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"An essential figure in modern American art, William H. Johnson (1901-1970) was a virtuoso skilled in various media and techniques, who produced thousands of works over a career that spanned decades, continents, and genres. This volume considers paintings from the collection of Morgan State University in Baltimore, Maryland, that show the pivotal stages in Johnson's career as a modernist painter of post-impressionist and expressionist works reminiscent of Cezanne, Van Gogh, and Soutine, and the vernacular paintings in which he articulates his specific, unforgettable voice as an artist. In this lavishly illustrated book, some of the world's premier scholars of William H. Johnson and African American art history examine the artist and his artistic genius in fresh new ways, including his relationship with one of his earliest patrons, the Harmon Foundation; the critical role played by scholars at the nation's historically black colleges and universities; the context of Johnson's experiences living in Harlem and his deep southern roots; and Johnson as a trailblazer in the genres of still life and landscape painting."--Publisher's website.

Painting --- Johnson, William H., --- Criticism and interpretation. --- James E. Lewis Museum of Art

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In the 1920s, Harlem was the capital of Black America and home to an epochal African-American cultural flowering called the Harlem Renaissance. This book presents the work of the most important visual artists of the day, including Meta Warrick Fuller, Aaron Douglas and Palmer Hayden.

Painting --- schilderkunst --- photography [process] --- fotografie --- Photography --- painting [image-making] --- New York City --- Harlem Renaissance --- African American art --- Art, American --- Art américain --- Exhibitions. --- Expositions --- Art américain --- Exhibitions --- New York (N.Y.) --- Art [Modern ] --- 20th century --- Du Bois, William Edward Burghardt --- Hughes, Langston --- Van Vechten, Carl --- Sculpture --- African American --- anno 1920-1929 --- New York City [New York]

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In the period of radical change that was 1963-1983, young black artists at the beginning of their careers in the USA confronted key questions and pressures. How could they make art that would stand as innovative, original, formally and materially complex, while also making work that reflected their concerns and experience as black Americans? This significant new publication, accompanying an exhibition at Tate Modern, surveys this crucial period in American art history, bringing to light previously neglected histories of twentieth-century black artists, including Sam Gilliam, Melvin Edwards, Jack Whitten, William T. Williams and Frank Bowling. This book features substantial essays from co-curators Mark Godfrey and Zoe Whitley, writing on abstraction and figuration respectively. It will also explore the art historical and social contexts with subjects including black feminism; AfriCOBRA and other artist-run groups; the role of museums in the debates of the period; and where visual art sat in relation to the Black Arts Movement

Art --- African American --- anno 1970-1979 --- anno 1960-1969 --- United States --- Kunst --- zwarten --- Verenigde Staten --- Afro-Amerikaans --- Verenigde Staten van Amerika --- Rezeption --- Black arts movement --- Black power --- Geschichte 1900-2000 --- Geschichte 1958-1983 --- USA --- Rezeption. --- Kunst. --- USA. --- mezzotint [process] --- racial discrimination --- #breakthecanon --- Black power. --- Black arts movement. --- Art, Black / Exhibitions --- Black power / United States / Exhibitions --- Art, American / 20th century / Exhibitions --- United States of America