Jacob Lawrence's Children At Play

This critical analysis will be a visual representation of Children at Play (Georgia Museum of Art 1947.178,) a tempera painting on panel created by American Modernist artist Jacob Lawrence in 1947. This 24 x 18-inch composition displays his signature use of “primary colors and flattened forms” through his cubistic figures prancing in a circle in what looks like an area with windows and curtains (Georgia Museum of Art, 2018). The tempera paint supplies a flattened appearance and proposes a vivid color scheme juxtaposed with dark-toned human figures. Lawrence is well-known for illustrating “African-American life, history and his concern for human freedom and dignity” and these influences are often reflected in his work (art.com). For an example,

in Children at Play, the colors reflect the pan-Africanist flag, which was very popular during the time of Harlem Renaissance. (Georgia Museum of Art, 2018). Growing up in this period in a Harlem neighborhood allowed him to interconnect with many African-American writers and artists. Through his narrative content and self-dubbed style of “dynamic cubism,” Lawrence became a large contributor to American modernism (art.com). In fact, Lawrence paved the way for African American artists. Because he was among the first to be given gallery representation, the world of mainstream art gave him a great deal of attention. (Georgia Museum of Art, 2018).
In Children at Play, Jacob Lawrence uses different values of the tempera painted colors to convey a sense of depth within the two-dimensional space. Lawrence uses bold lines and structured lines to create square shapes on the lower half of the composition. This contributes to the illusion of implied space and to an indicate perspective. Moreover, the thin, actual lines offer structure which contrasts with the organic shapes of the body figures. These lines are painted with interchanging colors of blue, green, and dark maroon. In the top portion of the composition is a red wall and a structured window shaded with blue and outlined in a thick black stroke. Moving from left to right at the top of the composition, there is a geometric door shaded with the same blue hue as the window that has a similar thick black outline. Additionally, the darkened red wall continues from the door to the end of the panel. This wall gradually evolves from a darker value of red to a lighter value of red creating a chiaroscuro effect. The values of red interchange from an aggressive and abrupt blending treatment on the left to a smoother and intentional blending treatment on the right. Moving down the frame, the contrast of color between a vibrant red and a neutral grey conveys an obvious horizon line at the center of the composition. Consequently, this contrast creates an edge showing where the floor ends and where the wall begins.
At first glance, the eye is immediately drawn to the nine organic figures strategically arranged in a circle in the center of the composition. These shapes are painted using the same blue, green, black, and red colors and the mask-like faces of the implied body figures are painted with darker brown and black hues. These human figures appear to be wearing long, dress-like, one-piece garments, and their hairstyles are varied with organic shapes and lines. Furthermore, a lighter grey value is layered next to a darker grey to represent the highlight of the hair and face. The figures’ upper limbs are bent as they appear to be holding hands with one another, and their legs vary from an open and outflowing posture to a more structured stance. All shoes and socks are painted in black, except for two figures in the center of the composition. Overall, the visual elements of this painting reveal a scene of free-spirited human figures holding hands in a circle next to a wall and window, dancing with boundless movement and excitement.
Through his choice of limited colors and flattened style, Jacob Lawrence’s painting conveys a cartoonist, playful, and childlike tone. In the viewer’s perspective, the mood of the painting is adventurous. The geometric lines painted on the ground could be interpreted as a game such as hopscotch, and the long garments could indicate the human figures as little girls wearing dresses. Even though the artist did not provide detail in the faces of the girls, it is assumed by the open mouth of the girl on the left and the implied jumping and arm-waving movements that these girls are excited, active, and joyful. A viewer can interpret this piece as a demonstration of community, family, and bliss. In addition, as children are oftentimes associated with innocence and naivety, this painting allows the viewer to escape from reality and experience the nostalgia of childhood.
This piece of art emerged from a period of Harlem Renaissance and the Great Depression era and is heavily influenced by the Jacob Lawrence’s personal experience.

The subject matter of the painting could be inspired by his childhood environment or possibly the neighborhood in which he lived. In addition to the use of dark skin tones within the painting, understanding Lawrence’s culture and heritage allows the viewer to assume that the human figures are also African American. The potential intent behind this painting was to capture a scene of children playing in Lawrence’s neighborhood, and to capture the delighted, spirted, and the carefree emotion behind the children’s attitudes. I believe the purpose of this painting was for Jacob Lawrence to illustrate a time in history and to tell a story. His concern with human freedom is evident in this painting, especially through the children’s’ spirit. Additionally, Lawrence was brought up in a time where African Americans were experiencing freedom for the first time during the Great Migration, therefore this upbringing could also have an influence in his desire to portray freedom as a theme in Children at Play. The children in the painting are experiencing freedom in movement, dance, and in play. Ultimately, Jacob Lawrence wanted to capture the rawness of a human dignity, freedom, and authenticity behind the African-American culture, and I believe the specific purpose of this painting was for Lawrence to share not only another chapter of his life narrative, but a chapter of African American history, as

well.
The question of what makes art “good,” is subjective and can result in various answers and numerous opinions. When judging Lawrence’s Children at Play, I consider the creativity and originality of the theme, the quality of composition and design, the perceived message, and most importantly, the overall impression the art gives the audience. Lawrence uses a considerate approach in how he communicates his ideas to the viewer by utilizing a human dimension in his art. In response, the viewer feels a sense of empathy and relatability. This element also allows the audience to see stories apart from their own lives, even if they have no interest, experience, or knowledge of art (Diamond, 2017). I believe Children at Play depicts originality, because it was inspired by a pure and authentic experience, and his stylistic decision to portray this experience with basic visual elements reflects the true simplicity of the moment captured in time. I question Lawrence’s technique, because of the lack detail and its obvious simplicity; however, I believe it is his commitment to his own consistent, personal style and his desire to effectively communicate his message to his audience that is the most admirable.
In a time of emerging American modernism and abstraction, Lawrence was certain to document the important aspects of African American history in a way that is easily understood and appreciated by a broad audience (Diamond, 2017). He uses limited color, flattened shapes, and simple composition-framing to aid in rapid understanding. He creatively utilized his influence of modern abstraction in a way that did not drive the viewer to lose connection with his art. Children at Play portrays a simple scene of everyday African-American life in Harlem (Diamond, 2017). As a storyteller in a time where there was an absence of black history, he felt it was essential to integrate his experiences with the rest of American history. This responsibility to convey African American contemporary life serves as a primary influence in Children at Play, and is also a common theme in his overall work. It is through his conscientious choice of style and subject matter that he connects the audience in a way that allows him to share his life experience in a time of African American Renaissance.
Overall, I believe Lawrence fulfilled his intent in a successful way by effectively portraying his message to an audience with a technique that enhances comprehension. His commitment to a signature style contributes to the originality and uniqueness of the artwork, and his storytelling evokes emotion that immerses the audience in African American history. With this criteria in mind, I ultimately believe Children at Play by Jacob Lawrence demonstrates merit and great artwork.