnson, Cliff Joseph, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Edward Loper, Al Loving, Charles McGee, John Outterbridge, Howardena Pindell, Horace Pippin, John Rhoden, Faith Ringgold, Bill Rivers, Thomas Sills, Merton Simpson, Edward Spriggs, Henry Tanner, James Washington, Weusi Gallery, Charles White, Ellis Wilson, John Wilson, Hale Woodruff WASHINGTON (DC). Library of Congress. Seventy Five Years of Freedom: Commemoration of the 75th Anniversary of the Proclamation of the 13th Amendment to the Constitution of the United States. Washington, DC: U.S. Government Printing Office, 1943. Mostly an annotated list of books and manuscripts on black history, however it also includes remarks on the exhibition curated by Alonzo Aden, and list of exhibitors (pp. 39-43). Included: Frank H. Alston, John Ingliss Atkinson, Henry Avery, Romare Bearden, Bob Blackburn, Samuel Brown, William S. Carter, Claude Clark, Sr., Eldzier Cortor, Samuel A. Countee, Ernest Crichlow, Allan Rohan Crite, Charles C. Davis, Selma Day, Joseph Delaney, Aaron Douglas, Elba Lightfoot DeReyes, Walter W. Ellison, John S. Glenn, Bernard Goss, Palmer Hayden, Fred Hollingsworth, Humbert Howard, Wilmer Jennings, Malvin G. Johnson, William H. Johnson, Lois Mailou Jones, Ronald Joseph, Joseph Kersey, Jacob Lawrence, Norman Lewis, Edward Loper, John Lutz, Archibald Motley, James A. Porter, Georgette Seabrooke Powell, Angelica Pozo, Bryant Ringle, Charles Salee, William E. Scott, Charles Sebree, Raymond Steth, Dox Thrash, Earl Walker, James W. Washington, Jr., James Lesesne Wells, Charles White, and Hale Woodruff. WASHINGTON (DC). National Museum of American Art. Descriptive Catalogue of Painting and Sculpture in the National Museum of American Art. Boston: G. K. Hall & Co., 1983. Of historical interest. As of October 31, 1982, the holdings included (multiple works indicated in paretheses): Edward Bannister, Ed Bereal, Claude Clark, Sr., Eldzier Cortor, Allan Rohan Crite (2), Emilio Cruz (3), Joseph Delaney, William Edmondson, Minnie Evans, Sam Gilliam (7), James Hampton, Palmer Hayden, Felrath Hines, Richard Hunt, Malvin Gray Johnson (2), Sargent Claude Johnson, William H. Johnson (177) Jacob Lawrence, Charles Searles, Henry O. Tanner, Alma Woodsey Thomas, (26), Bob Thompson (5), Laura Wheeler Waring (2), and Ellis Wilson. [For a fuller picture of the national holdings of African American art at this time see also National Portrait Gallery, Smithsonian Institution; Permanent Collection Illustrated Checklist.] WASHINGTON (DC). National Museum of American Art. Free Within Ourselves: African-American Artists in the Collection of the National Museum of American Art. 1992. 205 pp., over 100 illus., 90 in excellent color, bibliog., list of works, checklist of 105 artists represented in National Museum of American Art. Curated and text by Regenia A. Perry. 32 artists discussed: Edward Mitchell Bannister, Romare Bearden, John Biggers, Frederick J. Brown, Elizabeth Catlett, Allan Rohan Crite, Beauford Delaney, Robert S. Duncanson, William Edmondson, Minnie Evans, Sam Gilliam, James Hampton, Palmer Hayden, Richard Hunt, Joshua Johnson, Sargent Johnson, William H. Johnson, Frank Jones, Lois Mailou Jones, Jacob Lawrence, Edmonia Lewis, Sister Gertrude Morgan, Keith Morrison, Marilyn Nance, James A. Porter, Augusta Savage, Henry Ossawa Tanner, Alma Thomas, Bob Thompson, Bill Traylor, Hale Woodruff, and Joseph Yoakum. Other artists mentioned as part of the collection, but not featured: Leroy Almon, Emma Amos, Benny Andrews, Steve Ashby, Ed Bereal, Wendell T. Brooks, Samuel Joseph Brown, Vivian E. Browne, Richard Burnside, Claude Clark, Houston Conwill, Eldzier Cortor, Emilio Cruz, William Dawson, Hilliard Dean, Roy DeCarava, Joseph Delaney, Richard Dempsey, Arthur "Pete" Dilbert, John Edward Dowell, Jr., Melvin Edwards, Frederick Eversley, Josephus Farmer, Walter Flax, Roland L. Freeman, Herbert Gentry, William Hawkins, Felrath Hines, Lonnie Holley, Margo Humphrey, Mr. Imagination, Keith Jenkins, Malvin Gray Johnson, Larry Francis Lebby, Norman Lewis, Ed Loper, Richard Mayhew, Eric Calvin McDonald, Lloyd McNeill, Robert McNeill, Inez Nathaniel-Walker, Joseph Norman, Leslie Payne, Elijah Pierce, Howardena Pindell, Michael Platt, Earle Richardson, John N. Robinson, Nellie Mae Rowe, Charles Sallee Charles Searles, Charles Sebree, Frank Smith, Edgar Sorrells-Adewale, Henry Speller, Raymond Steth, Lou Stovall, Jimmie Lee Sudduth, Mildred Thompson, Dox Thrash, Mose Tolliver, Laura Wheeler Waring, James W. Washington, Jr., Edward B. Webster, James Lesesne Wells, Charles White, Franklin A. White, George W. White, Jr., Ellis Wilson, Richard Yarde, Kenneth Young. [Traveled to: Wadsworth Atheneum, Hartford, CT; IBM Gallery of Science and Art, New York, NY; Crocker Art Museum, Sacramento, CA; Memphis Brooks Museum of Art, Memphis, TN; The Columbus Museum, Columbus, GA.] Small 4to, cloth, dust jacket. First ed. WASHINGTON (DC). Smithsonian Museum of American Art. African American Art: Harlem Renaissance, Civil Rights Era, and Beyond. April 27-September 3, 2012. 252 pp. exhib. cat., illus. Text by Richard J. Powell, Virginia Mecklenburg, Theresa Slowik. Curated by Virginia Mecklenburg. Paintings, sculpture, prints, and photographs by 43 black artists, a total of 100 works drawn entirely from the Smithsonian American Art Museum collection, including new acquisitions. [Will travel to: Muscarelle Museum of Art, The College of William and Mary, Williamsburg, VA, September 28, 2012-January 6, 2013; Mennello Museum of American Art, Orlando, FL, February 1-April 28, 2013; Peabody Essex Museum, Salem, MA, June 1-September 2, 2013; Albuquerque Museum of Art, Albuquerque, NM, September 29, 2013-January 19, 2014; Hunter Museum of American Art, Chattanooga, TN, February 14-May 25, 2014; Crocker Art Museum, Sacramento, CA, June 28-September 21, 2014; Everson Museum of Art, Syracuse, NY, October 18, 2014-January 4, 2015.] 4to (12 x 10 in.), cloth, d.j. First ed. WICHITA (KS). Wichita Art Museum. American Art of the Great Depression: Two Sides of the Coin. October 27-December 1, 1985. 152 pp. exhib. cat., 163 b&w illus., exhib. checklist. Text by Howard E. Wooden. Includes: Joseph Delaney, Jacob Lawrence, William Palmer. American art of the 1930s-early 1940s, including paintings, prints, sculpture and posters created for the Federal Art Project. WICHITA (KS). Wichita Art Museum. The Neglected Generation of American Realist Painters 1930-1948. May 3-June 14, 1981. 64 pp. exhib. cat., 16 color plates, 103 b&w illus., exhib. checklist. Text by Howard E. Wooden. Includes Henry Wilmer Bannarn, Joseph Delaney. 4to (10.5 x 8 in.), black wraps. Though largely unrecognized in his day as an artist, Joseph Delaney became more prominent after his death. Like many of his African-American colleagues, during his life, Delaney all too often was excluded from prominent galleries. Instead of migrating to another country like his older brother Beauford, an artist who moved from New York to France, Joseph took to the streets showing his work in New York’s Washington Square for almost fifty years. Delaney’s most prominent works are crowded street scenes often taking place during parades or celebrations with titles such as V. J. Day, Times Square, Easter Parade, Yankee Parade, Hostage Parade, and Macy’s Parade. Though he did show his work in galleries and museums, including the British American Galleries, the Metropolitan Museum of Art, and the National Academy of Design, at his core Delaney was a street artist and a portrait sketcher who only posthumously received his due for his accomplishments. Joseph Delaney was born in 1904 in Knoxville, Tennessee to the Reverend and Mrs. Samuel Delaney. Delaney’s first desire to become an artist came in response to his brother Beauford. The elder Delaney was a natural artist always drawing and sketching and receiving high praise for his efforts at a young age. The two brothers drew Sunday school cards and developed an artistic rivalry. But at the age of 13 Joseph received fifty cents from a teacher for a drawing of a sparrow. An artist was born. Two years later the Reverend Delaney died. Joseph dropped out of school after the ninth grade to make money for the family. He worked as a caddy at the Cherokee Country Club for 25 cents a round and as a bellhop at the Farragut Hotel. To make any money in tips, sometimes bellhops were forced to break the law for hotel guests by procuring prostitutes or liquor during prohibition. Delaney was caught during one of his exploits and fired from the hotel. His entire life he lived in a strict Methodist household usually attending church more than once a week, but his days at the hotel exposed him to another side of life where people were free to make their own decisions and live the way they chose. His also learned how to gamble playing cards, throwing dice, and shooting pool, skills which served him well in the next phase of his life. Delaney decided to leave his family and its strict Methodist way of life at the age of 18. AD On The Road In 1922 Delaney left Knoxville to find work as a coal miner in Kentucky. When he could not find this type of work he washed dishes in a diner and then began a two-year period of hoboing—riding the rails around the Midwest stopping for a time in Cincinnati and Detroit. In a self-published essay, Thirty-Six Years Exhibiting in the Washington Square Art Show, Delaney remembered his days on the road: “My mind would go back to the days of the old B&O Baltimore and Ohio freight line somewhere between Parkersberg, Virginia and Athens, Ohio, in the hot summer under the stars at night, just riding, listening to the screech of the old car and the thick sound of a smoky engine slowly pulling around the winding curves. Only one-hundred ten miles, but on a slow freight, the ride takes forever to At a Glance… Born Joseph Delaney in 1904 in Knoxville, TN to the Reverend Samuel and Mrs. Delia Delaney; died November 21, 1991. Education: Arts Students League, New York; Religion: Methodist. Career: Studied at the Art Students League; participated in the first Washington Square Outdoor Art Exhibit, 1931; continued to show his work and sketch portraits at this venue until 1971; worked for the Works Progress Administration painting murals and illustrating for the New York Metropolitan Museum of Art, 1936-39; worked at the New York World’s Fair for the New Orleans and the Ghana exhibit, 1964; artist-in-residence at the Henry Street Settlement in New York, 1977-79; major exhibition of his work at the University of Tennessee-Knoxvilie’s Ewing Gallery, 1986; artist-in-residence at the University of Tennessee-Knoxville, 1986-91. AD Award: The Julius Rosenwals grant, 1942. come to a stop. I didn’t have anywhere to go, so it didn’t matter. Wandering youth, during those peaceful years of the early twenties, was a luxury.” He made money working at whatever odd job was available but also by gambling and shooting pool. He also kept a visual journal of his travels drawing other hobos and the various episodes in their lives. In 1925 Delaney arrived in Chicago, a city Delaney once compared to Sodom and Gomorrah. Deianey stayed in Chicago for three years working in nightclubs where he met jazz musicians such as Albert Ammons, Ma Rainey, Pete Johnson, and Big Joe Turner. He also signed up for a three-year stint in the Illinois National Guard. In 1929 he returned to Knoxville. He stayed for a year selling insurance and working his old job at the hotel. Community leaders thought his experience in the National Guard would be beneficial for young men, and he was persuaded to found Knoxville’s first black Boy Scout troop. But after living without borders for six years, Knoxville must have seemed too small for him. After one year in his hometown, at the age of 26, he decided to follow in his brother’s footsteps and move to New York to be an artist. AD Delaney Moved To New York When he arrived in the city he found that his brother had changed. He had become more flamboyant. Beau-ford was homosexual, bohemian, a lover of opera, and more and more an abstract artist. Joseph was much more down to earth preferring a more gritty realism in his way of life, his music, and his style of painting. He moved into his own flat in Manhattan and enrolled in the Art Students League, studying most notably under Thomas Hart Benton and anatomist George Bridge-man. Benton stressed the traditional fundamentals of painting. His students studied the Renaissance masters, such as Botticelli, Raphael, and Michelangelo. Benton also insisted that his students paint solid and concrete American themes rather than the more abstract philosophical style popular in Europe. From Bridgeman Delaney learned to draw the body quickly and accurately, which later allowed him sketch portraits for onlookers in Washington Square. After three years as a student he left the Art Students League, though he kept up a lifetime membership. Delaney exhibited his work in the first Washington Square Outdoor Art Show in 1931. Since most galleries were closed to him, over the course of his career, this venue became his most important place to show his work. He also worked as a sketch artist doing quick portraits for people as they walked through the exhibition. In his time Delaney produced portraits for Eartha Kitt, television personality Arlene Francis, Eleanor Roosevelt, and Tallulah Bankhead. Again in his essay Thirty-Six Years Exhibiting in Washington Square Art Show, he described the scene surrounding the portrait artists in the street: “At this section of the show, which is the most intense and exciting demonstration of talent and craft at work, the frozen crowd stands and gazes through the entire development of a portrait … I have seen through the years artists set up easels, artists who didn’t have any experience in working on the spot and who didn’t have much potential to draw on. And I have watched some artists grow into good portrait artists after trial and error under the eyes of the impartial public who won’t spare you if you don’t deliver, but will give you a big hand and loud applause if you do a good job and keep you working.” AD In the midst of the Depression Delaney helped on many projects for the Works Progress Administration (WPA). He participated in the painting of the Pier 72 mural and a mural at the New York Public Library, The Story of the Recorded Word. He also worked on the Index of American Design for the Metropolitan Museum of Art drawing exact copies of Paul Revere’s silver, American textiles, Dutch tapestries, and Chippendale furniture. During this time he also taught art at the Harlem and Brooklyn settlement houses and at the Art Students League. In 1942 Delaney was awarded the Julius Rosenwals grant to travel the eastern seaboard from Maine to South Carolina to sketch and paint his impressions. He was particularly taken with the rowdy port town of Charleston, South Carolina, while watching the excited sailors come in for shore leave. Also in 1942 two of his painting were chosen for the Arizona Collection of the Metropolitan Museum and then remained in the permanent collection of the University of Arizona. In addition, he showed his work at the Whitney, Brooklyn, and Riverside Museums. In the period after the W.P.A was eliminated he continued to show his work in Washington Square, but he supported himself working in restaurants, pressing clothes, modeling, and through welfare. In 1964 he worked at the New York World’s Fair sketching for the New Orleans exhibit and later for the Ghana exhibit. AD Delaney Returned To Knoxville The year 1970 was significant for Delaney because it marked his first association with the University of Tennessee. The school bought and exhibited one of his most famous works, V-J Day, Times Square for its McClung Museum. The painting was hung in the University Center lobby. In 1978 as part of the Comprehensive Employment and Training Act (CETA) he worked for two years as the artist in residence at the Henry Street Settlement in New York. He produced many notable works for CETA, including Around Henry Street and Senior Citizens Center. The following year Delaney’s brother Beauford died in a Paris insane asylum. Joseph paid over $6,000 for taxes, storage, and shipping to have his brother’s work brought back to the United States. While Joseph did not particularly care for Beauford’s style and some of the packages were left unopened until they arrived at the University of Tennessee, Joseph felt he needed to bring home the work because it was his brother’s. Delaney was back in Knoxville again in 1982 for the funeral of his brother Sam. He went to see his painting on display and met with the director of the university’s Ewing Gallery, Sam Yates. Yates told him he wanted to do a full-scale exhibition of his work. Four years later as part of the University’s Homecoming ’86 celebration, The Ewing Gallery of the University of Tennessee/Knoxville presented a major show, “Joseph Delaney: A Retrospective.” AD Alex Haley, a friend of Delaney’s from the 1940s, suggested to school officials that Delaney be UT-Knoxville’s official artist-in-residence. In 1986 Delaney was asked to be artist-in-residence at the school and moved away from New York and back to the city of his youth. Director Yates told Jack Neely of Metropulse about Delaney’s duties as artist-in-residence: “He didn’t have any teaching responsibilities. He would occasionally let students come over and talk with him. And he used to come over and draw with the figure-drawing class at night.” Delaney spent the last five years of his life at UT-Knoxville and remained physically active throughout the time. Delaney died on November 21, 1991. Despite his struggle to be recognized, Delaney seemed satisfied with his life and his work as an artist. In the catalog written for his 1986 Ewing Gallery show at UT-Knoxville, Delaney told Yates: “The curtain goes up on the stage of life every time we walk into the street. In spite of New York’s being the most congested city I have been in, and know about; by and large it’s just people on the move. I have enjoyed more than I can say seeing people and hearing them speak about things they love and enjoy.” Selected Exhibitions Washington Square Art Show, New York, 1931, 1971. AD American Negro Exposition, Chicago, 1940. McMillen, Inc. Galleries, New York, 1941. Atlanta University, Georgia, 1942. Greenwich House, New York, 1944. Hotel Diplomat, 1948. City College of New York, 1967. Homecoming ’86, Knoxville, Tennessee, 1986. Collections Arizona Collection British American Galleries Knoxville Museum of Art Metropolitan Museum of Art, New York AD National Academy of Design Riverside Art Museum, California University of Tennessee, Knoxville Sources Books St. James Guide to Black Artists, Gale Research, 1997. Online Metropulse, http://sunsite.utk.edu/delaney/neely.htm The VRA Bulletin, Spring 1997, http://sunsite.utk.edu/delaney/walker/walker.htm http://sunsite.utk.edu/delaney/retro.htm http://sunsite.utk.edu/delaney/artshow.htm —Michael J. Watkins AD Contemporary Black Biography Watkins, Michael Delaney, Joseph 1945– Views 1,472,046 Updated May 29 2018 Delaney, Joseph 1945– Personal Born 1945, in Preston, England; married; wife's name Marie; children: three children. Education: Lancaster University, graduated. Addresses Home—Lancashire, England. Agent—c/o Author Mail, Bodley Head, Random House UK, 20 Vauxhall Bridge Rd., London SW1V 2SA, England. Career Novelist and educator. Blackpool Sixth Form College, Blackpool, England, professor of English, film, and media studies for twenty years, then head of Media and Film Studies Department. AD Awards, Honors Manchester Book Award finalist, 2005, for The Spook's Apprentice. Writings "WARDSTONE CHRONICLES"/"THE LAST APPRENTICE" NOVEL SERIES The Spook's Apprentice, illustrated by Patrick Arrasmith, Bodley Head (London, England), 2004, published as Revenge of the Witch, Greenwillow Books (New York, NY), 2005. The Spook's Curse, illustrated by Patrick Arrasmith, Bodley Head (London, England), 2005, published as Curse of the Bane, Greenwillow Books (New York, NY), 2006. The Spook's Secret, Bodley Head (London, England), 2006. Adaptations Revenge of the Witch was adapted as an audiobook, read by Christopher Evan Welch, HarperChildren's Audio, 2005. AD Work In Progress Another novel in the "Wardstone Chronicles"/"Last Apprentice" series. Sidelights Joseph Delaney wrote his first novel for children over many months, getting up early to write before going to work. With the success of The Spook's Apprentice—published in the United States as Revenge of the Witch—Delaney was eventually able to leave his job as head of the Media and Film Studies Department at England's Blackpool Sixth Form College. The first volume in Delaney's "Wardstone Chronicles"—known to U.S. readers as the "Last Apprentice" series—The Spook's Apprentice has been followed by several more novels that combine history, ghosts, witches, and a generous dose of horror in a compelling saga that has won the author legions of fans. The "Wardstone Chronicles" introduce thirteen-year-old Thomas Ward who, as the seventh son of a seventh son is gifted with supernatural powers. Channeling his gift, Tom is apprenticed to Old Gregory, a "Spook" who works to rid the county of evil wherever it may appear. For Tom, the role of apprentice is challenging; twenty-nine young men have already tried and failed at the task of aiding the grim, black-cloaked Gregory, some losing their life in the process. In Revenge of the Witch readers follow Tom's experiences as he learns the signs of evil, overcomes the challenges that help prove him worthy and confronts assorted boggarts. He also meets [Image not available for copyright reasons] up with a powerful witch named Mother Malkin by whom he is tricked into setting free from the underground prison, where she is held by iron and salt. All the while, his ability to see vestiges of past deaths—as well as the terrors others cannot—make the novel unputdownable reading. In The Spook's Curse—published in the United States as Curse of the Bane—Tom and Old Gregory travel to the cathedral of Priestown, where the Spook's arch enemy, the Bane, dwells in the catacombs. Soon the powers of evil are arrayed against the Spook and his apprentice, while a being known as the Quisitor also seeks to stop their work fighting creatures from the dark side. The saga continues in The Spook's Secret, as Tom follows the Spook to Anglezarke, a dark home on the moors where more challenges await. There the Spook has confined his true love, a witch  Joseph Delaney (1904 – November 21, 1991) was a black American artist who became a part of the New York art scene at the time of the Harlem Renaissance. He received a fellowship from the Rosenwald Foundation.[1] Early life and education Delaney was born in Knoxville, Tennessee, one of ten children of a Methodist minister.[2] He was the younger brother of Beauford Delaney, with whom he shared an interest in drawing. Delaney dropped out of school in ninth grade.[3] In his late teens and early 20s, Delaney spent a period of years without a settled home before joining the Eighth Infantry Regiment, Illinois National Guard.[2] In 1930, Delaney moved to New York City, where he enrolled in the Art Students League of New York.[4] At the Art Students League he studied with Alexander Brook, figure drawing with George Bridgman,[5] and human anatomy under Thomas Hart Benton. He experimented with the expressive line. Delaney later cited Benton as a major influence, saying, "Benton will be with me always".[2] During his free time, Delaney sketched the people and places around him. Career During the Great Depression, he was employed by the Works Progress Administration. He taught children's art classes, drew renderings of silver by Paul Revere, and in 1943 he was named to the WPA’s prestigious Easel Painting Division.[6] Around the time that the WPA ceased to operate, Delaney was awarded a grant from the Julius Rosenwald Fund.[4] From the summer of 1942 until January 1943, he used the grant to travel the eastern seaboard and create a series that documented the lives of black laborers. In 1978 and 1979, he worked as a painter as part of the Cultural Council Foundation CETA Artists Project in New York City. Delaney lived and worked in New York until 1986, showing his work in New York’s Washington Square for decades.[7] In 1986 he returned to Knoxville to become an artist-in-residence at the University of Tennessee, a position he held until his death in 1991.[2] Throughout his life, Delaney was committed to opposing racial discrimination, and his work reveals a "deep concern for the lives of common people."[8] Legacy The Art Institute of Chicago, the Knoxville Museum of Art, the Museum of the City of New York, the Indianapolis Museum of Art, the David Owsley Museum of Art and the Smithsonian American Art Museum are among the museums holding works by Joseph Delaney.[9] In 1968, he published a pamphlet which summarized his experience as an artist in New York entitled, Thirty-six Years Exhibiting in the Washington Square Outdoor Art Show.[10] Exhibitions Year Title Institution 1986 Retrospective University of Tennessee 2004 Life in the City: The Art of Joseph Delaney University of Tennessee - Downtown Gallery 2008 African American Art: 200 Years The Harlem Renaissance was an intellectual and cultural revival of African-American music, dance, art, fashion, literature, theater, politics and scholarship centered in Harlem, Manhattan, New York City, spanning the 1920s and 1930s. At the time, it was known as the "New Negro Movement", named after The New Negro, a 1925 anthology edited by Alain Locke. The movement also included the new African-American cultural expressions across the urban areas in the Northeast and Midwest United States affected by a renewed militancy in the general struggle for civil rights, combined with the Great Migration of African-American workers fleeing the racist conditions of the Jim Crow Deep South,[1] as Harlem was the final destination of the largest number of those who migrated north. Though it was centered in the Harlem neighborhood, many francophone black writers from African and Caribbean colonies who lived in Paris were also influenced by the movement,[2][3][4][5] which spanned from about 1918 until the mid-1930s.[6] Many of its ideas lived on much longer. The zenith of this "flowering of Negro literature", as James Weldon Johnson preferred to call the Harlem Renaissance, took place between 1924—when Opportunity: A Journal of Negro Life hosted a party for black writers where many white publishers were in attendance—and 1929, the year of the stock-market crash and the beginning of the Great Depression. The Harlem Renaissance is considered to have been a rebirth of the African-American arts.[7] Background A map of Upper Manhattan with pink sections for Harlem Harlem in Upper Manhattan Until the end of the Civil War, the majority of African Americans had been enslaved and lived in the South. During the Reconstruction Era, the emancipated African Americans began to strive for civic participation, political equality, and economic and cultural self-determination. Soon after the end of the Civil War, the Ku Klux Klan Act of 1871 gave rise to speeches by African-American Congressmen addressing this Bill.[8] By 1875, sixteen African Americans had been elected and served in Congress and gave numerous speeches with their newfound civil empowerment.[9] The Ku Klux Klan Act of 1871 was followed by the passage of the Civil Rights Act of 1875, part of Reconstruction legislation by Republicans. During the mid-to-late 1870s, racist whites organized in the Democratic Party launched a murderous campaign of racist terrorism to regain political power throughout the South. From 1890 to 1908, they proceeded to pass legislation that disenfranchised most African Americans and many poor whites, trapping them without representation. They established white supremacist regimes of Jim Crow segregation in the South and one-party block voting behind Southern Democrats. Democratic Party politicians (many having been former slaveowners and political and military leaders of the Confederacy) conspired to deny African Americans their exercise of civil and political rights by terrorizing black communities with lynch mobs and other forms of vigilante violence[10] as well as by instituting a convict labor system that forced many thousands of African Americans back into unpaid labor in mines, plantations and on public works projects such as roads and levees. Convict laborers were typically subject to brutal forms of corporal punishment, overwork and disease from unsanitary conditions. Death rates were extraordinarily high.[11] While a small number of African Americans were able to acquire land shortly after the Civil War, most were exploited as sharecroppers.[12] Whether sharecropping or on their own acreage, most of the black population was closely financially dependent on agriculture. This added another impetus for the Migration: The arrival of the boll weevil. The beetle eventually came to waste 8% of the country's cotton yield annually and thus disproportionately impacted this part of America's citizenry.[13] As life in the South became increasingly difficult, African Americans began to migrate north in great numbers. Most of the future leading lights of what was to become known as the "Harlem Renaissance" movement arose from a generation that had memories of the gains and losses of Reconstruction after the Civil War. Sometimes their parents, grandparents – or they themselves – had been slaves. Their ancestors had sometimes benefited by paternal investment in cultural capital, including better-than-average education. Many in the Harlem Renaissance were part of the early 20th century Great Migration out of the South into the African-American neighborhoods of the Northeast and Midwest. African Americans sought a better standard of living and relief from the institutionalized racism in the South. Others were people of African descent from racially stratified communities in the Caribbean who came to the United States hoping for a better life. Uniting most of them was their convergence in Harlem. Development 15:11 A silent short documentary on the Negro Artist. Richmond Barthé working on Kalombwan (1934) During the early portion of the 20th century, Harlem was the destination for migrants from around the country, attracting both people from the South seeking work and an educated class who made the area a center of culture, as well as a growing "Negro" middle class. These people were looking for a fresh start in life and this was a good place to go. The district had originally been developed in the 19th century as an exclusive suburb for the white middle and upper middle classes; its affluent beginnings led to the development of stately houses, grand avenues, and world-class amenities such as the Polo Grounds and the Harlem Opera House. During the enormous influx of European immigrants in the late 19th century, the once exclusive district was abandoned by the white middle class, who moved farther north. Harlem became an African-American neighborhood in the early 1900s. In 1910, a large block along 135th Street and Fifth Avenue was bought by various African-American realtors and a church group.[14][citation needed] Many more African Americans arrived during the First World War. Due to the war, the migration of laborers from Europe virtually ceased, while the war effort resulted in a massive demand for unskilled industrial labor. The Great Migration brought hundreds of thousands of African Americans to cities such as Chicago, Philadelphia, Detroit, Washington, D.C., and New York. Despite the increasing popularity of Negro culture, virulent white racism, often by more recent ethnic immigrants, continued to affect African-American communities, even in the North.[15] After the end of World War I, many African-American soldiers—who fought in segregated units such as the Harlem Hellfighters—came home to a nation whose citizens often did not respect their accomplishments.[16] Race riots and other civil uprisings occurred throughout the United States during the Red Summer of 1919, reflecting economic competition over jobs and housing in many cities, as well as tensions over social territories. Mainstream recognition of Harlem culture The first stage of the Harlem Renaissance started in the late 1910s. In 1917, the premiere of Granny Maumee, The Rider of Dreams, Simon the Cyrenian: Plays for a Negro Theater took place. These plays, written by white playwright Ridgely Torrence, featured African-American actors conveying complex human emotions and yearnings. They rejected the stereotypes of the blackface and minstrel show traditions. In 1917, James Weldon Johnson called the premieres of these plays "the most important single event in the entire history of the Negro in the American Theater".[17] Another landmark came in 1919, when the communist poet Claude McKay published his militant sonnet "If We Must Die", which introduced a dramatically political dimension to the themes of African cultural inheritance and modern urban experience featured in his 1917 poems "Invocation" and "Harlem Dancer". Published under the pseudonym Eli Edwards, these were his first appearance in print in the United States after immigrating from Jamaica.[18] Although "If We Must Die" never alluded to race, African-American readers heard its note of defiance in the face of racism and the nationwide race riots and lynchings then taking place. By the end of the First World War, the fiction of James Weldon Johnson and the poetry of Claude McKay were describing the reality of contemporary African-American life in America. The Harlem Renaissance grew out of the changes that had taken place in the African-American community since the abolition of slavery, as the expansion of communities in the North. These accelerated as a consequence of World War I and the great social and cultural changes in early 20th-century United States. Industrialization was attracting people to cities from rural areas and gave rise to a new mass culture. Contributing factors leading to the Harlem Renaissance were the Great Migration of African Americans to Northern cities, which concentrated ambitious people in places where they could encourage each other, and the First World War, which had created new industrial work opportunities for tens of thousands of people. Factors leading to the decline of this era include the Great Depression. Literature In 1917, Hubert Harrison, "The Father of Harlem Radicalism", founded the Liberty League and The Voice, the first organization and the first newspaper, respectively, of the "New Negro Movement". Harrison's organization and newspaper were political, but also emphasized the arts (his newspaper had "Poetry for the People" and book review sections). In 1927, in the Pittsburgh Courier, Harrison challenged the notion of the renaissance. He argued that the "Negro Literary Renaissance" notion overlooked "the stream of literary and artistic products which had flowed uninterruptedly from Negro writers from 1850 to the present," and said the so-called "renaissance" was largely a white invention.[19][20] Alternatively, a writer like the Chicago-based author, Fenton Johnson, who began publishing in the early 1900s, is called a "forerunner" of the renaissance,[21][22] "one of the first negro revolutionary poets".[23] Nevertheless, with the Harlem Renaissance came a sense of acceptance for African-American writers; as Langston Hughes put it, with Harlem came the courage "to express our individual dark-skinned selves without fear or shame."[24] Alain Locke's anthology The New Negro was considered the cornerstone of this cultural revolution.[25] The anthology featured several African-American writers and poets, from the well-known, such as Zora Neale Hurston and communists Langston Hughes and Claude McKay, to the lesser-known, like the poet Anne Spencer.[26] Many poets of the Harlem Renaissance were inspired to tie in threads of African-American culture into their poems; as a result, jazz poetry was heavily developed during this time. "The Weary Blues" was a notable jazz poem written by Langston Hughes.[27] Through their works of literature, black authors were able to give a voice to the African-American identity, as well as strive for a community of support and acceptance. Religion Christianity played a major role in the Harlem Renaissance. Many of the writers and social critics discussed the role of Christianity in African-American lives. For example, a famous poem by Langston Hughes, "Madam and the Minister", reflects the temperature and mood towards religion in the Harlem Renaissance.[28] The cover story for The Crisis magazine's publication in May 1936 explains how important Christianity was regarding the proposed union of the three largest Methodist churches of 1936. This article shows the controversial question of unification for these churches.[29] The article "The Catholic Church and the Negro Priest", also published in The Crisis, January 1920, demonstrates the obstacles that African-American priests faced in the Catholic Church. The article confronts what it saw as policies based on race that excluded African Americans from higher positions in the Church.[30] Discourse Religion and Evolution Ad Various forms of religious worship existed during this time of African-American intellectual reawakening. Although there were racist attitudes within the current Abrahamic religious arenas, many African Americans continued to push towards the practice of a more inclusive doctrine. For example, George Joseph MacWilliam presents various experiences of rejection on the basis of his color and race during his pursuit towards priesthood, yet he shares his frustration in attempts to incite action on the part of The Crisis magazine community.[30] There were other forms of spiritualism practiced among African Americans during the Harlem Renaissance. Some of these religions and philosophies were inherited from African ancestry. For example, the religion of Islam was present in Africa as early as the 8th century through the Trans-Saharan trade. Islam came to Harlem likely through the migration of members of the Moorish Science Temple of America, which was established in 1913 in New Jersey.[citation needed] Various forms of Judaism were practiced, including Orthodox, Conservative and Reform Judaism, but it was Black Hebrew Israelites that founded their religious belief system during the early 20th century in the Harlem Renaissance.[citation needed] Traditional forms of religion acquired from various parts of Africa were inherited and practiced during this era. Some common examples were Voodoo and Santeria.[citation needed] Criticism Religious critique during this era was found in music, literature, art, theater and poetry. The Harlem Renaissance encouraged analytic dialogue that included the open critique and the adjustment of current religious ideas. One of the major contributors to the discussion of African-American renaissance culture was Aaron Douglas, who, with his artwork, also reflected the revisions African Americans were making to the Christian dogma. Douglas uses biblical imagery as inspiration to various pieces of art work, but with the rebellious twist of an African influence.[31] Countee Cullen's poem "Heritage" expresses the inner struggle of an African American between his past African heritage and the new Christian culture.[32] A more severe criticism of the Christian religion can be found in Langston Hughes's poem "Merry Christmas", where he exposes the irony of religion as a symbol for good and yet a force for oppression and injustice.[33] Music The multi-talented Adelaide Hall and Bill 'Bojangles' Robinson in the musical comedy Brown Buddies on Broadway, 1930 A new way of playing the piano called the Harlem Stride style was created during the Harlem Renaissance helping to blur the lines between the poor African Americans and socially elite African Americans. The traditional jazz band was composed primarily of brass instruments and was considered a symbol of the South, but the piano was considered an instrument of the wealthy. With this instrumental modification to the existing genre, the wealthy African Americans now had more access to jazz music. Its popularity soon spread throughout the country and was consequently at an all-time high. Innovation and liveliness were important characteristics of performers in the beginnings of jazz. Jazz performers and composers at the time such as Eubie Blake, Noble Sissle, Jelly Roll Morton, Luckey Roberts, James P. Johnson, Willie "The Lion" Smith, Andy Razaf, Fats Waller, Ethel Waters, Adelaide Hall,[34] Florence Mills and bandleaders Duke Ellington, Louis Armstrong and Fletcher Henderson were extremely talented, skillful, competitive and inspirational. They are still considered as having laid great parts of the foundations for future musicians of their genre.[35][36][37] Duke Ellington gained popularity during the Harlem Renaissance. According to Charles Garrett, "The resulting portrait of Ellington reveals him to be not only the gifted composer, bandleader, and musician we have come to know, but also an earthly person with basic desires, weaknesses, and eccentricities."[7] Ellington did not let his popularity get to him. He remained calm and focused on his music. During this period, the musical style of blacks was becoming more and more attractive to whites. White novelists, dramatists and composers started to exploit the musical tendencies and themes of African Americans in their works. Composers (including William Grant Still, William L. Dawson and Florence Price) used poems written by African-American poets in their songs, and would implement the rhythms, harmonies and melodies of African-American music—such as blues, spirituals and jazz—into their concert pieces. African Americans began to merge with whites into the classical world of musical composition. The first African-American male to gain wide recognition as a concert artist in both his region and internationally was Roland Hayes. He trained with Arthur Calhoun in Chattanooga, and at Fisk University in Nashville. Later, he studied with Arthur Hubbard in Boston and with George Henschel and Amanda Ira Aldridge in London, England. Hayes began singing in public as a student, and he toured with the Fisk Jubilee Singers in 1911.[38] Musical theatre Poster for Run, Little Chillun According to James Vernon Hatch and Leo Hamalian, all-black review, Run, Little Chillun, is considered one of the most successful musical dramas of the Harlem Renaissance.[39] Fashion During the Harlem Renaissance, the African-American clothing scene took a dramatic turn from the prim and proper many young women preferred, from short skirts and silk stockings to drop-waisted dresses and cloche hats.[40] Women wore loose-fitted garments and accessorized with long strand pearl bead necklaces, feather boas and cigarette holders. The fashion of the Harlem Renaissance was used to convey elegance and flamboyancy and needed to be created with the vibrant dance style of the 1920s in mind.[41] Popular by the 1930s was a trendy, egret-trimmed beret. Men wore loose suits that led to the later style known as the "Zoot", which consisted of wide-legged, high-waisted, peg-top trousers, and a long coat with padded shoulders and wide lapels. Men also wore wide-brimmed hats, colored socks,[42] white gloves and velvet-collared Chesterfield coats. During this period, African Americans expressed respect for their heritage through a fad for leopard-skin coats, indicating the power of the African animal. The extraordinarily successful black dancer Josephine Baker, though performing in Paris during the height of the Renaissance, was a major fashion trendsetter for black and white women alike. Her gowns from the couturier Jean Patou were much copied, especially her stage costumes, which Vogue magazine called "startling". Josephine Baker is also credited for highlighting the "art deco" fashion era after she performed the "Danse Sauvage". During this Paris performance, she adorned a skirt made of string and artificial bananas. Ethel Moses was another popular black performer. Moses starred in silent films in the 1920s and 1930s and was recognizable by her signature bob hairstyle. Photography James Van Der Zee's photography played an important role in shaping and documenting the cultural and social life of Harlem during the Harlem Renaissance. His photographs were instrumental in shaping the image and identity of the African-American community during the Harlem Renaissance. His work documented the achievements of cultural figures and helped to challenge stereotypes and racist attitudes,[43] which in turn promoted pride and dignity among African Americans in Harlem and beyond. Van Der Zee's studio was not just a place for taking photographs; it was also a social and cultural hub for Harlem residents.[44] People would come to his studio not only to have their portraits taken, but also to socialize and to participate in the community events that he hosted. Van Der Zee's studio played an important role in the cultural life of Harlem during the early 20th century, and helped to foster a sense of community and pride among its residents. Some notable persons photographed are Marcus Garvey, the leader of the Universal Negro Improvement Association (UNIA), a black nationalist organization that promoted Pan-Africanism and economic independence for African Americans. Other notable black persons he photographed are Countee Cullen, a poet and writer who was associated with the Harlem Renaissance; Josephine Baker, a dancer and entertainer who became famous in France and was known for her provocative performances; W.E.B. Du Bois, a sociologist, historian and civil rights activist who was a leading figure in the African-American community in the early 20th century; Langston Hughes, a poet, novelist and playwright who was one of the most important writers of the Harlem Renaissance; and Madam C.J. Walker, an entrepreneur and philanthropist who was one of the first African-American women to become a self-made millionaire, as well as her daughter, Dorthy Waring, an artist and author of 12 novels. Van Der Zee's work gained renewed attention in the 1960s and 1970s, when interest in the Harlem Renaissance was revived. Van Der Zee's photographs have been featured in numerous exhibitions over the years. One notable exhibition was "Harlem on My Mind: Cultural Capital of Black America, 1900-1968,"[45] which was organized by the Metropolitan Museum of Art in 1969. The exhibit included over 300 photographs, many of which were by Van Der Zee, and was one of the first major exhibitions to focus on the cultural achievements of African Americans in Harlem.   Van Der Zee's work was the eyes of Harlem. His photographs are recognized as important documents of African American life and culture during the early 20th century. They serve as a visual record of the achievements of the Harlem Renaissance.[46] His portraits of writers, musicians, artists and other cultural figures helped to promote their work and bring attention to the vibrant creative scene known as Harlem. Characteristics and themes A jazz combo playing Trumpeter Dizzy Gillespie is emblematic of the mixture of high class society, popular art, and virtuosity of jazz. Characterizing the Harlem Renaissance was an overt racial pride that came to be represented in the idea of the New Negro, who through intellect and production of literature, art and music could challenge the pervading racism and stereotypes to promote progressive or socialist politics, and racial and social integration. The creation of art and literature would serve to "uplift" the race. There would be no uniting form singularly characterizing the art that emerged from the Harlem Renaissance. Rather, it encompassed a wide variety of cultural elements and styles, including a Pan-African perspective, "high-culture" and "low-culture" or "low-life", from the traditional form of music to the blues and jazz, traditional and new experimental forms in literature such as modernism and the new form of jazz poetry. This duality meant that numerous African-American artists came into conflict with conservatives in the black intelligentsia, who took issue with certain depictions of black life. Some common themes represented during the Harlem Renaissance were the influence of the experience of slavery and emerging African-American folk traditions on black identity, the effects of institutional racism, the dilemmas inherent in performing and writing for elite white audiences, and the question of how to convey the experience of modern black life in the urban North. The Harlem Renaissance was one of primarily African-American involvement. It rested on a support system of black patrons and black-owned businesses and publications. However, it also depended on the patronage of white Americans, such as Carl Van Vechten and Charlotte Osgood Mason, who provided various forms of assistance, opening doors which otherwise might have remained closed to the publication of work outside the black American community. This support often took the form of patronage or publication. Carl Van Vechten was one of the most noteworthy white Americans involved with the Harlem Renaissance. He allowed for assistance to the black American community because he wanted racial sameness. There were other whites interested in so-called "primitive" cultures, as many whites viewed black American culture at that time, and wanted to see such "primitivism" in the work coming out of the Harlem Renaissance. As with most fads, some people may have been exploited in the rush for publicity. Interest in African-American lives also generated experimental but lasting collaborative work, such as the all-black productions of George Gershwin's opera Porgy and Bess, and Virgil Thomson and Gertrude Stein's Four Saints in Three Acts. In both productions the choral conductor Eva Jessye was part of the creative team. Her choir was featured in Four Saints.[47] The music world also found white band leaders defying racist attitudes to include the best and the brightest African-American stars of music and song in their productions. The African Americans used art to prove their humanity and demand for equality. The Harlem Renaissance led to more opportunities for blacks to be published by mainstream houses. Many authors began to publish novels, magazines and newspapers during this time. The new fiction attracted a great amount of attention from the nation at large. Among authors who became nationally known were Jean Toomer, Jessie Fauset, Claude McKay, Zora Neale Hurston, James Weldon Johnson, Alain Locke, Omar Al Amiri, Eric D. Walrond and Langston Hughes. Richard Bruce Nugent (1906–1987), who wrote "Smoke, Lilies, and Jade", made an important contribution, especially in relation to experimental form and LGBT themes in the period.[48] The Harlem Renaissance helped lay the foundation for the post-World War II protest movement of the Civil Rights movement. Moreover, many black artists who rose to creative maturity afterward were inspired by this literary movement. The Renaissance was more than a literary or artistic movement, as it possessed a certain sociological development—particularly through a new racial consciousness—through ethnic pride, as seen in the Back to Africa movement led by Jamaican Marcus Garvey. At the same time, a different expression of ethnic pride, promoted by W. E. B. Du Bois, introduced the notion of the "talented tenth". Du Bois wrote of the Talented Tenth: The Negro race, like all races, is going to be saved by its exceptional men. The problem of education, then, among Negroes must first of all deal with the Talented Tenth; it is the problem of developing the best of this race that they may guide the mass away from the contamination and death of the worst.[49] These "talented tenth" were considered the finest examples of the worth of black Americans as a response to the rampant racism of the period. No particular leadership was assigned to the talented tenth, but they were to be emulated. In both literature and popular discussion, complex ideas such as Du Bois's concept of "twoness" (dualism) were introduced (see The Souls of Black Folk; 1903).[50] Du Bois explored a divided awareness of one's identity that was a unique critique of the social ramifications of racial consciousness. This exploration was later revived during the Black Pride movement of the early 1970s. Influence A new Black identity Langston Hughes, communist novelist and poet, photographed by Carl Van Vechten, 1936 The Harlem Renaissance was successful in that it brought the black experience clearly within the corpus of American cultural history. Not only through an explosion of culture, but on a sociological level, the legacy of the Harlem Renaissance redefined how America, and the world, viewed African Americans. The migration of Southern blacks to the North changed the image of the African American from rural, undereducated peasants to one of urban, cosmopolitan sophistication. This new identity led to a greater social consciousness, and African Americans became players on the world stage, expanding intellectual and social contacts internationally. The progress—both symbolic and real—during this period became a point of reference from which the African-American community gained a spirit of self-determination that provided a growing sense of both black urbanity and black militancy, as well as a foundation for the community to build upon for the Civil Rights struggles in the 1950s and 1960s. The urban setting of rapidly developing Harlem provided a venue for African Americans of all backgrounds to appreciate the variety of black life and culture. Through this expression, the Harlem Renaissance encouraged the new appreciation of folk roots and culture. For instance, folk materials and spirituals provided a rich source for the artistic and intellectual imagination, which freed blacks from the establishment of past condition. Through sharing in these cultural experiences, a consciousness sprung forth in the form of a united racial identity. However, there was some pressure within certain groups of the Harlem Renaissance to adopt sentiments of conservative white America in order to be taken seriously by the mainstream. The result being that queer culture, while far-more accepted in Harlem than most places in the country at the time, was most fully lived out in the smoky dark lights of bars, nightclubs and cabarets in the city.[51] It was within these venues that the blues music scene boomed, and, since it had not yet gained recognition within popular culture, queer artists used it as a way to express themselves honestly.[51] Even though there were factions within the Renaissance that were accepting of queer culture/lifestyles, one could still be arrested for engaging in homosexual acts. Many people, including author Alice Dunbar Nelson and "The Mother of Blues" Gertrude "Ma" Rainey,[52] had husbands but were romantically linked to other women as well.[53] Women and the LGBTQ community During the Harlem Renaissance, various well-known figures, including Claude Mckay, Langston Hughes, and Ethel Waters, are believed to have had private same-gender relationships, although this aspect of their lives remained undisclosed to the public during that era.[54][55] In the Harlem music scene, places such as the Cotton Club and Rockland Palace routinely held gay drag shows in addition to straight performances. Lesbian or bisexual women performers, such as blues singers Gladys Bentley and Bessie Smith, were a part of this cultural movement, which contributed to a renewed interest in African American culture among the black community and introduced it to a wider audience.[56] Although women's contributions to culture were often overlooked at the time, contemporary black feminist critics have endeavored to re-evaluate and recognize the cultural production of women during the Harlem Renaissance. Authors such as Nella Larsen and Jessie Fauset have gained renewed critical acclaim for their work from modern perspectives.[57] Blues singer Gertrude "Ma" Rainey was known to dress in traditionally male clothing, and her blues lyrics often reflected her sexual proclivities for women, which was extremely radical at the time. Ma Rainey was also the first person to introduce blues music into vaudeville.[58] Rainey's protégé, Bessie Smith, was another artist who used the blues as a way to express unapologetic views on same-gender relations, with such lines as "When you see two women walking hand in hand, just look em' over and try to understand: They'll go to those parties – have the lights down low – only those parties where women can go."[51] Blues singer Gladys Bentley Another prominent blues singer was Gladys Bentley, who was known to cross-dress. Bentley was the club owner of Clam House on 133rd Street in Harlem, which was a hub for queer patrons. The Hamilton Lodge in Harlem hosted an annual drag ball, drawing thousands of people to watch young men dance in drag. Though there were safe spaces within Harlem, there were prominent voices, such as that of Abyssinian Baptist Church's minister Adam Clayton Powell Sr., who actively opposed homosexuality.[53] The Harlem Renaissance was instrumental in fostering the "New Negro" movement, an endeavor by African Americans to redefine their identity free from degrading stereotypes. The Neo-New Negro movement further challenged racial definitions, stereotypes, and gender norms and roles, seeking to address normative sexuality and sexism in American society.[59] These ideas received some pushback, particularly regarding sexual freedom for women,[52] which was seen as confirming the stereotype that black women were sexually uninhibited. Some members of the black bourgeoisie saw this as hindering the overall progress of the black community and fueling racist sentiments. Yet queer culture and artists defined major portions of the Harlem Renaissance; Henry Louis Gates Jr., the author of "The Black Man's Burden", wrote that the Harlem Renaissance "was surely as gay as it was black".[59] Criticism of the movement Many critics point out that the Harlem Renaissance could not escape its history and culture in its attempt to create a new one, or sufficiently separate from the foundational elements of white, European culture. Often Harlem intellectuals, while proclaiming a new racial consciousness, resorted to mimicry of their white counterparts by adopting their clothing, sophisticated manners and etiquette. This "mimicry" may also be called assimilation, as that is typically what minority members of any social construct must do in order to fit social norms created by that construct's majority.[60] This could be seen as a reason that the artistic and cultural products of the Harlem Renaissance did not overcome the presence of white-American values, and did not reject these values.[citation needed] In this regard, the creation of the "New Negro", as the Harlem intellectuals sought, was considered a success.[by whom?] The Harlem Renaissance appealed to a mixed audience. The literature appealed to the African-American middle class and to whites. Magazines such as The Crisis, a monthly journal of the NAACP, and Opportunity, an official publication of the National Urban League, employed Harlem Renaissance writers on their editorial staffs, published poetry and short stories by black writers, and promoted African-American literature through articles, reviews and annual literary prizes. However, as important as these literary outlets were, the Renaissance relied heavily on white publishing houses and white-owned magazines.[61] A major accomplishment of the Renaissance was to open the door to mainstream white periodicals and publishing houses, although the relationship between the Renaissance writers and white publishers and audiences created some controversy. W. E. B. Du Bois did not oppose the relationship between black writers and white publishers, but he was critical of works such as Claude McKay's bestselling novel Home to Harlem (1928) for appealing to the "prurient demand[s]" of white readers and publishers for portrayals of black "licentiousness".[61] Langston Hughes spoke for most of the writers and artists when he wrote in his essay "The Negro Artist and the Racial Mountain" (1926) that black artists intended to express themselves freely, no matter what the black public or white public thought.[62] Hughes in his writings also returned to the theme of racial passing, but, during the Harlem Renaissance, he began to explore the topic of homosexuality and homophobia. He began to use disruptive language in his writings. He explored this topic because it was a theme that during this time period was not discussed.[63] African-American musicians and writers were among mixed audiences as well, having experienced positive and negative outcomes throughout the New Negro Movement. For musicians, Harlem, New York's cabarets and nightclubs shined a light on black performers and allowed for black residents to enjoy music and dancing. However, some of the most popular clubs (that showcased black musicians) were exclusively for white audiences; one of the most famous white-only nightclubs in Harlem was the Cotton Club, where popular black musicians like Duke Ellington frequently performed.[64] Ultimately, the black musicians who appeared at these white-only clubs became far more successful and became a part of the mainstream music scene.[citation needed] Similarly, black writers were given the opportunity to shine once the New Negro Movement gained traction as short stories, novels and poems by black authors began taking form and getting into various print publications in the 1910s and 1920s.[65] Although a seemingly good way to establish their identities and culture, many authors note how hard it was for any of their work to actually go anywhere. Writer Charles Chesnutt in 1877, for example, notes that there was no indication of his race alongside his publication in Atlantic Monthly (at the publisher's request).[66] A prominent factor in the New Negro's struggle was that their work had been made out to be "different" or "exotic" to white audiences, making a necessity for black writers to appeal to them and compete with each other to get their work out.[65] Famous black author and poet Langston Hughes explained that black-authored works were placed in a similar fashion to those of oriental or foreign origin, only being used occasionally in comparison to their white-made counterparts: Once a spot for a black work was "taken", black authors had to look elsewhere to publish.[66] Certain aspects of the Harlem Renaissance were accepted without debate, and without scrutiny. One of these was the future of the "New Negro". Artists and intellectuals of the Harlem Renaissance echoed American progressivism in its faith in democratic reform, in its belief in art and literature as agents of change, and in its almost uncritical belief in itself and its future. This progressivist worldview rendered black intellectuals—just like their white counterparts—unprepared for the rude shock of the Great Depression, and the Harlem Renaissance ended abruptly because of naïve assumptions about the centrality of culture, unrelated to economic and social realities.[67] Works associated with the Harlem Renaissance Blackbirds of 1928 Encyclopedia of the Harlem Renaissance (book) The New Negro: The Life of Alain Locke Shuffle Along, musical Untitled (The Birth), painting Voodoo (opera) When Washington Was in Vogue The Negro in Art Taboo (1922 play) There'll Be Some Changes Made See also flag New York City portal flag United States portal 1920s portal icon Jazz portal Black Arts Movement, 1960s and 1970s Black Renaissance in D.C. Chicago Black Renaissance List of female entertainers of the Harlem Renaissance List of figures from the Harlem Renaissance New Negro Niggerati William E. Harmon Foundation award Cotton Club, nightclub General: Roaring Twenties African-American art African-American culture African-American literature List of African-American visual artists The Rosenwald Fund (also known as the Rosenwald Foundation, the Julius Rosenwald Fund, and the Julius Rosenwald Foundation) was established in 1917 by Julius Rosenwald and his family for "the well-being of mankind." Rosenwald became part-owner of Sears, Roebuck and Company in 1895, serving as its president from 1908 to 1922, and chairman of its board of directors until his death in 1932. History Unlike other endowed foundations, which were designed to fund themselves in perpetuity, the Rosenwald Fund was designed to expend all of its funds for philanthropic purposes before a predetermined "sunset date." It donated over $70 million to public schools, colleges and universities, museums, Jewish charities, and African American institutions before funds were completely depleted in 1948. The rural school building program for African-American children was one of the largest programs administered by the Rosenwald Fund. Over $4.4 million in matching funds stimulated construction of more than 5,000 one-room schools (and larger ones), as well as shops and teachers' homes, mostly in the South, where public schools were segregated and black schools had been chronically underfunded. This was particularly so after disenfranchisement of most blacks from the political system in southern states at the turn of the 20th century. The Fund required white school boards to agree to operate such schools and to arrange for matching funds, in addition to requiring black communities to raise funds or donate property and labor to construct the schools. These schools, constructed to models designed by architects of Tuskegee Normal and Industrial Institute (now known as Tuskegee University), became known as "Rosenwald Schools." In some communities, surviving structures have been preserved and recognized as landmarks for their historical character and social significance. The National Trust for Historic Preservation has classified them as National Treasures. The Rosenwald Fund also made fellowship grants directly to African-American artists, writers, researchers and intellectuals between 1928 and 1948. Civil rights leader Julian Bond, whose father received a Rosenwald fellowship, has called the list of grantees a "Who's Who of black America in the 1930s and 1940s."[1] Hundreds of grants were disbursed to artists, writers and other cultural figures, many of whom became prominent or already were, including photographers Gordon Parks, Elizabeth Catlett, Marion Palfi,[2] poets Claude McKay, Dr. Charles Drew, Augusta Savage, anthropologist and dancer Katherine Dunham, singer Marian Anderson, silversmith Winifred Mason,[3] writers Ralph Ellison, W.E.B. Du Bois, James Weldon Johnson, psychologists Kenneth and Mamie Clark, dermatologist Theodore K. Lawless,[4] and poets Langston Hughes and Rita Dove.[5][6] Fellowships of around $1,000 to $2,000 were given out yearly to applicants and were usually designed to be open-ended; the Foundation requested but did not require grantees to report back on what they accomplished with the support. In 1929, the Rosenwald Fund funded a syphilis treatment pilot program in five Southern states. The Rosenwald project emphasized locating people with syphilis and treating them, during a time when syphilis was widespread in poor African-American communities.[7] The Fund ended its involvement in 1932, due to lack of matching state funds (the Fund required jurisdictions to contribute to efforts to increase collaboration on solving problems). After the Fund ceased its involvement, the federal government decided to take over the funding and changed its mission to being a non-therapeutic study. The infamous Tuskegee syphilis study began later that year, tracking the progress of untreated disease, and took advantage of poor participants by not informing them fully of its constraints. Even after penicillin became recognized as approved treatment for this disease, researchers did not treat the study participants.[7] Notable fellowship recipients This is a selected list of notable Rosenwald Fund Fellowship recipients from the years the fund's fellowship program was active, 1928-1948.[5] === 1928 === James Weldon Johnson, writer and activist; returning fellow 1930-1931 1929 Frances Davis, nurse and activist Abram Lincoln Harris, economist; returning fellow 1939, 1945 Willis J. King, Methodist bishop, college president, and sociologist Flemmie Pansy Kittrell, nutritionist Ruby Stutts Lyells, librarian Augusta Savage, sculptor; 1929-1931 fellowship Julian Steele, social worker, politician, and activist; 1929-1930 fellowship Clarence Cameron White, composer and violinist; 1929-1931 fellowship 1930 Franz Alexander, psychoanalyst; 1930-1932 fellowship Marian Anderson, opera singer Richmond Barthé, sculptor William E. Blatz, developmental psychologist William Stanley Braithwaite, writer Paul Cornely, physician, public health pioneer, and activist Ethel McGhee Davis social worker and university dean Mollie E. Dunlap, librarian and bibliographer; 1930-1931 fellowship Ruby Elzy, opera singer; 1930-1931 fellowship Simon Haley, agricultural scientist Charles S. Johnson, sociologist and university president Dorothy B. Porter, librarian, bibliographer, and curator; 1930-1931 fellowship, returning fellow 1944 Carleton Washburne, education reformer Monroe Work, sociologist and archivist 1931 Horace Mann Bond, historian, social scientist, and college administrator; 1931-1932 fellowship Ralph Bunche, political scientist and diplomat Alan Busby, agricultural scientist Mercer Cook, diplomat, writer and translator; returning fellow 1937 Mabel Byrd, economist and civil rights activist John Dollard, psychologist and social scientist Charles R. Drew, surgeon and medical researcher Louis Israel Dublin, statistician W.E.B. Du Bois, sociologist, historian, writer, civil rights activist; returning fellow 1933-1934 Ruth Anna Fisher, historian and archivist Roscoe Conkling Giles, surgeon and physician Langston Hughes, poet, activist, novelist and playwright, returning fellow 1941 Henry A. Hunt, education reformer Raphael Lanier, diplomat Camille Nickerson, pianist, composer, and musicologist William Edouard Scott, painter John W. Work III, composer and musicologist; 1931-1932 fellowship 1932 Wallace A. Battle, education reformer and university founder Ambrose Caliver, education reformer Allison Davis, anthropologist; returning fellow 1939-1940 Ellsworth Faris, sociologist 1933 Margaret Bonds, composer and pianist John P. Davis, journalist, lawyer and activist 1934 Lorenzo Greene, historian; returning fellow 1940 Percy Lavon Julian, research chemist and pharmaceutical innovator; 1934-1935 fellowship Kelly Miller, mathematician, sociologist and writer 1935 St. Clair Drake, sociologist and anthropologist; 1935-1937 fellowship, returning fellow 1946 Katherine Dunham, dancer and choreographer; 1935-1936 fellowship Zora Neale Hurston, writer, anthropologist and filmmaker Claude McKay, writer and poet; returning fellow 1943 1936 Josephine Wilkins, civil rights activist 1937 Lewis White Beck, philosopher Benjamin A. Botkin, folklorist and writer Harmon White Caldwell, lawyer and university president John Tyler Caldwell, political scientist and university president; 1937-1938 fellowship Horace R. Cayton, Jr., sociologist and writer William Schieffelin Claytor, mathematician; 1937-1938 fellowship Frank Marshall Davis, writer and labor activist Aaron Douglas, painter John Hope Franklin, historian; 1937-1938 fellowship Margaret Jarman Hagood, sociologist and demographer Clinton Everett Knox, diplomat; 1937-1938 fellowship James Raymond Lawson, physicist and university president; 1937-1938 fellowship Ralph E. McGill, journalist and newspaper publisher Benjamin Arthur Quarles, historian; returning fellow 1945 Bonita H. Valien, sociologist and writer; returning fellow 1939 Preston Valien, sociologist and writer; returning fellow 1939 1938 Arna W. Bontemps, poet, writer, and librarian; returning fellow 1942 John Aubrey Davis, Sr., political scientist and civil rights activist; 1938-1940 fellowship Shirley Graham Du Bois, writer, composer, and activist; 1938-1939 fellowship Rufus Carrollton Harris, lawyer and university president George Duke Humphrey educator and university president Lewis Wade Jones, sociologist Fred B. Kniffen, geographer and anthropologist Ruth Smith Lloyd, anatomist; 1938-1939 fellowship James LuValle, chemist and Olympic athlete; 1938-1939 fellowship Ira De Augustine Reid, sociologist Charles Shannon, artist Frank M. Snowden, Jr., historian, classicist, and diplomat Howard Swanson, composer; 1938-1939 fellowship Joseph T. Taylor, sociologist and university dean 1939 May Justus, writer, educator, and civil rights activist John Whitefield Kendrick, economist Lawrence D. Reddick, historian; returning fellow 1945 Lillian Smith, writer; 1939-1940 fellowship Hugh H. Smythe, sociologist, writer, and diplomat; 1939-1940 fellowship William Grant Still, composer; 1939-1940 fellowship Melvin E. Thompson, politician and governor of Georgia Lorenzo Dow Turner, sociolinguist; returning fellow 1940 and 1945 1940 Charles Alston, artist; 1940-1941 fellowship William Attaway, writer Paul P. Boswell, physician and politician Selma Burke, sculptor Robert L. Carter, lawyer, civil rights activist, and US District Court judge Kenneth B. Clark, social psychologist Mamie P. Clark, social psychologist; 1940-1942 fellowship Marion Vera Cuthbert, writer and college dean Charles Twitchell Davis, literary critic; 1940-1941 fellowship Edwin Adams Davis, historian James A Ford, archaeologist Henry Aaron Hill, chemist; 1940-1941 fellowship Jacob Lawrence, painter; 1940-1942 fellowship Ulysses Lee, academic[8] William J. Trent, Jr. economist and civil rights activist James A. Washington, Jr., civil rights lawyer, university dean, and D.C. Superior Court Judge Mark Hanna Watkins, linguist and anthropologist Eric Williams, historian and first Prime Minister of Trinidad and Tobago; returning fellow in 1942 C. Vann Woodward, historian 1941 Cleo W. Blackburn, social scientist and college president David Blackwell, mathematician Herman Branson, physicist, chemist, and college president William Montague Cobb, physician and anthropologist Helen Octavia Dickens, physician and writer John Henry Faulk, storyteller and radio host; 1941-1942 fellowship Cornelius Golightly, teacher, civil rights activist, and education administrator Adelaide M. Cromwell, sociologist, historian, and preservationist; returning fellow 1944 Thomas C. Lea III, artist, writer, and historian Mabel Murphy Smythe-Haith, economist, civil rights activist, and diplomat Samuel Z. Westerfield, Jr., economist and diplomat Bell Wiley, historian Gordon Randolph Willey, archaeologist and anthropologist Margaret Just Butcher, literary scholar, writer, and civil rights activist; 1941-1942 fellowship 1942 Thomas Bell, writer Sterling Allen Brown, folklorist, poet, and literary critic Joseph Delaney, artist Owen Dodson, poet, novelist, and playwright Wade Ellis, mathematician William Fontaine, philosopher Margaret Morgan Lawrence, psychiatrist and writer Arthur S. Link, historian; returning fellow 1944 Herman H. Long, social scientist and college president Jesse W. Markham, economist Gordon Parks, photographer, musician, writer, and film director Clarence F. Stephens, mathematician Charles Henry Thompson, psychologist, writer, and civil rights legal theorist Charles Henry Townes, physicist Charles White, artist; 1942-1943 fellowship J. Ernest Wilkins Jr., nuclear scientist, mechanical engineer and mathematician 1943 Julien Binford, painter Mildred Blount, fashion designer Marcus Bruce Christian, poet, writer, and folklorist Woody Guthrie, singer-songwriter Roi Ottley, journalist Thomas Sancton, novelist and journalist; returning fellow 1945, 1947 Hudson Strode, writer Julius H. Taylor, physicist Hale Woodruff, artist; 1943-1944 fellowship 1944 Margaret Bush Wilson, lawyer and activist Esther Cooper Jackson, civil rights activist and social worker E. Franklin Frazier, sociologist and writer Robert Gwathmey, artist Chester Himes, writer Rayford Logan, historian Pauli Murray, lawyer, activist, writer and Episcopal priest Margaret Walker, poet and writer 1945 Conrad Albrizio, painter; 1945-1946 fellowship Janet Collins, dancer and choreographer Woody Crumbo, artist, musician and dancer Dean Dixon, conductor; 1945-1946 fellowship Ralph Ellison, novelist and literary critic Elizabeth Hardwick, novelist and literary critic Winifred Mason, jeweler Charles Sebree, painter and playwright Kenneth Spencer, opera singer and actor Alma Stone Williams, pianist and music teacher 1946 Evelyn Boyd, mathematician Nat Caldwell, journalist Elizabeth Catlett, artist; 1946-1947 fellowship Clifton O. Dummett, dentist and dental historian Mark Fax, composer and musicologist Natalie Leota Hinderas, pianist, composer and musicologist; returning fellow 1948 John Tate Lanning, historian Walter McAfee, astronomer Willard Motley, writer Dave Masato Okada, sociologist Marion Palfi, photographer Rose Piper, painter and textile designer 1947 William Artis, sculptor Byron Burford, painter Edward Burrows, historian and civil rights activist Martin Dibner, writer Grace Towns Hamilton, politician and social justice advocate Robert E. Hayden, writer and U.S. Poet Laureate Blyden Jackson, writer and literary critic Ulysses Kay, composer; 1947-1948 fellowship Thomas Hal Phillips, novelist, actor and screenwriter John Rhoden, sculptor George C. Stoney, documentary filmmaker Alonzo Smythe Yerby, physician and public health official 1948 James Baldwin, novelist, playwright, poet and activist Roscoe C. Brown, Jr., Tuskegee Airman, television and radio host, and college president William James Cousins, sociologist L'Tanya Griffin, fashion designer Elizabeth L. Sturz, poet and social worker Samuel L. Myers, economist and university president Marion Perkins, sculptor Liston Pope, pastor, theologian, and university dean Pearl Primus, dancer, choreographer, and anthropologist Oscar W. Ritchie, sociologist Haywood Rivers, artist and gallerist Samuel Reid Spencer, Jr., college president See also Rosenwald Schools Rosenwald (film) Julian Mack Henry H. Rogers The Works Progress Administration (WPA; renamed in 1939 as the Work Projects Administration) was an American New Deal agency that employed millions of jobseekers (mostly men who were not formally educated) to carry out public works projects,[1] including the construction of public buildings and roads. It was set up on May 6, 1935, by presidential order, as a key part of the Second New Deal. The WPA's first appropriation in 1935 was $4.9 billion (about $15 per person in the U.S., around 6.7 percent of the 1935 GDP).[2] Headed by Harry Hopkins, the WPA supplied paid jobs to the unemployed during the Great Depression in the United States, while building up the public infrastructure of the US, such as parks, schools, and roads. Most of the jobs were in construction, building more than 620,000 miles (1,000,000 km) of streets and over 10,000 bridges, in addition to many airports and much housing. At its peak in 1938, it supplied paid jobs for three million unemployed men and women, as well as youth in a separate division, the National Youth Administration. Between 1935 and 1943, the WPA employed 8.5 million people (about half the population of New York).[3] Hourly wages were typically kept well below industry standards.[4]: 196  Full employment, which was reached in 1942 and appeared as a long-term national goal around 1944, was not the goal of the WPA; rather, it tried to supply one paid job for all families in which the breadwinner suffered long-term unemployment.[5]: 64, 184  In one of its most famous projects, Federal Project Number One, the WPA employed musicians, artists, writers, actors and directors in arts, drama, media, and literacy projects.[1] The five projects dedicated to these were the Federal Writers' Project (FWP), the Historical Records Survey (HRS), the Federal Theatre Project (FTP), the Federal Music Project (FMP), and the Federal Art Project (FAP). In the Historical Records Survey, for instance, many former slaves in the South were interviewed; these documents are of immense importance to American history. Theater and music groups toured throughout the United States and gave more than 225,000 performances. Archaeological investigations under the WPA were influential in the rediscovery of pre-Columbian Native American cultures, and the development of professional archaeology in the US. The WPA was a federal program that ran its own projects in cooperation with state and local governments, which supplied 10–30% of the costs. Usually, the local sponsor provided land and often trucks and supplies, with the WPA responsible for wages (and for the salaries of supervisors, who were not on relief). WPA sometimes took over state and local relief programs that had originated in the Reconstruction Finance Corporation (RFC) or Federal Emergency Relief Administration programs (FERA).[5]: 63  It was liquidated on June 30, 1943, because of low unemployment during World War II. Robert D. Leininger asserted: "millions of people needed subsistence incomes. Work relief was preferred over public assistance (the dole) because it maintained self-respect, reinforced the work ethic, and kept skills sharp."[6]: 228  Establishment FDR prepares to speak about the establishment of the work relief program and Social Security at his fireside chat of April 28, 1935. FERA administrator and WPA head Harry Hopkins speaking to reporters (November 1935) On May 6, 1935, FDR issued executive order 7034, establishing the Works Progress Administration.[7][8] The WPA superseded the work of the Federal Emergency Relief Administration, which was dissolved. Direct relief assistance was permanently replaced by a national work relief program—a major public works program directed by the WPA.[9] The WPA was largely shaped by Harry Hopkins, supervisor of the Federal Emergency Relief Administration and close adviser to Roosevelt. Both Roosevelt and Hopkins believed that the route to economic recovery and the lessened importance of the dole would be in employment programs such as the WPA.[5]: 56–57  Hallie Flanagan, national director of the Federal Theatre Project, wrote that "for the first time in the relief experiments of this country the preservation of the skill of the worker, and hence the preservation of his self-respect, became important."[10]: 17  The WPA was organized into the following divisions: The Division of Engineering and Construction, which planned and supervised construction projects including airports, dams, highways and sanitation systems.[11] The Division of Professional and Service Projects (called the Division of Women's and Professional Projects in 1937), which was responsible for white-collar projects including education programs, recreation programs, and the arts projects. It was later named the Division of Community Service Programs and the Service Division.[12] The Division of Finance.[13] The Division of Information.[14] The Division of Investigation, which succeeded a comparable division at FERA and investigated fraud, misappropriation of funds and disloyalty.[15] The Division of Statistics, also known as the Division of Social Research.[16] The Project Control Division, which processed project applications.[17] Other divisions including the Employment, Management, Safety, Supply, and Training and Reemployment.[18] Employment WPA road development project These ordinary men and women proved to be extraordinary beyond all expectation. They were golden threads woven in the national fabric. In this, they shamed the political philosophy that discounted their value and rewarded the one that placed its faith in them, thus fulfilling the founding vision of a government by and for its people. All its people. — Nick Taylor, American-Made: The Enduring Legacy of the WPA[19]: 530  The goal of the WPA was to employ most of the unemployed people on relief until the economy recovered. Harry Hopkins testified to Congress in January 1935 why he set the number at 3.5 million, using Federal Emergency Relief Administration data. Estimating costs at $1,200 per worker per year ($25,614 in present-day terms[20]), he asked for and received $4 billion ($85.4 billion in present-day terms[20]). Many women were employed, but they were few compared to men. In 1935 there were 20 million people on relief in the United States. Of these, 8.3 million were children under 16 years of age; 3.8 million were persons between the ages of 16 and 65 who were not working or seeking work. These included housewives, students in school, and incapacitated persons. Another 750,000 were person age 65 or over.[21]: 562  Thus, of the total of 20 million persons then receiving relief, 13 million were not considered eligible for employment. This left a total of 7 million presumably employable persons between the ages of 16 and 65 inclusive. Of these, however, 1.65 million were said to be farm operators or persons who had some non-relief employment, while another 350,000 were, despite the fact that they were already employed or seeking work, considered incapacitated. Deducting this 2 million from the total of 7.15 million, there remained 5.15 million persons age 16 to 65, unemployed, looking for work, and able to work.[21]: 562  FDR and Hopkins (September 1938) Because of the assumption that only one worker per family would be permitted to work under the proposed program, this total of 5.15 million was further reduced by 1.6 million—the estimated number of workers who were members of families with two or more employable people. Thus, there remained a net total of 3.55 million workers in as many households for whom jobs were to be provided.[21]: 562  The WPA reached its peak employment of 3,334,594 people in November 1938.[19]: 547  To be eligible for WPA employment, an individual had to be an American citizen, 18 or older, able-bodied, unemployed, and certified as in need by a local public relief agency approved by the WPA. The WPA Division of Employment selected the worker's placement to WPA projects based on previous experience or training. Worker pay was based on three factors: the region of the country, the degree of urbanization, and the individual's skill. It varied from $19 per month to $94 per month, with the average wage being about $52.50—$1,091 in present-day terms.[20][22] The goal was to pay the local prevailing wage, but limit the hours of work to 8 hours a day or 40 hours a week; the stated minimum being 30 hours a week, or 120 hours a month.[21]: 213  Being a voter or a Democrat was not a prerequisite for a relief job. Federal law specifically prohibited any political discrimination against WPA workers. Vague charges were bandied about at the time. [23] The consensus of experts is that: "In the distribution of WPA project jobs as opposed to those of a supervisory and administrative nature politics plays only a minor in comparatively insignificant role."[24] However those who were hired were reminded at election time that FDR created their job and the Republicans would take it away. The great majority voted accordingly.[25] Projects Typical plaque on a WPA project Griffith Observatory Timberline Lodge WPA projects were administered by the Division of Engineering and Construction and the Division of Professional and Service Projects. Most projects were initiated, planned and sponsored by states, counties or cities. Nationwide projects were sponsored until 1939.[26] The WPA built traditional infrastructure of the New Deal such as roads, bridges, schools, libraries, courthouses, hospitals, sidewalks, waterworks, and post-offices, but also constructed museums, swimming pools, parks, community centers, playgrounds, coliseums, markets, fairgrounds, tennis courts, zoos, botanical gardens, auditoriums, waterfronts, city halls, gyms, and university unions. Most of these are still in use today.[6]: 226  The amount of infrastructure projects of the WPA included 40,000 new and 85,000 improved buildings. These new buildings included 5,900 new schools; 9,300 new auditoriums, gyms, and recreational buildings; 1,000 new libraries; 7,000 new dormitories; and 900 new armories. In addition, infrastructure projects included 2,302 stadiums, grandstands, and bleachers; 52 fairgrounds and rodeo grounds; 1,686 parks covering 75,152 acres; 3,185 playgrounds; 3,026 athletic fields; 805 swimming pools; 1,817 handball courts; 10,070 tennis courts; 2,261 horseshoe pits; 1,101 ice-skating areas; 138 outdoor theatres; 254 golf courses; and 65 ski jumps.[6]: 227  Total expenditures on WPA projects through June 1941 totaled approximately $11.4 billion—the equivalent of $227 billion today.[20] Over $4 billion was spent on highway, road, and street projects; more than $1 billion on public buildings, including the iconic Dock Street Theatre in Charleston, the Griffith Observatory in Los Angeles, and Timberline Lodge in Oregon's Mount Hood National Forest.[27]: 252–253  More than $1 billion—$19.9 billion today[20]—was spent on publicly owned or operated utilities; and another $1 billion on welfare projects, including sewing projects for women, the distribution of surplus commodities, and school lunch projects.[21]: 129  One construction project was the Merritt Parkway in Connecticut, the bridges of which were each designed as architecturally unique.[28] In its eight-year run, the WPA built 325 firehouses and renovated 2,384 of them across the United States. The 20,000 miles of water mains, installed by their hand as well, contributed to increased fire protection across the country.[5]: 69  The direct focus of the WPA projects changed with need. In 1935 priority projects were to improve infrastructure; roads, extension of electricity to rural areas, water conservation, sanitation and flood control. In 1936, as outlined in that year's Emergency Relief Appropriations Act, public facilities became a focus; parks and associated facilities, public buildings, utilities, airports, and transportation projects were funded. The following year, saw the introduction of agricultural improvements, such as the production of marl fertilizer and the eradication of fungus pests. As the Second World War approached, and then eventually began, WPA projects became increasingly defense related.[5]: 70  One project of the WPA was funding state-level library service demonstration projects, to create new areas of library service to underserved populations and to extend rural service.[29] Another project was the Household Service Demonstration Project, which trained 30,000 women for domestic employment. South Carolina had one of the larger statewide library service demonstration projects. At the end of the project in 1943, South Carolina had twelve publicly funded county libraries, one regional library, and a funded state library agency.[30] Federal Project Number One A significant aspect of the Works Progress Administration was the Federal Project Number One, which had five different parts: the Federal Art Project, the Federal Music Project, the Federal Theatre Project, the Federal Writers' Project, and the Historical Records Survey. The government wanted to provide new federal cultural support instead of just providing direct grants to private institutions. After only one year, over 40,000 artists and other talented workers had been employed through this project in the United States.[31] Cedric Larson stated that "The impact made by the five major cultural projects of the WPA upon the national consciousness is probably greater in total than anyone readily realizes. As channels of communication between the administration and the country at large, both directly and indirectly, the importance of these projects cannot be overestimated, for they all carry a tremendous appeal to the eye, the ear, or the intellect—or all three."[32]: 491  Federal Art Project Main article: Federal Art Project This project was directed by Holger Cahill, and in 1936 employment peaked at over 5,300 artists. The Arts Service Division created illustrations and posters for the WPA writers, musicians, and theaters. The Exhibition Division had public exhibitions of artwork from the WPA, and artists from the Art Teaching Division were employed in settlement houses and community centers to give classes to an estimated 50,000 children and adults. They set up over 100 art centers around the country that served an estimated eight million individuals.[31] Federal Music Project Noon-hour WPA band concert in Lafayette Square, New Orleans (1940) Main article: Federal Music Project Directed by Nikolai Sokoloff, former principal conductor of the Cleveland Orchestra, the Federal Music Project employed over 16,000 musicians at its peak. Its purpose was to create jobs for unemployed musicians, It established new ensembles such as chamber groups, orchestras, choral units, opera units, concert bands, military bands, dance bands, and theater orchestras. They gave 131,000 performances and programs to 92 million people each week.[31] The Federal Music Project performed plays and dances, as well as radio dramas.[32]: 494  In addition, the Federal Music Project gave music classes to an estimated 132,000 children and adults every week, recorded folk music, served as copyists, arrangers, and librarians to expand the availability of music, and experimented in music therapy.[31] Sokoloff stated, "Music can serve no useful purpose unless it is heard, but these totals on the listeners' side are more eloquent than statistics as they show that in this country there is a great hunger and eagerness for music."[32]: 494  Federal Theatre Project Main article: Federal Theatre Project In 1929, Broadway alone had employed upwards of 25,000 workers, onstage and backstage; in 1933, only 4,000 still had jobs. The Actors' Dinner Club and the Actors' Betterment Association were giving out free meals every day. Every theatrical district in the country suffered as audiences dwindled. The New Deal project was directed by playwright Hallie Flanagan, and employed 12,700 performers and staff at its peak. They presented more than 1,000 performances each month to almost one million people, produced 1,200 plays in the four years it was established, and introduced 100 new playwrights. Many performers later became successful in Hollywood including Orson Welles, John Houseman, Burt Lancaster, Joseph Cotten, Canada Lee, Will Geer, Joseph Losey, Virgil Thomson, Nicholas Ray, E.G. Marshall and Sidney Lumet. The Federal Theatre Project was the first project to end; it was terminated in June 1939 after Congress zeroed out the funding.[31][33] Federal Writers' Project Main article: Federal Writers' Project This project was directed by Henry Alsberg and employed 6,686 writers at its peak in 1936.[31] By January 1939, more than 275 major books and booklets had been published by the FWP.[32]: 494  Most famously, the FWP created the American Guide Series, which produced thorough guidebooks for every state that include descriptions of towns, waterways, historic sites, oral histories, photographs, and artwork.[31] An association or group that put up the cost of publication sponsored each book, the cost was anywhere from $5,000 to $10,000. In almost all cases, the book sales were able to reimburse their sponsors.[32]: 494  Additionally, another important part of this project was to record oral histories to create archives such as the Slave Narratives and collections of folklore. These writers also participated in research and editorial services to other government agencies.[31] Historical Records Survey Main article: Historical Records Survey This project was the smallest of Federal Project Number One and served to identify, collect, and conserve United States' historical records.[31] It is one of the biggest bibliographical efforts and was directed by Luther H. Evans. At its peak, this project employed more than 4,400 workers.[32]: 494  1940 WPA poster using Little Miss Muffet to promote reading among children. 1940 WPA poster using Little Miss Muffet to promote reading among children.   WPA health education poster about cancer, c. 1936–1938 WPA health education poster about cancer, c. 1936–1938   Poster for the WPA shows various items that can be purchased at the 5 & 10¢ store Poster for the WPA shows various items that can be purchased at the 5 & 10¢ store   WPA poster advertising art classes for children WPA poster advertising art classes for children   WPA poster promoting the zoo as a place to visit, showing an elephant WPA poster promoting the zoo as a place to visit, showing an elephant   1936 WPA Poster for Federal Theatre Project presentation 1936 WPA Poster for Federal Theatre Project presentation   WPA poster encouraging laborers to work for America WPA poster encouraging laborers to work for America Library Services Program Before the Great Depression, it was estimated that one-third of the population in the United States did not have reasonable access to public library services.[34] Understanding the need, not only to maintain existing facilities but to expand library services led to the establishment of the WPA's Library Projects.  With the onset of the Depression local governments facing declining revenues were unable to maintain social services, including libraries. This lack of revenue exacerbated problems of library access that were already widespread. In 1934 only two states, Massachusetts and Delaware, provided their total population access to public libraries.[35] In many rural areas, there were no libraries, and where they did exist, reading opportunities were minimal. 66% of the South's population did not have access to any public library. Libraries that existed circulated one book per capita.[36] The early emphasis of these programs was on extending library services to rural populations, by creating libraries in areas that lacked facilities. The WPA library program also greatly augmented reader services in metropolitan and urban centers.   By 1938, the WPA Library Services Project had established 2,300 new libraries, 3,400 reading rooms in existing libraries, and 53 traveling libraries for sparsely settled areas.[1] Federal money for these projects could only be spent on worker wages, therefore local municipalities would have to provide upkeep on properties and purchase equipment and materials. At the local level, WPA libraries relied on funding from county or city officials or funds raised by local community organizations such as women's clubs. Due to limited funding, many WPA libraries were "little more than book distribution stations: tables of materials under temporary tents, a tenant home to which nearby readers came for their books, a school superintendents' home, or a crossroads general store."[37] The public response to the WPA libraries was extremely positive. For many, "the WPA had become 'the breadline of the spirit.'"[38] At its height in 1938, there were 38,324 people, primarily women, employed in library services programs, while 25,625 were employed in library services and 12,696 were employed in bookbinding and repair.   Because book repair was an activity that could be taught to unskilled workers and once trained, could be conducted with little supervision, repair and mending became the main activity of the WPA Library Project. The basic rationale for this change was that the mending and repair projects saved public libraries and school libraries thousands of dollars in acquisition costs while employing needy women who were often heads of households.[39]   By 1940, the WPA Library Project, now the Library Services Program, began to shift its focus as the entire WPA began to move operations towards goals of national defense. WPA Library Programs served those goals in two ways: 1.) existing WPA libraries could distribute materials to the public on the nature of an imminent national defense emergency and the need for national defense preparation, and 2.) the project could provide supplementary library services to military camps and defense impacted communities. By December 1941, the number of people employed in WPA library work was only 16,717. In May of the following year, all statewide Library Projects were reorganized as WPA War Information Services Programs. By early 1943, the work of closing war information centers had begun. The last week of service for remaining WPA library workers was March 15, 1943.[40] While it is difficult to quantify the success or failure of WPA Library Projects relative to other WPA programs, "what is incontestable is the fact that the library projects provided much-needed employment for mostly female workers, recruited many to librarianship in at least semiprofessional jobs, and retained librarians who may have left the profession for other work had employment not come through federal relief...the WPA subsidized several new ventures in readership services such as the widespread use of bookmobiles and supervised reading rooms – services that became permanent in post-depression and postwar American libraries."[41]   In extending library services to people who lost their libraries (or never had a library to begin with) WPA Library Services Projects achieved phenomenal success, made significant permanent gains, and had a profound impact on library life in America. African Americans The share of Federal Emergency Relief Administration and WPA benefits for African Americans exceeded their proportion of the general population. The FERA's first relief census reported that more than two million African Americans were on relief during early 1933, a proportion of the African-American population (17.8%) that was nearly double the proportion of whites on relief (9.5%).[42] This was during the period of Jim Crow and racial segregation in the South, when blacks were largely disenfranchised. By 1935, there were 3,500,000 African Americans (men, women and children) on relief, almost 35 percent of the African-American population; plus another 250,000 African-American adults were working on WPA projects. Altogether during 1938, about 45 percent of the nation's African-American families were either on relief or were employed by the WPA.[42] Civil rights leaders initially objected that African Americans were proportionally underrepresented. African American leaders made such a claim with respect to WPA hires in New Jersey, stating, "In spite of the fact that Blacks indubitably constitute more than 20 percent of the State's unemployed, they composed 15.9% of those assigned to W.P.A. jobs during 1937."[21]: 287  Nationwide in 1940, 9.8% of the population were African American. However, by 1941, the perception of discrimination against African Americans had changed to the point that the NAACP magazine Opportunity hailed the WPA: It is to the eternal credit of the administrative officers of the WPA that discrimination on various projects because of race has been kept to a minimum and that in almost every community Negroes have been given a chance to participate in the work program. In the South, as might have been expected, this participation has been limited, and differential wages on the basis of race have been more or less effectively established; but in the northern communities, particularly in the urban centers, the Negro has been afforded his first real opportunity for employment in white-collar occupations.[21]: 295  The WPA mostly operated segregated units, as did its youth affiliate, the National Youth Administration.[43] Blacks were hired by the WPA as supervisors in the North; however of 10,000 WPA supervisors in the South, only 11 were black.[44] Historian Anthony Badger argues, "New Deal programs in the South routinely discriminated against blacks and perpetuated segregation."[45] People with physical disabilities The League of the Physically Handicapped in New York was organized in May 1935 to end discrimination by the WPA against the physically disabled unemployed.[46] The city's Home Relief Bureau coded applications by the physically disabled applicants as "PH" ("physically handicapped"). Thus they were not hired by the WPA.[47] In protest, the League held two sit-ins in 1935.[47][48] The WPA relented and created 1,500 jobs for physically disabled workers in New York City.[49][50][51] Women Women in Costilla, New Mexico, weaving rag rugs in 1939 About 15% of the household heads on relief were women, and youth programs were operated separately by the National Youth Administration. The average worker was about 40 years old (about the same as the average family head on relief). WPA policies were consistent with the strong belief of the time that husbands and wives should not both be working (because the second person working would take one job away from some other breadwinner). A study of 2,000 female workers in Philadelphia showed that 90% were married, but wives were reported as living with their husbands in only 18 percent of the cases. Only 2 percent of the husbands had private employment. Of the 2,000 women, all were responsible for one to five additional people in the household.[21]: 283  In rural Missouri, 60% of the WPA-employed women were without husbands (12% were single; 25% widowed; and 23% divorced, separated or deserted). Thus, only 40% were married and living with their husbands, but 59% of the husbands were permanently disabled, 17% were temporarily disabled, 13% were too old to work, and remaining 10% were either unemployed or disabled. Most of the women worked with sewing projects, where they were taught to use sewing machines and made clothing and bedding, as well as supplies for hospitals, orphanages, and adoption centers.[21]: 283 [52] One WPA-funded project, the Pack Horse Library Project, mainly employed women to deliver books to rural areas in eastern Kentucky.[53] Many of the women employed by the project were the sole breadwinners for their families.[54] Criticism Poster representing the WPA defending itself from attacks The WPA had numerous critics.[55] The strongest attacks were that it was the prelude for a national political machine on behalf of Roosevelt. Reformers secured the Hatch Act of 1939 that largely depoliticized the WPA.[56] Others complained that far left elements played a major role, especially in the New York City unit. Representative J. Parnell Thomas of the House Committee on Un-American Activities claimed in 1938 that divisions of the WPA were a "hotbed of Communists" and "one more link in the vast and unparalleled New Deal propaganda network."[57] Much of the criticism of the distribution of projects and funding allotment is a result of the view that the decisions were politically motivated. The South, as the poorest region of the United States, received 75 percent less in federal relief and public works funds per capita than the West. Critics would point to the fact that Roosevelt's Democrats could be sure of voting support from the South, whereas the West was less of a sure thing; swing states took priority over the other states.[58]: 70  There was a perception that WPA employees were not diligent workers, and that they had little incentive to give up their busy work in favor of productive jobs. Some employers said that the WPA instilled poor work habits and encouraged inefficiency.[59] Some job applicants found that a WPA work history was viewed negatively by employers, who said they had formed poor work habits.[60] A Senate committee reported that, "To some extent the complaint that WPA workers do poor work is not without foundation. ... Poor work habits and incorrect techniques are not remedied. Occasionally a supervisor or a foreman demands good work."[61] The WPA and its workers were ridiculed as being lazy. The organization's initials were said to stand for "We Poke Along" or "We Putter Along" or "We Piddle Around" or "Whistle, Piss and Argue." These were sarcastic references to WPA projects that sometimes slowed down deliberately because foremen had an incentive to keep going, rather than finish a project.[62] The WPA's Division of Investigation proved so effective in preventing political corruption "that a later congressional investigation couldn't find a single serious irregularity it had overlooked," wrote economist Paul Krugman. "This dedication to honest government wasn't a sign of Roosevelt's personal virtue; rather, it reflected a political imperative. FDR's mission in office was to show that government activism works. To maintain that mission's credibility he needed to keep his administration's record clean. And he did."[63] Many complaints were recorded from private industry at the time that the existence of WPA works programs made hiring new workers difficult. The WPA claimed to counter this by keeping hourly wages well below private wages and encouraging relief workers to actively seek private employment and accept job offers if they got them.[4]: 196  Evolution Francis C. Harrington, WPA national administrator 1938–40 On December 23, 1938, after leading the WPA for three and a half years, Harry Hopkins resigned and became the Secretary of Commerce. To succeed him Roosevelt appointed Francis C. Harrington, a colonel in the Army Corps of Engineers and the WPA's chief engineer, who had been leading the Division of Engineering and Construction.[19]: 417–420  Following the passage of the Reorganization Act of 1939 in April 1939, the WPA was grouped with the Bureau of Public Roads, Public Buildings Branch of the Procurement Division, Branch of Buildings Management of the National Park Service, United States Housing Authority and the Public Works Administration under the newly created Federal Works Agency. Created at the same time, the Federal Security Agency assumed the WPA's responsibility for the National Youth Administration. "The name of the Works Progress Administration has been changed to Work Projects Administration in order to make its title more descriptive of its major purpose," President Roosevelt wrote when announcing the reorganization.[64] As WPA projects became more subject to the state, local sponsors were called on to provide 25% of project costs. As the number of public works projects slowly diminished, more projects were dedicated to preparing for war.[6]: 227  Having languished since the end of World War I, the American military services were depopulated and served by crumbling facilities; when Germany occupied Czechoslovakia in 1938, the U.S. Army numbered only 176,000 soldiers.[19]: 494  WPA researchers and map makers prepare the air raid warning map for New Orleans within days of the attack on Pearl Harbor (December 11, 1941). On May 26, 1940, FDR delivered a fireside chat to the American people about "the approaching storm",[65] and on June 6 Harrington reprioritized WPA projects, anticipating a major expansion of the U.S. military. "Types of WPA work to be expedited in every possible way to include, in addition to airports and military airfields, construction of housing and other facilities for enlarged military garrisons, camp and cantonment construction, and various improvements in navy yards," Harrington said. He observed that the WPA had already made substantial contributions to national defense over its five years of existence, by building 85 percent of the new airports in the U.S. and making $420 million in improvements to military facilities. He predicted there would be 500,000 WPA workers on defense-related projects over the next 12 months, at a cost of $250 million.[19]: 492–493  The estimated number of WPA workers needed for defense projects was soon revised to between 600,000 and 700,000. Vocational training for war industries was also begun by the WPA, with 50,000 trainees in the program by October 1940.[19]: 494  "Only the WPA, having employed millions of relief workers for more than five years, had a comprehensive awareness of the skills that would be available in a full-scale national emergency," wrote journalist Nick Taylor. "As the country began its preparedness buildup, the WPA was uniquely positioned to become a major defense agency."[19]: 494–495  Harrington died suddenly, aged 53, on September 30, 1940. Notably apolitical—he boasted that he had never voted[66]—he had deflected Congressional criticism of the WPA by bringing attention to its building accomplishments and its role as an employer.[19]: 504  Harrington's successor, Howard O. Hunter, served as head of the WPA until May 1, 1942.[19]: 517  Termination Unemployment ended with war production for World War II, as millions of men joined the services, and cost-plus contracts made it attractive for companies to hire unemployed men and train them.[19][page needed][31] Concluding that a national relief program was no longer needed, Roosevelt directed the Federal Works Administrator to end the WPA in a letter December 4, 1942. "Seven years ago I was convinced that providing useful work is superior to any and every kind of dole. Experience had amply justified this policy," FDR wrote: By building airports, schools, highways, and parks; by making huge quantities of clothing for the unfortunate; by serving millions of lunches to school children; by almost immeasurable kinds and quantities of service the Work Projects Administration has reached a creative hand into every county in this Nation. It has added to the national wealth, has repaired the wastage of depression, and has strengthened the country to bear the burden of war. By employing eight millions of Americans, with thirty millions of dependents, it has brought to these people renewed hope and courage. It has maintained and increased their working skills; and it has enabled them once more to take their rightful places in public or in private employment.[67] Roosevelt ordered a prompt end to WPA activities to conserve funds that had been appropriated. Operations in most states ended February 1, 1943. With no funds budgeted for the next fiscal year, the WPA ceased to exist after June 30, 1943.[67] Legacy "The agencies of the Franklin D. Roosevelt administration had an enormous and largely unrecognized role in defining the public space we now use", wrote sociologist Robert D. Leighninger. "In a short period of ten years, the Public Works Administration, the Works Progress Administration, and the Civilian Conservation Corps built facilities in practically every community in the country. Most are still providing service half a century later. It is time we recognized this legacy and attempted to comprehend its relationship to our contemporary situation."[6]: 226  Alabama National Guard Armory, Guntersville, Alabama (1936) Alabama National Guard Armory, Guntersville, Alabama (1936)   Prairie County Courthouse, DeValls Bluff, Arkansas (1939) Prairie County Courthouse, DeValls Bluff, Arkansas (1939)   Griffith Observatory, Los Angeles, California (1933) Griffith Observatory, Los Angeles, California (1933)   Santa Ana City Hall, Santa Ana, California (1935) Santa Ana City Hall, Santa Ana, California (1935)   Leon High School, Tallahassee, Florida (1936–37) Leon High School, Tallahassee, Florida (1936–37)   Government House, St. Augustine, Florida (1937) Government House, St. Augustine, Florida (1937)   Fort Hawkins, Macon, Georgia (1936–1938) Fort Hawkins, Macon, Georgia (1936–1938)   Boise High School Gymnasium, Boise, Idaho (1936) Boise High School Gymnasium, Boise, Idaho (1936)   Midway International Airport, Chicago, Illinois (1935–1939) Midway International Airport, Chicago, Illinois (1935–1939)   Gregg Park Bandshell, Vincennes, Indiana (1939) Gregg Park Bandshell, Vincennes, Indiana (1939)   Canoe house, University of Iowa (1937) Canoe house, University of Iowa (1937)   Jenkins Culvert, Gove County, Kansas (1938) Jenkins Culvert, Gove County, Kansas (1938)   Louisville Fire Department Headquarters, Louisville, Kentucky (1936) Louisville Fire Department Headquarters, Louisville, Kentucky (1936)   Alvar Street Branch, New Orleans Public Library (1940) Alvar Street Branch, New Orleans Public Library (1940)   WPA Field House and Pump Station, Scituate, Massachusetts (1938) WPA Field House and Pump Station, Scituate, Massachusetts (1938)   Detroit Naval Armory, Detroit, Michigan (1936–1939) Detroit Naval Armory, Detroit, Michigan (1936–1939)   Brandon Auditorium and Fire Hall, Brandon, Minnesota (1936) Brandon Auditorium and Fire Hall, Brandon, Minnesota (1936)   Milaca Municipal Hall, Milaca, Minnesota (1936) Milaca Municipal Hall, Milaca, Minnesota (1936)   Upland Auditorium, Upland, Nebraska (1936) Upland Auditorium, Upland, Nebraska (1936)   Jackie Robinson Play Center, Harlem, New York (1936) Jackie Robinson Play Center, Harlem, New York (1936)   LaGuardia Airport, Queens, New York (1937–1939) LaGuardia Airport, Queens, New York (1937–1939)   U.S. Post Office, Rhinebeck, New York (1940) U.S. Post Office, Rhinebeck, New York (1940)   Robeson County Agricultural Building, Lumberton, North Carolina (1937) Robeson County Agricultural Building, Lumberton, North Carolina (1937)   Emmons County Courthouse, Linton, North Dakota (1934) Emmons County Courthouse, Linton, North Dakota (1934)   Rubber Bowl Stadium, Akron, Ohio (1940) Rubber Bowl Stadium, Akron, Ohio (1940)   Timberline Lodge, Mt. Hood National Forest, Oregon (1936–1938) Timberline Lodge, Mt. Hood National Forest, Oregon (1936–1938)   Oregon State Library, Salem, Oregon (1939) Oregon State Library, Salem, Oregon (1939)   Schenley Park, Pittsburgh, Pennsylvania (1938–39) Schenley Park, Pittsburgh, Pennsylvania (1938–39)   McCoy Stadium, Pawtucket, Rhode Island (1942)
  • Binding: Hardcover
  • Language: English
  • Author: JOSEPH DELANEY
  • Topic: Renaissance
  • Subject: History
  • Original/Facsimile: Original

PicClick Insights - Joseph Delaney Harlem Renaissance Rare Sketchbook Published Book Scarce PicClick Exclusive

  •  Popularity - 1 watcher, 0.1 new watchers per day, 11 days for sale on eBay. Normal amount watching. 0 sold, 1 available.
  •  Best Price -
  •  Seller - 808+ items sold. 0% negative feedback. Great seller with very good positive feedback and over 50 ratings.

People Also Loved PicClick Exclusive