African-American Artists

Introduction

When I look at the early identification of African-Americans involved in the Visual Arts, I see a small cadre of artists closely aligned to the production of works in the strict tradition of European or English classicism. The rules were clearly defined for the artists, and cultural expression was not the acceptable standard for visual creations produced by early African-American artists. Those few African-Americans had to sublimate their expression and stick closely to what was defined as art. Therefore, it was not a surprise to see the first African-American artists defined as slave artisans with skills as iron workers, cabinet makers, quiltmakers, even silversmiths and stoneware vessel makers. The majority of these artists were using their Afrocentric talents for creating useful items needed by their masters or for their own households when allowed. The African-Americans' talents as visual artists were later identified as painters of white families' portraits and, in rare cases, portrait painters of well to do "free persons of color." (Chambers 70).

These early American African-American artists enjoyed a degree of status, and many bought their freedom using their artistic talents as acceptable barter. Having a marketable and acceptable skill pleased the white clientele and provided a living for the early African-American visual artists.

Scipio Moorhead of Boston, G.W. HOBBS of Baltimore, Joshua Johnston of Baltimore, Julien Hudson of New Orleans, Robert M. Douglass JR. of Philadelphia, Patrick Henry Reason of Philadelphia, and William Simpson of Boston were among the early identifiable portraitists of prominent black and white subjects from 1773 until 1887.

Being a visual artist required talent, but, for the African-American artists, talent was not enough. This was nineteenth century America and race determined who could be trained in the arts. There were no special schools or places where African-Americans could freely exhibit their talents for art. These talented artists were excluded from the academies, associations, and teaching institutions available to white artists. In rare cases, beneficent white families broke the rules and provided knowledge, direction, and resources to budding African-American talents in the visual arts. Many of these white patrons were among the abolitionists of this pe...

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...ons to tell our stories. As an African American artist "I dream a dream and then I paint my dream." (Vincent Van Gogh) My work is ever changing and is usually centered around, the path or journey my spirit, my soul has chosen may it be teacher or student my trials, tribulations, celebrations and learning experiences are reflected in my work, and are there to embrace all whose eyes are open wide enough to see the truth.

Works Cited

Barnes, Albert C. "Negro Art and America." The Portable Harlem Renaissance Reader. David Levering Lewis, ed. New York: Viking Penguin, 1994, 128-133.

Chambers, Veronica. The Harlem Renaissance. Philadelphia: Chelsea House Publishers, 1998., 70-98

Du Bois, W. E. B. "Criteria of Negro Art." The Portable Harlem Renaissance Reader. David Levering Lewis, ed. New York: Viking Penguin, 1994, 100-105.

Hughes, Langston. "The Negro Artist and the Racial Mountain." The Portable Harlem Renaissance Reader. David Levering Lewis, ed. New York: Viking Penguin, 1994, 91-95.

Locke, Alain. "The New Negro." The Portable Harlem Renaissance Reader. David Levering Lewis, ed. New York: Viking Penguin, 1994, 46-51.