“”What the Negro Has Done for the United States and Texas,” 1936. For a discussion of Aspiration, see Timothy Anglin Burgard, “Aspiration,” in Masterworks of American Painting at the De Young, ed.
This commemoration of abolition, and the mural cycle in particular, served as a critical acknowledgment of African American contribution to state and federal progress. 2005 Burgard, Timothy Anglin.
Free, timed passes are required for West Building entry. Along with The Negro’s Gift to America, a large horizontal work that hung between Into Bondage and Aspiration in the lobby of the exhibition hall [fig.
Christopher Marion Thomas Aaron Douglas, Into Bondage, 1936. ‘Aspirations’ was created in 1936 by Aaron Douglas in Art Deco style.
Driskell, interview by Robert Farris Thompson, in Black Art: Ancestral Legacy; The African Impulse in African American Art (Dallas, 1989), 136. Around the periphery of the painting there is a 7/8-inch-wide strip in which there are multiple nail holes and the design elements are a different color than in the rest of the painting. Dubois, W.E.B.
1 Dust Jacket of Jesse O. Thomas, Negro Participation in the Texas Centennial Exposition (Boston, 1938), featuring Douglas's The Negro's Gift to America, Collection of Steven L. Jones fig. According to Douglas, the star and ray of light, which appear in a number of his paintings, represent the North Star and the divine light of inspiration.
See learning resources here. [3] [3]Jesse O. Thomas, Negro Participation in the Texas Centennial Exposition (Boston, 1938), 25. [1] [1]The priming extends over the intact tacking margins, indicating that the ground was commercially applied. Renée Ater, “Creating a ‘Usable Past’ and a ‘Future Perfect Society’: Aaron Douglas’s Murals for the 1936 Texas Centennial Exposition,” in Aaron Douglas: African American Modernist, ed. While the painting was on view at the Legion of Honor as a part of the exhibition Rhapsodies in Black: Art of the Harlem Renaissance (1998), a cash donation box was placed outside the gallery to encourage contributions for this painting in particular.
In both his style and his subjects, Aaron Douglas revolutionized African-American art. Jackson, Miss: University Press of Mississippi, 1995.
(153.4 x 153.7 cm)Corcoran Gallery of Art, Washington, D.C. Douglas’ series for Fair Park was comprised of four panels but what is presently known as Into Bondage (above), part of the Corcoran Gallery of Art’s permanent collection in Washington, D.C., and Aspiration, among the collections at the DeYoung Museum in San Francisco, are the only two extant panels. Aaron Douglas was one of the key artists of the Harlem Renaissance. The Harmon Foundation also funded four mural paintings for the octagonal lobby of the Hall of Negro Life. The result was extraordinary outpouring of community support, which, in addition to major gifts, enabled the Museums to acquire the painting. You may download complete editions of this catalog from the catalog’s home page. A few of the honorifics used to describe him are “The Father of African Art,” “Dean of African-American Painters,” and “Pioneering Africanist.”, “Aspects of Negro Life,” painted in 1934. New Haven, CT: Yale University Press, 2007.
Only two of the paintings, however, have been located: Into Bondage and Aspiration [fig. 331-32. The oil type paint was applied over a pre-primed, smooth, opaque, cream-colored ground.
Aaron Douglas, Aspiration, 1936. The painting is one of two extant paintings from a four-part mural cycle that Douglas created for the Hall of Negro Life building at the 1936 Texas Centennial Exposition in Dallas. American, 1899 - 1979, This image is unavailable for download. Driskell, David D. Two Centuries of Black American Art. 7th St and Constitution Ave NW
Shackled figures with their heads hung low walk solemnly toward slave ships on the horizon. Commissioned 1936 for the Hall of Negro Life, Texas Centennial Exposition, Dallas;[1] possibly Wiley College, Marshall, Texas. When the Texas legislature originally neglected to allocate funds to allow African Americans to be included in the centennial, African American community leaders in Dallas took it upon themselves to apply for federal money to participate. Jesse O. Thomas, Negro Participation in the Texas Centennial Exposition (Boston, 1938), 27.
Indian Affairs Under the Obama Administration – An End to Broken Promises? in 1922. The infrared examination confirms the extent of Douglas’s underdrawing. A woman who raises her face and shackled hands to the same star, her fingers grazing the horizon, also foretells a distant future without slavery. A copy of this summary is also available in NGA conservation files. Similarly, the slit-eye masks made by the Dan peoples of Liberia inspired the man’s narrow slash of an eye.
Various symbols in Aspiration suggest these themes. The celebration was covered in The Dallas Morning News on 20 June, 1936, which provides a shocking but all too familiar account of the culture of racism in the Southern United States during the twentieth century as black citizens were prevented from visiting exhibitions in the other exposition buildings. It appears that Douglas fully outlined the design before painting using a straight edge and some sort of compass or template for the geometric shapes.
In 1930 he created murals for Fisk University in Nashville, Tennessee and by 1940 he had begun teaching there and subsequently founded the Art Department. Aspiration concluded the cycle by calling attention to the liberating promise of African American education and industry. For a discussion of Aspiration, see Timothy Anglin Burgard, “Aspiration,” in Masterworks of American Painting at the De Young, ed. He was a significant member of the Harlem Renaissance movement of the 1920s and 1930s.
Mabel O. Wilson, Negro Building: Black Americans in the World of Fairs and Museums (Berkeley, 2012): 170, 188. Aaron Douglas: Art, Race, and the Harlem Renaissance. [3] [3]Susan Earle, ed., Aaron Douglas: African Modernist (New Haven, 2007), 105. Jesse O. Thomas, Negro Participation in the Texas Centennial Exposition (Boston, 1938), 25. Though scholars of African American art always mention Douglas’ Schomburg Center mural series, it is a rare occasion when one hears about the Hall of Negro Life murals. The Hall of Negro Life provided space to exhibit ninety-three works by thirty-eight African American artists. The Washington Post (13 January 2002): C4. 3] [fig. They depict certain stages in the development of, or the progress of the Negro in America, with one bringing in a Texas theme—Esta vanico, Negro explorer who often scouted far ahead of the main party of Spaniards, early explorers of this land now called Texas.
Susan Earle (New Haven, 2007), 106–107. Oil on canvas, Fine Arts Museum of San Francisco. The five-pointed star represents Texas as the “Lone Star State” due to the celebration being about Texas’ independence from Mexico in 1836.
Later, Dare Hartwell prepared a comprehensive technical summary for Corcoran Gallery of Art: American Paintings to 1945, ed.
It is an invaluable resource in providing a first-hand account of everything that transpired at Fair Park and includes a detailed history including statistics and charts that recorded the living conditions and standards of the country’s black citizens at the time. This project established his reputation as a leading artist of the new negro movement. Sorry, your blog cannot share posts by email. In 1936, Douglas was commissioned to create a series of murals for the Texas Centennial Exposition in Dallas.
Aspiration by Aaron Douglas (1936) represents the path of the African American people from the bonds of slavery to the city on the hill. Conservation report in NGA conservation files. His first mural, Jungle and Jazz, was painted in 1930 (some sources note it was 1927) for the Club Ebony in Harlem, however, his best-known mural, Aspects of Negro Life, painted in 1934, was installed in the 135th Street Branch of the New York Public Library, now known as the Schomburg Center for Research in Black Culture. By doing so in a public mural, Douglas was able to reach hundreds of thousands of viewers and, at the same time, proclaim the centrality of African Americans within modern American visual traditions. Look closely at Aaron Douglas’s Aspiration (zoomable images, available for download for teaching) Questions to ask: Describe the three figures on the plinth. 11:00 a.m.–4:00 p.m. daily, East Building Courtesy of New York Public Library. He taught twenty-seven years and in 1994 the University named their gallery in Douglas’ honor. Although the Texas Centennial Commission had attempted to block the construction of a separate building to recognize Texas’ black history and the accomplishments of its African American citizens, the federal government was contacted by a committee headed by Eugene Kinckle Jones and finally $100,000 of the government’s three million dollar allotment to the exposition was provided for partial funding of the hall and its exhibits. Thomas, Jesse O. Negro participation [sic] in the Texas Centennial Exposition. Aaron Douglas, American painter and graphic artist who played a leading role in the Harlem Renaissance of the 1920s. In a gesture foreshadowing freedom from slavery, a lone woman at left raises her bound hands, guiding the viewer's eye to the ships.
Du Bois. The image is used according to Educational Fair Use, and tagged Allegory and Black Subjects. Conservation report in NGA conservation files. As they are released from the machine-like state which has been the role of the Negro, it is less difficult for them to enter fields where mentality is a dominant factor.” Due to the scarcity of materials regarding the mural series, we may never know the exact meaning the artist had in his mind. Read our full Open Access policy for images. [1] [1]This entry is a revised version of text that was originally published in Corcoran Gallery of Art: American Paintings to 1945, ed. Aaron Douglas (1899-1979) was one of the pioneers of the development of African American art. 3] Texas Centennial Exhibit, Hall of Negro Life, 1936, photograph, US National Archives, these canvases depicted the journey of African Americans from their native land to the 20th-century North American metropolis. James Weldon Johnson, “Harlem: The Culture Capital,” in Alain Locke. ), framed: 165.1 × 164.47 × 8.26 cm (65 × 64 3/4 × 3 1/4 in. Aspiration (above) was the final panel of the mural cycle and the tones and tenor are much more hopeful. In Masterworks of American Painting … The Hall of Negro Life, which opened on Juneteenth (June 19), a holiday celebrating the end of slavery, was visited by more than 400,000 fairgoers over the course of the five months that the Exposition was open to the public. Timothy Anglin Burgard (San Francisco, 2005), 535 n. 9, also notes that the Hall of Negro Life was the only building destroyed before the fair reopened the following year as the Greater Texas and Pan American Exposition.
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