#blackart — Public Fediverse posts

By Trinidadian-American actor/dancer/musician/director/choreographer/artist Geoffrey Holder (1930-2014), portrait of his wife, actress/choreographer/dancer Carmen de Lavallade, 1976, oil on canvas, 61 × 40 ½ inches (framed). #arthistory #blackhistory #blackartists #blackart #blackartist #painting #oilpainting

From James Fuentes Gallery: “The artist’s oeuvre demonstrates a deep interest in representing the totality of black life, registered here in compositions that move from the quiet intimacy of bedrooms and parlors to the lively energy encountered in city streets and nightclubs. Anchored in portraiture, at times Holder’s images are also steeped in religious iconography and a bold reverence for nature—consummately rendered in such a way that they appear at once contemporary, historical, and thus timeless…

Holder’s attunement to beauty imbued much of his portraiture with a mysterious quality—likely amplified by the fact that most of his figures were painted from imagination rather than life. Holder engaged the body as if it were a paintbrush or pen; his choreography resembled movements like brushstrokes and, in turn, his paintings reflected an intimate physical sensibility. For Holder, painting provided fertile terrain for his astonishing experimentations in style, representation, and expression. To this day, Holder’s work remains as contemporary as when it was made.”

By Otis Kwame Kye Quaicoe (born in Accra, Ghana; now lives & works in Portland, Oregon), “Akwete," 2021, oil on canvas, 40 × 30 inches (101.6x76.2 cm), Rubell Museum, Miami, ©️ Otis Kwame Kye Quaicoe. #art #blackart #blackartist #blackartists

More info on the artist in ALT.

By African American artist Romare Bearden (1911−1988), Guitar Magic, 1986, collage & watercolor on board, The Mint Museum, Charlotte, NC. © 2025 Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society. #art #blackart #blackartist #blackartists #collage

From the Bearden Foundation: ‘Bearden takes us backstage to the glamour, grit, and grace of Black performance. Bearden understood that jazz wasn’t just sound. It was a repository of memory—a form of Black historical consciousness. The improvisational nature of jazz mirrored the adaptability required of Black Americans, who had to continuously remake identity and community in the face of change and displacement. Much of Bearden’s art functions the same way. His collages are full of migrating trains, front porches, street corners, and jukeboxes—images loaded with the weight of history. In these works, jazz becomes a stand-in for cultural endurance. He once said, “The artist has to be something like a whale, swimming with his mouth wide open, absorbing everything until he has what he really needs.” Bearden devoured both visual and musical traditions, then recombined them in ways that felt utterly new.’

An article about the art presented at the new Obama Presidential Center. Quote: “When the Obama Presidential Center (OPC) opens on June 19, the 19.3-acre campus, located in Chicago’s Jackson Park, will feature an arts program on a scale to rival many contemporary art institutions.” #blackart #blackartists #art #obama

https://www.artbasel.com/stories/obama-presidential-center-art-institutions-us

By African-American artist Laura Wheeler Waring (1877-1948), After Sunday Service, ca. 1940, oil on Canvas, 30 x 14 1/2 inches (76.2 x 36.8 cm), collection of the Petrucci Family Foundation. #arthistory #art #blackartists #blackart #womanartist #womenartists

From The Art Story: “With Edmonia Lewis, Meta Vaux Warrick, and Augusta Savage, Waring is one of the foremost Black American female artists of the first half of the twentieth century. Taking her stylistic lead from the likes of Monet, Manet, Corot and Cézanne, Waring emerged, with Aaron Douglass and Beauford Delaney, as one of the most influential portrait painters associated with the Harlem Renaissance, the influential movement in African American literary, artistic, and cultural history that thrived between 1918 and the late 1930s. Challenging racial stereotypes, she built her reputation on portraits of prominent African Americans which she executed with consummate skill and imagination. Waring is equally respected for her life-long dedication to the advancement of Black culture and history through her role as director of arts education programs at America's oldest Black teaching institutions.”

Your art history post for today: by African-American artist Laura Wheeler Waring (1887-1948), Woman with Bouquet, ca. 1940, oil on canvas, Brooklyn Museum. #arthistory #blackartists #blackartist #blackart #womanartist #womenartists

From the museum: “With hand on hip and confident bearing, this woman is self-assured and elegant. She was probably from the Philadelphia area, where the artist Laura Wheeler Waring lived and worked. Like Waring’s other portraits of sophisticated or dignified working-class African Americans, this painting countered the many racial stereotypes that were prevalent at the time. Waring’s work, with its strong color palette and energetic brushwork, flourished during the Harlem Renaissance of the 1920s and 1930s, a period of great African American artistic and cultural production.”

You're in luck! Join us Wednesdays in June for the Website Workshop! 🌐 Each week, we'll cover a different aspect of website creation: planning, design, and creation -- all using #opensource #FOSS software like #Penpot and #Publii.

Learn more and register at https://www.candide.media/website-workshop

#workshop #portfolio #BIPOCartists #BIPOCart #IndigenousArtists #IndigenousArt #BlackArt #BlackArtists

By African-American artist Charles Ethan Porter (1847-1923), Pink and Red Roses in Clear Vase, ca. 1880, watercolor, 13 5/8 × 10 in. (34.6 × 25.4 cm), Crystal Bridges Museum of American Art, Bentonville, Arkansas. #art #blackart #blackartists #painting #oilpainting #blackhistory

From the museum: “Charles Ethan Porter has often been left out of the history books, but his contributions to American art deserve recognition. A contemporary of sculptor Edmonia Lewis, Porter is considered the first known professional Black artist to focus on still lifes. His works, featuring delicate floral arrangements and fruit, built on earlier American still life traditions with incredible detail and realism.

After taking drawing lessons as a child and studying painting in high school, Porter was accepted to the National Academy of Design in 1869. He is believed to be the first Black student to attend the premier art school. Aware of the racial barriers in the art world, Porter remained determined to showcase the skill and talent of Black artists.”

By Kehinde Wiley (born 1977), “Shantavia Beale II,” 2012, oil on canvas, 60x48 inches, private collection. #blackart #blackartist #blackartists #oilpainting #painting

From the Saint Louis Art Museum: “Kehinde Wiley’s vibrant paintings actively engage with the traditions of European art. In his work, Wiley replaces historical depictions of white figures with images of contemporary African Americans, Africans, and people of the African diaspora. His work is widely recognized for calling attention to significant absences and erasures in Western art history, exposing the lack of representation of black individuals in figurative painting.”

Your art history post for today: by African-American artist Charles Ethan Porter (1847–1923), Floral Still Life, ca. 1880-1890, oil on canvas, 16 1/8 × 20 3/8 × 13/16 inches (41 × 51.8 × 2 cm), Detroit Institute of Arts. #ArtHistory #blackart #blackartists #blackartist #BlackHistory

Information on the artist from the National Gallery of Art: ‘In 1881 Porter decided to travel abroad to continue his development as an artist…

Less than two years into his time in France, Porter’s money ran out. He wrote to Mark Twain, asking him for help. His letters to the writer are the only known first-person accounts from Porter. On April 4, 1883, he wrote:

Now I am aware that there are a goodly number of my Hartford friends and others who are anxious to see how the colored artist will make out, but this is not the motive which impresses me. There is something of more importance. The colored people—my people—as a race I am interested in, and my success will only add to others who have already shown wherein they are capable the same as other men.

Conscious of his place in an art world dominated by white men, Porter was eager to show what he, and other Black artists, could do.’

By African-American artist Augusta Savage, portrait of Gwendolyn Knight, ca. 1934–35, bronze. As a bronze cast, it appears in more than one collection, both public and private. More info in ALT. #arthistory #blackart #blackarthistory #BlackHistoryMonth #womanartist #womenartists #sculpture

A quote from the artist, who was also a teacher: "I have created nothing really beautiful, really lasting, but if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work."

By African-American artist Augusta Savage, portrait of Gwendolyn Knight, ca. 1934–35, bronze. As a bronze cast, it appears in more than one collection, both public and private. More info in ALT. #arthistory #blackart #blackarthistory #BlackHistoryMonth #womanartist #womenartists #sculpture

A quote from the artist, who was also a teacher: "I have created nothing really beautiful, really lasting, but if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work."

By African-American artist Augusta Savage, portrait of Gwendolyn Knight, ca. 1934–35, bronze. As a bronze cast, it appears in more than one collection, both public and private. More info in ALT. #arthistory #blackart #blackarthistory #BlackHistoryMonth #womanartist #womenartists #sculpture

A quote from the artist, who was also a teacher: "I have created nothing really beautiful, really lasting, but if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work."

By African-American artist Augusta Savage, portrait of Gwendolyn Knight, ca. 1934–35, bronze. As a bronze cast, it appears in more than one collection, both public and private. More info in ALT. #arthistory #blackart #blackarthistory #BlackHistoryMonth #womanartist #womenartists #sculpture

A quote from the artist, who was also a teacher: "I have created nothing really beautiful, really lasting, but if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work."

By African-American artist Augusta Savage, portrait of Gwendolyn Knight, ca. 1934–35, bronze. As a bronze cast, it appears in more than one collection, both public and private. More info in ALT. #arthistory #blackart #blackarthistory #BlackHistoryMonth #womanartist #womenartists #sculpture

A quote from the artist, who was also a teacher: "I have created nothing really beautiful, really lasting, but if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work."

Reposted from @blackaristocratart @wisdm From 3000BC to 2090 of Fashion 😍

Fashion History through the Ages! My favourite has to be 1780! The Classical period rocks ✌🏾

Do follow @blackaristocratart for Black Art History content you will love ❤️

#blackaristocratart #historyofart #aristocrat #arthistory #blackart #fineart #victorian #renaissance #arthistorymatters #blackhistoryeveryday #classicalart #diaspora

By African-American artist Charles White (1918-1979), "Awaken from the Unknowing," 1961, compressed charcoal and brown and gray vine charcoal with scratching out, blending, and erasing, 81.9 x 145.4 x 4.4 cm (32 1/4 x 57 1/4 x 1 3/4 inches), the Blanton Museum of Art at The University of Texas at Austin. #arthistory #blackartists #BlackArt #BlackHistoryMonth More info in ALT.

Your art history post for today: by African-American artist Robert S. Duncanson (1821-1872), Sunset on the New England Coast, 1871, oil on canvas, 36 1/4 x 66 3/4 in. (92 x 169.5 cm), Cincinnati Art Museum. #arthistory #blackart #blackarthistory #oilpainting #painting

From Alex Greenberger, ArtNews, January 29, 2021: ‘1861, the Daily Cincinatti Gazette wrote effusively of the artist, calling him “the greatest landscape painter in the West”—a superlative that would go on to be echoed when he later traveled abroad and obtained fame in Europe. But success had by no means been assured for Duncanson.

Born sometime around 1821 in Fayette, New York, Duncanson was raised by two freed Black people. (Previously, scholars had thought one of them was white, but Ketner’s research dispelled that notion.) His grandfather had been a slave; his father was a carpenter and a house painter. After an itinerant upbringing spent partly in Detroit and Monroe, Michigan, Duncanson wound up in Cincinnati, which was considered an art capital at the time. It was there that he became a part of a budding network of Black artists that included James Presley Ball, who ran a daguerreotype studio for which Duncanson worked as the principal artist. “This was the first real aggregate cluster of an African-American community of artists in America,” Ketner told Smithsonian Magazine in 2011…

Even though Duncanson’s work had a loyal following among patrons, artists, and critics alike, he was nearly forgotten until the 1970s. Much of his current reputation is thanks to the Cincinnati Art Museum, which held a survey of Duncanson’s art on the occasion of the centennial of his death, in 1972, though curator David C. Driskell also helped elevate his paintings. In a landmark traveling exhibition called “Two Centuries of Black American Art,” which opened in 1976 at the Los Angeles County Museum of Art, Duncanson’s work was placed in a continuum of key Black artists that included Edmonia Lewis, Henry Ossawa Turner, Horace Pippin, Elizabeth Catlett, Jacob Lawrence, Charles White, and many more. “I was looking for a body of work which showed first of all that blacks had been stable participants in American visual culture for more than 200 years; and by stable participants I simply mean that in many cases they had been the backbone,” Driskell told the New York Times of his exhibition in 1977, when it traveled to the Brooklyn Museum.’

Your art history post for today: by African-American artist Robert S. Duncanson (1821-1872), Sunset on the New England Coast, 1871, oil on canvas, 36 1/4 x 66 3/4 in. (92 x 169.5 cm), Cincinnati Art Museum. #arthistory #blackart #blackarthistory #oilpainting #painting

From Alex Greenberger, ArtNews, January 29, 2021: ‘1861, the Daily Cincinatti Gazette wrote effusively of the artist, calling him “the greatest landscape painter in the West”—a superlative that would go on to be echoed when he later traveled abroad and obtained fame in Europe. But success had by no means been assured for Duncanson.

Born sometime around 1821 in Fayette, New York, Duncanson was raised by two freed Black people. (Previously, scholars had thought one of them was white, but Ketner’s research dispelled that notion.) His grandfather had been a slave; his father was a carpenter and a house painter. After an itinerant upbringing spent partly in Detroit and Monroe, Michigan, Duncanson wound up in Cincinnati, which was considered an art capital at the time. It was there that he became a part of a budding network of Black artists that included James Presley Ball, who ran a daguerreotype studio for which Duncanson worked as the principal artist. “This was the first real aggregate cluster of an African-American community of artists in America,” Ketner told Smithsonian Magazine in 2011…

Even though Duncanson’s work had a loyal following among patrons, artists, and critics alike, he was nearly forgotten until the 1970s. Much of his current reputation is thanks to the Cincinnati Art Museum, which held a survey of Duncanson’s art on the occasion of the centennial of his death, in 1972, though curator David C. Driskell also helped elevate his paintings. In a landmark traveling exhibition called “Two Centuries of Black American Art,” which opened in 1976 at the Los Angeles County Museum of Art, Duncanson’s work was placed in a continuum of key Black artists that included Edmonia Lewis, Henry Ossawa Turner, Horace Pippin, Elizabeth Catlett, Jacob Lawrence, Charles White, and many more. “I was looking for a body of work which showed first of all that blacks had been stable participants in American visual culture for more than 200 years; and by stable participants I simply mean that in many cases they had been the backbone,” Driskell told the New York Times of his exhibition in 1977, when it traveled to the Brooklyn Museum.’

Your art history post for today: by African-American artist Robert S. Duncanson (1821-1872), Sunset on the New England Coast, 1871, oil on canvas, 36 1/4 x 66 3/4 in. (92 x 169.5 cm), Cincinnati Art Museum. #arthistory #blackart #blackarthistory #oilpainting #painting

From Alex Greenberger, ArtNews, January 29, 2021: ‘1861, the Daily Cincinatti Gazette wrote effusively of the artist, calling him “the greatest landscape painter in the West”—a superlative that would go on to be echoed when he later traveled abroad and obtained fame in Europe. But success had by no means been assured for Duncanson.

Born sometime around 1821 in Fayette, New York, Duncanson was raised by two freed Black people. (Previously, scholars had thought one of them was white, but Ketner’s research dispelled that notion.) His grandfather had been a slave; his father was a carpenter and a house painter. After an itinerant upbringing spent partly in Detroit and Monroe, Michigan, Duncanson wound up in Cincinnati, which was considered an art capital at the time. It was there that he became a part of a budding network of Black artists that included James Presley Ball, who ran a daguerreotype studio for which Duncanson worked as the principal artist. “This was the first real aggregate cluster of an African-American community of artists in America,” Ketner told Smithsonian Magazine in 2011…

Even though Duncanson’s work had a loyal following among patrons, artists, and critics alike, he was nearly forgotten until the 1970s. Much of his current reputation is thanks to the Cincinnati Art Museum, which held a survey of Duncanson’s art on the occasion of the centennial of his death, in 1972, though curator David C. Driskell also helped elevate his paintings. In a landmark traveling exhibition called “Two Centuries of Black American Art,” which opened in 1976 at the Los Angeles County Museum of Art, Duncanson’s work was placed in a continuum of key Black artists that included Edmonia Lewis, Henry Ossawa Turner, Horace Pippin, Elizabeth Catlett, Jacob Lawrence, Charles White, and many more. “I was looking for a body of work which showed first of all that blacks had been stable participants in American visual culture for more than 200 years; and by stable participants I simply mean that in many cases they had been the backbone,” Driskell told the New York Times of his exhibition in 1977, when it traveled to the Brooklyn Museum.’

Your art history post for today: by African-American artist Robert S. Duncanson (1821-1872), Sunset on the New England Coast, 1871, oil on canvas, 36 1/4 x 66 3/4 in. (92 x 169.5 cm), Cincinnati Art Museum. #arthistory #blackart #blackarthistory #oilpainting #painting

From Alex Greenberger, ArtNews, January 29, 2021: ‘1861, the Daily Cincinatti Gazette wrote effusively of the artist, calling him “the greatest landscape painter in the West”—a superlative that would go on to be echoed when he later traveled abroad and obtained fame in Europe. But success had by no means been assured for Duncanson.

Born sometime around 1821 in Fayette, New York, Duncanson was raised by two freed Black people. (Previously, scholars had thought one of them was white, but Ketner’s research dispelled that notion.) His grandfather had been a slave; his father was a carpenter and a house painter. After an itinerant upbringing spent partly in Detroit and Monroe, Michigan, Duncanson wound up in Cincinnati, which was considered an art capital at the time. It was there that he became a part of a budding network of Black artists that included James Presley Ball, who ran a daguerreotype studio for which Duncanson worked as the principal artist. “This was the first real aggregate cluster of an African-American community of artists in America,” Ketner told Smithsonian Magazine in 2011…

Even though Duncanson’s work had a loyal following among patrons, artists, and critics alike, he was nearly forgotten until the 1970s. Much of his current reputation is thanks to the Cincinnati Art Museum, which held a survey of Duncanson’s art on the occasion of the centennial of his death, in 1972, though curator David C. Driskell also helped elevate his paintings. In a landmark traveling exhibition called “Two Centuries of Black American Art,” which opened in 1976 at the Los Angeles County Museum of Art, Duncanson’s work was placed in a continuum of key Black artists that included Edmonia Lewis, Henry Ossawa Turner, Horace Pippin, Elizabeth Catlett, Jacob Lawrence, Charles White, and many more. “I was looking for a body of work which showed first of all that blacks had been stable participants in American visual culture for more than 200 years; and by stable participants I simply mean that in many cases they had been the backbone,” Driskell told the New York Times of his exhibition in 1977, when it traveled to the Brooklyn Museum.’

Your art history post for today: by African-American artist Robert S. Duncanson (1821-1872), Sunset on the New England Coast, 1871, oil on canvas, 36 1/4 x 66 3/4 in. (92 x 169.5 cm), Cincinnati Art Museum. #arthistory #blackart #blackarthistory #oilpainting #painting

From Alex Greenberger, ArtNews, January 29, 2021: ‘1861, the Daily Cincinatti Gazette wrote effusively of the artist, calling him “the greatest landscape painter in the West”—a superlative that would go on to be echoed when he later traveled abroad and obtained fame in Europe. But success had by no means been assured for Duncanson.

Born sometime around 1821 in Fayette, New York, Duncanson was raised by two freed Black people. (Previously, scholars had thought one of them was white, but Ketner’s research dispelled that notion.) His grandfather had been a slave; his father was a carpenter and a house painter. After an itinerant upbringing spent partly in Detroit and Monroe, Michigan, Duncanson wound up in Cincinnati, which was considered an art capital at the time. It was there that he became a part of a budding network of Black artists that included James Presley Ball, who ran a daguerreotype studio for which Duncanson worked as the principal artist. “This was the first real aggregate cluster of an African-American community of artists in America,” Ketner told Smithsonian Magazine in 2011…

Even though Duncanson’s work had a loyal following among patrons, artists, and critics alike, he was nearly forgotten until the 1970s. Much of his current reputation is thanks to the Cincinnati Art Museum, which held a survey of Duncanson’s art on the occasion of the centennial of his death, in 1972, though curator David C. Driskell also helped elevate his paintings. In a landmark traveling exhibition called “Two Centuries of Black American Art,” which opened in 1976 at the Los Angeles County Museum of Art, Duncanson’s work was placed in a continuum of key Black artists that included Edmonia Lewis, Henry Ossawa Turner, Horace Pippin, Elizabeth Catlett, Jacob Lawrence, Charles White, and many more. “I was looking for a body of work which showed first of all that blacks had been stable participants in American visual culture for more than 200 years; and by stable participants I simply mean that in many cases they had been the backbone,” Driskell told the New York Times of his exhibition in 1977, when it traveled to the Brooklyn Museum.’

Your art history post for today, by the first African-American artist to win international acclaim: Henry Ossawa Tanner (1859-1937), “Abraham's Oak,” 1905, oil on canvas, 21 3⁄8 x 28 5⁄8 in. (54.4 x 72.8 cm), Smithsonian American Art Museum and the Renwick Gallery. #arthistory #blackart #blackarthistory

Your art history post for today, by the first African-American artist to win international acclaim: Henry Ossawa Tanner (1859-1937), “Abraham's Oak,” 1905, oil on canvas, 21 3⁄8 x 28 5⁄8 in. (54.4 x 72.8 cm), Smithsonian American Art Museum and the Renwick Gallery. #arthistory #blackart #blackarthistory

Your art history post for today, by the first African-American artist to win international acclaim: Henry Ossawa Tanner (1859-1937), “Abraham's Oak,” 1905, oil on canvas, 21 3⁄8 x 28 5⁄8 in. (54.4 x 72.8 cm), Smithsonian American Art Museum and the Renwick Gallery. #arthistory #blackart #blackarthistory

Your art history post for today, by the first African-American artist to win international acclaim: Henry Ossawa Tanner (1859-1937), “Abraham's Oak,” 1905, oil on canvas, 21 3⁄8 x 28 5⁄8 in. (54.4 x 72.8 cm), Smithsonian American Art Museum and the Renwick Gallery. #arthistory #blackart #blackarthistory

Your art history post for today, by the first African-American artist to win international acclaim: Henry Ossawa Tanner (1859-1937), “Abraham's Oak,” 1905, oil on canvas, 21 3⁄8 x 28 5⁄8 in. (54.4 x 72.8 cm), Smithsonian American Art Museum and the Renwick Gallery. #arthistory #blackart #blackarthistory

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Anubis! Egyptian God of funerary rites!

#Anubis #EgyptianGod #Egypt #Egyptian #AfterLife #Jackal #JudgeOfSouls #Dead #Mummification #Royal #Tombs #Pharaoh #Hound #Basenji #Greyhound #Doberman #Pincher #Dog #Dogs #Canine #CanineHead #EchoPenn #Art #Artist #Artists #Artshare #SmallArtist #FanArt #MastoArt #MastoArtist #BlackMastodon #BlackArt #DailyDrawing #Sketch #Sketching #SketchDaily #Sketchbook #SketchArtist #SketchDrawing #Draw #Drawing #Drawn #TraditionalArt #TraditionalArtist #HandDrawn

Your art history post for today: by African-American artist Laura Wheeler Waring (1887-1948), portrait of Marian Anderson, oil on canvas, 76 x 40 1/4 in (193 x 102.2 cm), National Portrait Gallery, Washington, DC. Not on view, which seems a crying shame. #arthistory #BlackHistoryMonth #blackarthistory #blackart #womanartist #womensart

From the website: “One of the outstanding voices of the twentieth century, contralto Marian Anderson—like many African American artists of the time—first achieved success in Europe. Impresario Sol Hurok convinced her to return to America, and a triumphant 1935 concert secured her reputation. In 1939 she became embroiled in a historic event when the Daughters of the American Revolution banned her appearance at its Constitution Hall because she was black. First Lady Eleanor Roosevelt intervened and facilitated Anderson’s Easter Sunday outdoor concert at the Lincoln Memorial—an event witnessed by 75,000 and broadcast to a radio audience of millions. In 1955 Anderson was invited to appear at the Metropolitan Opera (in Verdi’s Un Ballo in Maschera), becoming the first African American to sing an important role with that company. In 1978 she received a Kennedy Center Honors award.”

Your art history post for today: by African-American artist Laura Wheeler Waring (1887-1948), portrait of Marian Anderson, oil on canvas, 76 x 40 1/4 in (193 x 102.2 cm), National Portrait Gallery, Washington, DC. Not on view, which seems a crying shame. #arthistory #BlackHistoryMonth #blackarthistory #blackart #womanartist #womensart

From the website: “One of the outstanding voices of the twentieth century, contralto Marian Anderson—like many African American artists of the time—first achieved success in Europe. Impresario Sol Hurok convinced her to return to America, and a triumphant 1935 concert secured her reputation. In 1939 she became embroiled in a historic event when the Daughters of the American Revolution banned her appearance at its Constitution Hall because she was black. First Lady Eleanor Roosevelt intervened and facilitated Anderson’s Easter Sunday outdoor concert at the Lincoln Memorial—an event witnessed by 75,000 and broadcast to a radio audience of millions. In 1955 Anderson was invited to appear at the Metropolitan Opera (in Verdi’s Un Ballo in Maschera), becoming the first African American to sing an important role with that company. In 1978 she received a Kennedy Center Honors award.”

Your art history post for today: by African-American artist Laura Wheeler Waring (1887-1948), portrait of Marian Anderson, oil on canvas, 76 x 40 1/4 in (193 x 102.2 cm), National Portrait Gallery, Washington, DC. Not on view, which seems a crying shame. #arthistory #BlackHistoryMonth #blackarthistory #blackart #womanartist #womensart

From the website: “One of the outstanding voices of the twentieth century, contralto Marian Anderson—like many African American artists of the time—first achieved success in Europe. Impresario Sol Hurok convinced her to return to America, and a triumphant 1935 concert secured her reputation. In 1939 she became embroiled in a historic event when the Daughters of the American Revolution banned her appearance at its Constitution Hall because she was black. First Lady Eleanor Roosevelt intervened and facilitated Anderson’s Easter Sunday outdoor concert at the Lincoln Memorial—an event witnessed by 75,000 and broadcast to a radio audience of millions. In 1955 Anderson was invited to appear at the Metropolitan Opera (in Verdi’s Un Ballo in Maschera), becoming the first African American to sing an important role with that company. In 1978 she received a Kennedy Center Honors award.”

Your art history post for today: by African-American artist Laura Wheeler Waring (1887-1948), portrait of Marian Anderson, oil on canvas, 76 x 40 1/4 in (193 x 102.2 cm), National Portrait Gallery, Washington, DC. Not on view, which seems a crying shame. #arthistory #BlackHistoryMonth #blackarthistory #blackart #womanartist #womensart

From the website: “One of the outstanding voices of the twentieth century, contralto Marian Anderson—like many African American artists of the time—first achieved success in Europe. Impresario Sol Hurok convinced her to return to America, and a triumphant 1935 concert secured her reputation. In 1939 she became embroiled in a historic event when the Daughters of the American Revolution banned her appearance at its Constitution Hall because she was black. First Lady Eleanor Roosevelt intervened and facilitated Anderson’s Easter Sunday outdoor concert at the Lincoln Memorial—an event witnessed by 75,000 and broadcast to a radio audience of millions. In 1955 Anderson was invited to appear at the Metropolitan Opera (in Verdi’s Un Ballo in Maschera), becoming the first African American to sing an important role with that company. In 1978 she received a Kennedy Center Honors award.”

Your art history post for today: by African-American artist Laura Wheeler Waring (1887-1948), portrait of Marian Anderson, oil on canvas, 76 x 40 1/4 in (193 x 102.2 cm), National Portrait Gallery, Washington, DC. Not on view, which seems a crying shame. #arthistory #BlackHistoryMonth #blackarthistory #blackart #womanartist #womensart

From the website: “One of the outstanding voices of the twentieth century, contralto Marian Anderson—like many African American artists of the time—first achieved success in Europe. Impresario Sol Hurok convinced her to return to America, and a triumphant 1935 concert secured her reputation. In 1939 she became embroiled in a historic event when the Daughters of the American Revolution banned her appearance at its Constitution Hall because she was black. First Lady Eleanor Roosevelt intervened and facilitated Anderson’s Easter Sunday outdoor concert at the Lincoln Memorial—an event witnessed by 75,000 and broadcast to a radio audience of millions. In 1955 Anderson was invited to appear at the Metropolitan Opera (in Verdi’s Un Ballo in Maschera), becoming the first African American to sing an important role with that company. In 1978 she received a Kennedy Center Honors award.”

Your art history post for today: by Allan Rohan Crite (1910-2007), "Play at Dark (Westminster Street, Madison Park)," 1935, oil on canvas board, 24x18 inches, (610x457 mm), sold through Swann Auction Galleries October 8th, 2019 for $185,000. #arthistory #blackart #blackarthistory #BlackHistoryMonth

From the website: ‘This beautiful and quintessential Allan Crite painting of Boston is the most significant of his scarce 1930s oil paintings to come to auction. The painting bursts with the activity of children playing and their parents promenading, with over thirty figures included in this bustling evening scene. Crite faithfully painted what he saw on sidewalks, parks and playgrounds in this "Neighborhood Series." His faithful observations of African-American life in Boston's Roxbury and South End districts include paintings, drawings, watercolors and linoleum cuts made into the 1940s. In February of 1936, Crite summarizes the intention with the series in his diary: "My intention in the neighborhood paintings, and some drawings, was to show aspects of life in the city with special reference to the use of the terminology 'black' people and to present them in an ordinary light, persons enjoying the usual pleasure of life with its mixtures of both sorrows and joys... I was an artist-reporter, recording what I saw." This painting is similar in its carefully rendered setting and dense concentration of figures to one of Crite's best known paintings, School's Out, also from 1936, in the collection of the Smithsonian American Art Museum, Washington, DC.’

Your art history post for today: by Allan Rohan Crite (1910-2007), "Play at Dark (Westminster Street, Madison Park)," 1935, oil on canvas board, 24x18 inches, (610x457 mm), sold through Swann Auction Galleries October 8th, 2019 for $185,000. #arthistory #blackart #blackarthistory #BlackHistoryMonth

From the website: ‘This beautiful and quintessential Allan Crite painting of Boston is the most significant of his scarce 1930s oil paintings to come to auction. The painting bursts with the activity of children playing and their parents promenading, with over thirty figures included in this bustling evening scene. Crite faithfully painted what he saw on sidewalks, parks and playgrounds in this "Neighborhood Series." His faithful observations of African-American life in Boston's Roxbury and South End districts include paintings, drawings, watercolors and linoleum cuts made into the 1940s. In February of 1936, Crite summarizes the intention with the series in his diary: "My intention in the neighborhood paintings, and some drawings, was to show aspects of life in the city with special reference to the use of the terminology 'black' people and to present them in an ordinary light, persons enjoying the usual pleasure of life with its mixtures of both sorrows and joys... I was an artist-reporter, recording what I saw." This painting is similar in its carefully rendered setting and dense concentration of figures to one of Crite's best known paintings, School's Out, also from 1936, in the collection of the Smithsonian American Art Museum, Washington, DC.’

Your art history post for today: by Allan Rohan Crite (1910-2007), "Play at Dark (Westminster Street, Madison Park)," 1935, oil on canvas board, 24x18 inches, (610x457 mm), sold through Swann Auction Galleries October 8th, 2019 for $185,000. #arthistory #blackart #blackarthistory #BlackHistoryMonth

From the website: ‘This beautiful and quintessential Allan Crite painting of Boston is the most significant of his scarce 1930s oil paintings to come to auction. The painting bursts with the activity of children playing and their parents promenading, with over thirty figures included in this bustling evening scene. Crite faithfully painted what he saw on sidewalks, parks and playgrounds in this "Neighborhood Series." His faithful observations of African-American life in Boston's Roxbury and South End districts include paintings, drawings, watercolors and linoleum cuts made into the 1940s. In February of 1936, Crite summarizes the intention with the series in his diary: "My intention in the neighborhood paintings, and some drawings, was to show aspects of life in the city with special reference to the use of the terminology 'black' people and to present them in an ordinary light, persons enjoying the usual pleasure of life with its mixtures of both sorrows and joys... I was an artist-reporter, recording what I saw." This painting is similar in its carefully rendered setting and dense concentration of figures to one of Crite's best known paintings, School's Out, also from 1936, in the collection of the Smithsonian American Art Museum, Washington, DC.’

Your art history post for today: by Allan Rohan Crite (1910-2007), "Play at Dark (Westminster Street, Madison Park)," 1935, oil on canvas board, 24x18 inches, (610x457 mm), sold through Swann Auction Galleries October 8th, 2019 for $185,000. #arthistory #blackart #blackarthistory #BlackHistoryMonth

From the website: ‘This beautiful and quintessential Allan Crite painting of Boston is the most significant of his scarce 1930s oil paintings to come to auction. The painting bursts with the activity of children playing and their parents promenading, with over thirty figures included in this bustling evening scene. Crite faithfully painted what he saw on sidewalks, parks and playgrounds in this "Neighborhood Series." His faithful observations of African-American life in Boston's Roxbury and South End districts include paintings, drawings, watercolors and linoleum cuts made into the 1940s. In February of 1936, Crite summarizes the intention with the series in his diary: "My intention in the neighborhood paintings, and some drawings, was to show aspects of life in the city with special reference to the use of the terminology 'black' people and to present them in an ordinary light, persons enjoying the usual pleasure of life with its mixtures of both sorrows and joys... I was an artist-reporter, recording what I saw." This painting is similar in its carefully rendered setting and dense concentration of figures to one of Crite's best known paintings, School's Out, also from 1936, in the collection of the Smithsonian American Art Museum, Washington, DC.’

Your art history post for today: by Allan Rohan Crite (1910-2007), "Play at Dark (Westminster Street, Madison Park)," 1935, oil on canvas board, 24x18 inches, (610x457 mm), sold through Swann Auction Galleries October 8th, 2019 for $185,000. #arthistory #blackart #blackarthistory #BlackHistoryMonth

From the website: ‘This beautiful and quintessential Allan Crite painting of Boston is the most significant of his scarce 1930s oil paintings to come to auction. The painting bursts with the activity of children playing and their parents promenading, with over thirty figures included in this bustling evening scene. Crite faithfully painted what he saw on sidewalks, parks and playgrounds in this "Neighborhood Series." His faithful observations of African-American life in Boston's Roxbury and South End districts include paintings, drawings, watercolors and linoleum cuts made into the 1940s. In February of 1936, Crite summarizes the intention with the series in his diary: "My intention in the neighborhood paintings, and some drawings, was to show aspects of life in the city with special reference to the use of the terminology 'black' people and to present them in an ordinary light, persons enjoying the usual pleasure of life with its mixtures of both sorrows and joys... I was an artist-reporter, recording what I saw." This painting is similar in its carefully rendered setting and dense concentration of figures to one of Crite's best known paintings, School's Out, also from 1936, in the collection of the Smithsonian American Art Museum, Washington, DC.’

Your art history post for today: by African-American artist Meta Vaux Warrick Fuller (1877–1968), “Ethiopia,” 1921, painted plaster, 170.2 x40.6 x 51 cm, National Museum of African American History and Culture, Washington, DC. #blackarthistory #blackart #blackartist #womanartist #womenartists #arthistory

From the Danforth Art Museum, Framingham, MA, which has a large number of her works in its collection: “Meta Vaux Warrick Fuller (1877–1968), an American sculptor, is known for her groundbreaking depictions of the African and African-American experience. Throughout the 1910s and 1920s, she created intimate portraits of friends and family, self-portraits, and commissioned works for national and international expositions. Anticipating themes of the Harlem Renaissance, Fuller used the figure as metaphor to represent broad themes as African-American artists and intelligentsia sought to formulate and celebrate an African-American cultural identity and express racial experience and social issues in America. Works such as the Study for Ethiopia Awakening and Study for the Spirit of Emancipation (both in the collection of the Danforth Art Museum) celebrate African heritage while expressing aspirations for the future.”

Your art history post for today: by African-American artist Meta Vaux Warrick Fuller (1877–1968), “Ethiopia,” 1921, painted plaster, 170.2 x40.6 x 51 cm, National Museum of African American History and Culture, Washington, DC. #blackarthistory #blackart #blackartist #womanartist #womenartists #arthistory

From the Danforth Art Museum, Framingham, MA, which has a large number of her works in its collection: “Meta Vaux Warrick Fuller (1877–1968), an American sculptor, is known for her groundbreaking depictions of the African and African-American experience. Throughout the 1910s and 1920s, she created intimate portraits of friends and family, self-portraits, and commissioned works for national and international expositions. Anticipating themes of the Harlem Renaissance, Fuller used the figure as metaphor to represent broad themes as African-American artists and intelligentsia sought to formulate and celebrate an African-American cultural identity and express racial experience and social issues in America. Works such as the Study for Ethiopia Awakening and Study for the Spirit of Emancipation (both in the collection of the Danforth Art Museum) celebrate African heritage while expressing aspirations for the future.”

Your art history post for today: by African-American artist Meta Vaux Warrick Fuller (1877–1968), “Ethiopia,” 1921, painted plaster, 170.2 x40.6 x 51 cm, National Museum of African American History and Culture, Washington, DC. #blackarthistory #blackart #blackartist #womanartist #womenartists #arthistory

From the Danforth Art Museum, Framingham, MA, which has a large number of her works in its collection: “Meta Vaux Warrick Fuller (1877–1968), an American sculptor, is known for her groundbreaking depictions of the African and African-American experience. Throughout the 1910s and 1920s, she created intimate portraits of friends and family, self-portraits, and commissioned works for national and international expositions. Anticipating themes of the Harlem Renaissance, Fuller used the figure as metaphor to represent broad themes as African-American artists and intelligentsia sought to formulate and celebrate an African-American cultural identity and express racial experience and social issues in America. Works such as the Study for Ethiopia Awakening and Study for the Spirit of Emancipation (both in the collection of the Danforth Art Museum) celebrate African heritage while expressing aspirations for the future.”

Your art history post for today: by African-American artist Meta Vaux Warrick Fuller (1877–1968), “Ethiopia,” 1921, painted plaster, 170.2 x40.6 x 51 cm, National Museum of African American History and Culture, Washington, DC. #blackarthistory #blackart #blackartist #womanartist #womenartists #arthistory

From the Danforth Art Museum, Framingham, MA, which has a large number of her works in its collection: “Meta Vaux Warrick Fuller (1877–1968), an American sculptor, is known for her groundbreaking depictions of the African and African-American experience. Throughout the 1910s and 1920s, she created intimate portraits of friends and family, self-portraits, and commissioned works for national and international expositions. Anticipating themes of the Harlem Renaissance, Fuller used the figure as metaphor to represent broad themes as African-American artists and intelligentsia sought to formulate and celebrate an African-American cultural identity and express racial experience and social issues in America. Works such as the Study for Ethiopia Awakening and Study for the Spirit of Emancipation (both in the collection of the Danforth Art Museum) celebrate African heritage while expressing aspirations for the future.”

Your art history post for today: by African-American artist Meta Vaux Warrick Fuller (1877–1968), “Ethiopia,” 1921, painted plaster, 170.2 x40.6 x 51 cm, National Museum of African American History and Culture, Washington, DC. #blackarthistory #blackart #blackartist #womanartist #womenartists #arthistory

From the Danforth Art Museum, Framingham, MA, which has a large number of her works in its collection: “Meta Vaux Warrick Fuller (1877–1968), an American sculptor, is known for her groundbreaking depictions of the African and African-American experience. Throughout the 1910s and 1920s, she created intimate portraits of friends and family, self-portraits, and commissioned works for national and international expositions. Anticipating themes of the Harlem Renaissance, Fuller used the figure as metaphor to represent broad themes as African-American artists and intelligentsia sought to formulate and celebrate an African-American cultural identity and express racial experience and social issues in America. Works such as the Study for Ethiopia Awakening and Study for the Spirit of Emancipation (both in the collection of the Danforth Art Museum) celebrate African heritage while expressing aspirations for the future.”

Your art history post for today by Henry Ossawa Tanner (1859-1937), the first African-American artist to achieve international fame: “The Annunciation,” 1898, oil on canvas, 57 × 71 1/4 inches (144.8 × 181 cm), Philadelphia Museum of Art. #arthistory #blackart #blackarthistory

From the museum website: “Tanner painted The Annunciation soon after returning to Paris from a trip to Egypt and Palestine in 1897. The son of a minister in the African Methodist Episcopal Church, Tanner specialized in religious subjects, and wanted to experience the people, culture, architecture, and light of the Holy Land. Influenced by what he saw, Tanner created an unconventional image of the moment when the angel Gabriel announces to Mary that she will bear the Son of God. Mary is shown as an adolescent dressed in rumpled Middle Eastern peasant clothing, without a halo or other holy attributes. Gabriel appears only as a shaft of light. Tanner entered this painting in the 1898 Paris Salon exhibition, after which it was bought for the Philadelphia Museum of Art in 1899, making it his first work to enter an American museum.”

Your art history post for today by Henry Ossawa Tanner (1859-1937), the first African-American artist to achieve international fame: “The Annunciation,” 1898, oil on canvas, 57 × 71 1/4 inches (144.8 × 181 cm), Philadelphia Museum of Art. #arthistory #blackart #blackarthistory

From the museum website: “Tanner painted The Annunciation soon after returning to Paris from a trip to Egypt and Palestine in 1897. The son of a minister in the African Methodist Episcopal Church, Tanner specialized in religious subjects, and wanted to experience the people, culture, architecture, and light of the Holy Land. Influenced by what he saw, Tanner created an unconventional image of the moment when the angel Gabriel announces to Mary that she will bear the Son of God. Mary is shown as an adolescent dressed in rumpled Middle Eastern peasant clothing, without a halo or other holy attributes. Gabriel appears only as a shaft of light. Tanner entered this painting in the 1898 Paris Salon exhibition, after which it was bought for the Philadelphia Museum of Art in 1899, making it his first work to enter an American museum.”

Your art history post for today by Henry Ossawa Tanner (1859-1937), the first African-American artist to achieve international fame: “The Annunciation,” 1898, oil on canvas, 57 × 71 1/4 inches (144.8 × 181 cm), Philadelphia Museum of Art. #arthistory #blackart #blackarthistory

From the museum website: “Tanner painted The Annunciation soon after returning to Paris from a trip to Egypt and Palestine in 1897. The son of a minister in the African Methodist Episcopal Church, Tanner specialized in religious subjects, and wanted to experience the people, culture, architecture, and light of the Holy Land. Influenced by what he saw, Tanner created an unconventional image of the moment when the angel Gabriel announces to Mary that she will bear the Son of God. Mary is shown as an adolescent dressed in rumpled Middle Eastern peasant clothing, without a halo or other holy attributes. Gabriel appears only as a shaft of light. Tanner entered this painting in the 1898 Paris Salon exhibition, after which it was bought for the Philadelphia Museum of Art in 1899, making it his first work to enter an American museum.”

Your art history post for today by Henry Ossawa Tanner (1859-1937), the first African-American artist to achieve international fame: “The Annunciation,” 1898, oil on canvas, 57 × 71 1/4 inches (144.8 × 181 cm), Philadelphia Museum of Art. #arthistory #blackart #blackarthistory

From the museum website: “Tanner painted The Annunciation soon after returning to Paris from a trip to Egypt and Palestine in 1897. The son of a minister in the African Methodist Episcopal Church, Tanner specialized in religious subjects, and wanted to experience the people, culture, architecture, and light of the Holy Land. Influenced by what he saw, Tanner created an unconventional image of the moment when the angel Gabriel announces to Mary that she will bear the Son of God. Mary is shown as an adolescent dressed in rumpled Middle Eastern peasant clothing, without a halo or other holy attributes. Gabriel appears only as a shaft of light. Tanner entered this painting in the 1898 Paris Salon exhibition, after which it was bought for the Philadelphia Museum of Art in 1899, making it his first work to enter an American museum.”

Your art history post for today by Henry Ossawa Tanner (1859-1937), the first African-American artist to achieve international fame: “The Annunciation,” 1898, oil on canvas, 57 × 71 1/4 inches (144.8 × 181 cm), Philadelphia Museum of Art. #arthistory #blackart #blackarthistory

From the museum website: “Tanner painted The Annunciation soon after returning to Paris from a trip to Egypt and Palestine in 1897. The son of a minister in the African Methodist Episcopal Church, Tanner specialized in religious subjects, and wanted to experience the people, culture, architecture, and light of the Holy Land. Influenced by what he saw, Tanner created an unconventional image of the moment when the angel Gabriel announces to Mary that she will bear the Son of God. Mary is shown as an adolescent dressed in rumpled Middle Eastern peasant clothing, without a halo or other holy attributes. Gabriel appears only as a shaft of light. Tanner entered this painting in the 1898 Paris Salon exhibition, after which it was bought for the Philadelphia Museum of Art in 1899, making it his first work to enter an American museum.”

Tried to sketch Chadwick Boseman. I like the sketch, but it doesn’t look like him. 😅

#chadwickboseman #mastoart #sketch #art #sketchbook #marvel #marvelcomics #blackpanther #tchala #king #blackman #blackart #blackartist #blackpeople #celebrity #blackcelebrity #blackactor #krita #opensource #android #linux #archlinux