The Harlem Renaissance Was Greater Than Harlem
Typically it’s the sleepers that stick with you. In “The Harlem Renaissance and Transatlantic Modernism,” a sprawling exhibition on the Metropolitan Museum of Artwork, it was a watercolor nonetheless life by Aaron Douglas. Born in Topeka, Kansas, in 1899, Douglas would be the most recognizable Black artist of the Twenties and ’30s. His interesting mix of Artwork Deco and African American affirmation enlivened books, magazines, and public areas in his heyday, and work similar to his grand Works Progress Administration cycle, Points of Negro Life, on the one hundred and thirty fifth Avenue department of the New York Public Library (now a part of the Schomburg Heart), have saved him seen ever since.
The watercolor, although, feels a world other than his luminous silhouettes and vivid storylines. It homes no heroic determine pointing towards the longer term, no shackles being solid off. As a substitute we get leafy branches splaying out from a pot beneath a tattered image hung askew on a wall. The branches is perhaps magnolia—it’s arduous to inform—however artwork nerds can acknowledge the crooked picture-within-a-picture as a unfastened rendering of Titian’s The Entombment of Christ (circa 1520), which has been within the Louvre for hundreds of years. Turner copied it there in 1802, Delacroix round 1820, Cézanne within the 1860s. Douglas would have seen it when he was learning in Paris within the early Nineteen Thirties.
The Titian may need attracted his consideration for a lot of causes—its show of crushing grief and voiceless religion, its sublimely managed composition, or the nice and cozy brown pores and skin that Titian gave the person lifting Christ’s head and shoulders, often recognized as Nicodemus. The Titian connection is just not highlighted on the Met, however in its personal indirect approach, Douglas’s watercolor encapsulates a very powerful lesson this present has to supply: Artwork’s relationship to the world is all the time extra sophisticated than you assume.
Organized by Denise Murrell, who, because the Met’s first curator at massive, oversees initiatives that cross geographical and chronological boundaries, this exhibition has rather a lot on its to-do listing. It desires to remind us of Harlem’s function as a cultural catalyst within the early Twentieth century, whereas exhibiting that these inventive energies prolonged far past the acquainted studying listing of Langston Hughes and Zora Neale Hurston, past literature and music, past the prewar a long time, and past Higher Manhattan. It desires us to grasp that Black American artists have been studying from European modernists, and that European modernists have been conscious of Black contributions to world tradition.
The exhibit showcases an abundance of largely Black, largely American painters and sculptors, in addition to photos of Black topics by white Europeans, documentary images, movie clips of nightclub acts, and objects by artists of the African diaspora working in places from the Caribbean to the UK. Like an exploding get together streamer, it unfurls in a number of instructions from a place to begin sufficiently small to carry in your hand—on this case, the March 1925 particular difficulty of the social-work journal Survey Graphic, its cowl emblazoned with “Harlem: Mecca of the New Negro,” heralding a brand new cultural phenomenon.
That difficulty, edited by the thinker Alain Locke, contained sociological and historic articles by Black lecturers together with poetry by the likes of Hughes and Jean Toomer. James Weldon Johnson, the manager secretary of the NAACP, supplied an essay on the real-estate machinations that had made Harlem Black, and W. E. B. Du Bois contributed a parable highlighting the Black origins of American achievements in domains together with the humanities and engineering. The German-immigrant artist Winold Reiss supplied eloquent portraits of celebrities such because the singer and activist Paul Robeson, together with these of assorted Harlem residents recognized by social function within the method of August Sander images—a pair of younger, earnest Public Faculty Lecturers with Phi Beta Kappa keys dangling round their necks, a somber-faced Lady Lawyer, a dapper School Lad. All of this made manifest the galvanizing assumption that what Black Individuals possessed was not a tradition that had did not be white, however one wealthy with its personal inheritances and innovations; its personal brilliance, flaws, and challenges. And Harlem was its metropolis on a hill.
Working as an artwork instructor in Kansas Metropolis, Missouri, Aaron Douglas noticed Survey Graphic and moved to New York, the place he labored with Reiss and was mentored by Du Bois. When Locke expanded the Survey Graphic difficulty to guide size (his pivotal anthology, The New Negro: An Interpretation), Douglas supplied illustrations.
Locke and Du Bois have been the mental stars of Black modernity, and so they believed within the energy of the humanities to rework social notion. However the place Du Bois as soon as mentioned, “I don’t care a rattling for any artwork that isn’t used for propaganda,” Locke was intrigued by the oblique however ineluctable workings of aesthetics. A severe collector of African artwork, he noticed its extreme stylizations and habits of restraint as a taste of classicism, as disciplined in its approach as Archaic Greek artwork, and hoped it’d present “a mine of recent motifs ” and “a lesson in simplicity and originality of expression” to Black Individuals.
Locke additionally took notice of how European artists, uninterested in the verisimilitude, rational area, and propriety of their very own custom, had change into smitten with Africa: how Picasso claimed the faceted planes of African masks as the start line of cubism; how German expressionists enlisted the emphatic angularity of African carvings of their pursuit of emotional presence. They is perhaps woefully (or willfully) blind to African objects’ authentic contexts and meanings, however, as Locke acknowledged, an vital bridge had been crossed. One thing definitively Black was inspiring the foremost white artists on the planet.
No artist fulfilled the dual mandates of clear messaging and savvy, African-influenced modernism extra efficiently than Douglas. The model he developed took ideas from the easy-to-read motion of ancient-Egyptian profiles, the staccato geometries of African artwork, and the flat pictorial area of abstraction, and he put that model to work in narrative photos designed to encourage hope, satisfaction, and a way of belonging to one thing bigger than oneself. Du Bois may need known as it propaganda, however below the title “historical past portray,” this sort of factor had constituted probably the most prestigious area of pre-Twentieth-century artwork. Consider Jacques-Louis David’s Oath of the Horatii (1784), Emanuel Leutze’s Washington Crossing the Delaware (1851), and John Martin’s cast-of-thousands blockbusters like The Destruction of Pompeii and Herculaneum (1822).
![stylized painting of biblical scene of Red Sea with beam of light](https://i0.wp.com/cdn.theatlantic.com/thumbor/CmC20_RoiOQgEAYbbwXoijxtfSc=/0x0:1200x1610/655x879/media/img/posts/2024/05/BOB_Tallman_HarlemRenLetMyPeople/original.png?resize=640%2C859&ssl=1)
Let My Individuals Go (circa 1935–39) is one in all a number of majestic Douglas work included on the Met. Its design started as a tightly composed black-and-white illustration for James Weldon Johnson’s 1927 guide, God’s Trombones: Seven Negro Sermons in Verse (along with operating the NAACP, Johnson was a poet). Even inside the extra expansive area of the colour portray, Let My Individuals Go has rather a lot occurring: Lightning bolts rain down from the higher proper; spears poke up from the decrease left as Pharaoh’s military prices in, heedless of the nice wave rising like a curlicue cowlick at heart stage. Slicing diagonally throughout all of this motion, a golden beam of sunshine involves relaxation on a kneeling determine, arms unfold in supplication. It’s a John Martin biblical epic stripped of Victorian froufrou, a modernist geometric composition with an ethical.
Formidable Black artists hardly wanted Locke to level them towards Europe. “The place else however to Paris,” Douglas wrote, “would the artist go who wished actually to study his craft and ultimately succeed within the artwork of portray?” Paris had the Louvre, it had Picasso and Matisse, it had vital collections of African artwork, and for many years, it supplied Black American artists each training and liberation. William H. Johnson arrived in 1926, Palmer Hayden and Hale Woodruff in 1927, Archibald Motley in 1929. Henry Ossawa Tanner, in France since 1891, was a chevalier of the Legion of Honor. The French weren’t freed from race-based assumptions, however their biases have been extra benign than these institutionalized in the USA—sufficient in order that Motley would later say, “They handled me the identical as they handled anyone else.”
One of many nice pleasures on the Met is watching these artists really feel their approach in a heady world. The setting for Motley’s brilliant and bumptious dance scene Blues (1929) was a café close to the Bois de Boulogne frequented by African and Caribbean immigrants, the place he would sit and sketch into the night time. The topic is definitely trendy, as are Motley’s smoothed-out surfaces and abruptly cropped edges, however the beautiful entanglement of musicians and revelers—the chromatic counterpoint of festive clothes and faces that are available in darkish, medium, and pale—remembers far older precedents, similar to Paolo Veronese’s The Wedding ceremony Feast at Cana (1562–63), the large canvas on the Louvre that folks again into when straining for a glimpse of the Mona Lisa.
![painting of crowded room of people dancing and musicians in a music club](https://i0.wp.com/cdn.theatlantic.com/thumbor/wlDTUwk94UsyB4qlLflJ8nY8a98=/0x0:1687x1365/928x751/media/img/posts/2024/05/BoB_Tallman_HarlemRenBlues/original.png?resize=640%2C518&ssl=1)
Woodruff and Hayden took up the theme of the cardboard sport, carefully related to Cézanne but in addition a long-standing trope in European artwork and African American tradition. In Hayden’s Nous Quatre à Paris (“We 4 in Paris,” circa 1930) and Woodruff’s The Card Gamers (1930), the teetering furnishings and tilted area arrange a pictorial instability that may be seen as a corollary of social pleasure and ethical peril, or simply the truth of odds all the time stacked in opposition to you. However whereas Woodruff’s jagged styling in The Card Gamers nods to German expressionism and the African sources behind it, the caricatured profiles in Hayden’s Nous Quatre à Paris name up racist antecedents like Currier and Ives’s once-popular Darktown lithographs. Fantastically drawn in watercolor, it stays a stubbornly uncomfortable picture some 95 years after its creation.
William H. Johnson, for his half, spent his years in Europe largely making brushy landscapes with no apparent social messages. Paired with a woozy village scene by the French expressionist Chaim Soutine, an early Johnson townscape on the Met seems to be achieved and unadventurous. However along with his spouse, the Danish textile artist Holcha Krake, Johnson developed an appreciation for the flat kinds and dramatic concision of Scandinavian people artwork—a reminder that Africa was not the one place the place modernists looked for outsider inspiration—and when he returned to the States, he started working in a jangly figurative mode with no direct antecedent. The dancing {couples} in his Jitterbugs work and display prints (1940–42) might look easy and cartoonish at first look, however these pointy knees and excessive heels are held mid-motion by Johnson’s sensible equipment of pictorial weights and balances.
![painting of dancers with a man dipping a woman leaning back with one leg in air, with jazz instruments](https://i0.wp.com/cdn.theatlantic.com/thumbor/aimjPrdgXcLdfKir3RZRJyQ8Io0=/0x0:1347x1728/655x840/media/img/posts/2024/05/BoB_Tallman_HarlemRenJitterbug/original.png?resize=640%2C821&ssl=1)
There’s greater than a soupçon of épater le bourgeois in a lot of this, aimed not simply on the buttoned-up white world, but in addition on the primness of many members of the Black skilled class. Langston Hughes, writing in The Nation in 1926, expressed his hope that “Paul Robeson singing Water Boy … and Aaron Douglas drawing unusual black fantasies” would possibly immediate “the smug Negro center class to show from their white, respectable, strange books and papers to catch a glimmer of their very own magnificence.”
The pursuit of that glimmer accounts for one of many Met exhibition’s most outstanding points—its preponderance of nice portraiture. There are portraits of the well-known, portraits by the well-known, portraits of fogeys and kids, and portraits of strangers. Some are massive and dazzlingly refined: Beauford Delaney’s 1941 portrait of a unadorned, teenage James Baldwin in a storm of ecstatic shade is a harbinger of the gestural abstractions that Delaney would paint 10 years later. Some are tiny and blunt, just like the self-portrait by the self-taught Horace Pippin, celebrated as “the primary vital Negro painter” by the artwork collector Albert C. Barnes due to his “unadulterated” ignorance of different artwork.
This abundance is outstanding as a result of portraiture was not central to European modernism or to Twentieth-century artwork basically. By no means probably the most prestigious of genres (too compromised as work-for-hire), the painted portrait had misplaced its main raison d’être following the appearance of images within the 1830s and by no means actually recovered. Modernists went on drawing folks, however as a substitute of offering a physiognomy to be adopted, the sitter was now a toy to be performed with. Picasso’s drypoint of the Martinican poet and activist Aimé Césaire is consultant, wanting very very like a Picasso and never a lot in any respect like Césaire. (The Met’s wall textual content refers to it as a “symbolic portrait.”) The title of the great Edvard Munch portray within the present initially emphasised the polygonal slab of inexperienced scarf at its heart, not the identification of Abdul Karim, the person carrying it. We’d nicely be interested by Karim—Munch apparently encountered him in a touring circus’s ethnographic show, and employed him as a driver and mannequin—however Munch desires to guide us away from the distractions of biography and towards shade, type, and paint. It was a standard ploy. James McNeill Whistler, in any case, titled his well-known portrait of his mom Association in Gray and Black No. 1.
For Black artists and audiences, the scenario was completely different. Painted portraits have all the time been an extravagance, their mere existence proof of the worth of the folks in them. However after 500 years of Western portrait portray, Black faces remained, Alain Locke wrote, “probably the most untouched of all of the obtainable fields of portraiture.” The American People Artwork Museum’s “Unnamed Figures: Black Presence and Absence within the Early American North”—which overlapped with the Met present for a month earlier than closing in March—aimed to fill in that lacuna, with uncommon commissioned portraits of Nineteenth-century Black sitters, extra quite a few examples of Black figures (typically youngsters) introduced as trendy equipment in portraits of white sitters, and nonetheless extra dispiriting mass-market materials, like a pair of Darktown lithographs exhibiting grossly caricatured Black {couples} trying to play tennis.
In opposition to this background, portraiture—the quintessential celebration of the person—may serve a collective goal. Removed from merely gratifying the vainness of a sitter or the inventive ego of an artist, it was a correction to the canon, providing proof of how diverse magnificence, character, or simply memorable faces can look. The topic mattered, whatever the model by which she or he was introduced. Laura Wheeler Waring was no avant-gardist—her mix of precision and reasonably flashy brushwork offers Lady in Pink Gown (circa 1927) the demeanor of a society portrait. The association is typical: The sitter is seen in profile, hair in a flapper bob, a twig of plastic flowers tumbling over one shoulder like fireworks. However that shade of pink, which could look simpering on a blonde, acquires visible gravitas on this mannequin. She doesn’t smile or acknowledge the viewer. For all her youth and frothy apparel, she owns the area of the canvas in no unsure phrases. The gown is frivolous; the image is just not.
Waring, like Munch, doesn’t give us a reputation to go together with the face. For contemporary artists—whether or not Black or white, male or feminine—fashions, most frequently younger girls, have been an attribute of the studio, there to be dressed up and organized like a nonetheless life with a pulse. On the Met, they appear out at us from frames subsequent to titles that time to their hats and attire, their jobs and equipment. In some circumstances, an identification is discoverable—Matisse’s Lady in White (1946) was the Belgian Congolese journalist Elvire Van Hyfte; Winold Reiss’s Two Public Faculty Lecturers are thought to have been named Lucile Spence and Melva Value—however many stay nameless. They’re ornamental markers for one thing bigger than themselves.
In distinction with Waring’s Lady in Pink Gown, Henry Alston’s Lady in a Pink Gown (1934) is stridently modernist, decreasing its topic to elemental kinds. The erect pose may have been borrowed from a Medici bride, however the elongated neck and slim head and shoulders have been impressed, we’re advised, by reliquary busts of the Central African Fang folks. For Alston, neither European modernism nor Fang custom was a mom tongue, which helps give the image its trendy edge. He’s much less within the distinctive options of a dwelling particular person than in how these options would possibly serve new relationships of type and shade.
Different artists, notably the watercolorist Samuel Joseph Brown Jr., reach inducing portraiture’s most magical impact—the eerie sense of an actual particular person on the opposite facet of the body. His Lady in Blue Gown (1936) leans barely ahead, palms casually clasped, a half smile of anticipation on her lips, like somebody rapt in dialog. The play of sunshine and the puddled blues and browns are fantastically dealt with, however the attraction can be social: She seems to be like somebody who can be enjoyable to know.
![painting of side profile of young woman in elaborate pink dress with flowers over one shoulder](https://i0.wp.com/cdn.theatlantic.com/thumbor/gu7P81IGLC8Y58D-xFfOczTvVJU=/0x0:1343x2098/655x1023/media/img/posts/2024/05/BoB_Tallman_HarlemRenPinkDress/original.png?resize=640%2C1000&ssl=1)
Black portraiture additionally carries particular clout due to the existential penalties that bodily look can have in Black life. It was on the core of race-based slavery, and notion of shade, which is a painter’s inventory in commerce, retained its capability to dictate life’s outcomes. Picasso and Matisse is perhaps cavalier about pores and skin tone—portray faces in white and yellow, or inexperienced and blue for that matter—however many Black artists acknowledged it as an optical property riddled with storylines. William H. Johnson gave every of the ladies in Three Kids (circa 1940) a different-colored hat and a special tone of face. Waring (whose self-portrait resembles my third-grade instructor, a middle-aged lady of Scandinavian extraction) addressed the complexities of shade and identification in Mom and Daughter (circa 1927), a double portrait whose topics exhibit the identical aquiline profile however completely different complexions. Archibald Motley’s The Octoroon Lady (1925) is rosy-cheeked and sloe-eyed, perched on a settee with the frozen expression of somebody anticipating unhealthy information. (Motley had a present for capturing this sort of social discomfort.) The title, which factors to the existence of 1 Black great-grandparent, all however dares the viewer to convey a forensic eye to her face, her palms, the curl of brown hair escaping from below her cloche.
It’s value noting that for a present about Black tradition within the first half of the Twentieth century, “Harlem Renaissance” offers little area to the continued horror of lynching, the on a regular basis brutality of Jim Crow, and the nationwide rise of the Ku Klux Klan, which reached peak membership across the time that Locke’s Survey Graphic was printed. Solely a handful of works explicitly tackle both violence or what Hilton Als, writing concerning the present in The New Yorker, known as the “soul-crushing” realities of the Twenties for Black folks. (Probably the most wrenching of those items is In Reminiscence of Mary Turner as a Silent Protest In opposition to Mob Violence, a 1919 sculpture by the Rodin protégé Meta Vaux Warrick Fuller.) The emphasis right here is on company and survival, not trauma.
Right here, too, the portraits function as a reservoir of weighty which means, particularly these of aged kinfolk. Some sitters, like Motley’s Uncle Bob, have been sufficiently old to have been born into slavery. All are endowed by the artists with as a lot dignity because the conventions of portraiture can muster. Uncle Bob is carrying the plain garments of a farmer, however is seated like a gentleman, pipe in hand, with a guide and a vase of flowers at his elbow. John N. Robinson’s 1942 portray of his grandparents (titled, with curious formality, Mr. and Mrs. Barton) is stuffed with the hypertrophic element of a Holbein portray, and as in a Holbein, every part signifies: Mrs. Barton’s look of sober persistence; Mr. Barton’s swimsuit, tie, and wing-tip footwear; the oak desk and the sideboard with its pressed-glass pitcher and glasses; the framed studio images of what should be their great-grandchildren on the wall.
![painting of two older people in a dining room with large wooden table and paintings, a woman sitting in a carved dining chair and a man in 3-piece suit and tie standing next to her](https://i0.wp.com/cdn.theatlantic.com/thumbor/uMdQ7nmy2CnsxcN-to0GSl9LjFU=/0x0:1200x1483/655x809/media/img/posts/2024/05/BoB_Tallman_HarlemMrMrsBarton/original.png?resize=640%2C790&ssl=1)
William H. Johnson’s Mother and Dad (1944) departs from custom in model, however not in goal. His gray-haired mom faces us from her pink rocking chair, palms folded, eyes broad with one thing like fear. His deceased father presides from his portrait on the wall behind her, his handlebar mustache and celluloid collar a long time old-fashioned, however lasting proof of respectability. These folks don’t present a variety of snigger traces, nor the haughtiness endemic to a lot society portraiture. As a substitute there’s poise and forbearance, together with the data that they weren’t purchased low cost.
Harlem was pronounced the “Mecca of the New Negro” 99 years in the past. That cultural renaissance is as removed from us in the present day because the contributors to that Survey Graphic difficulty have been from the presidency of John Quincy Adams. The Met’s is just not the primary massive present to survey Black artists’ achievements in that period, however it’s the most ambitiously world, a high quality that makes that vanished world really feel extra acquainted than we would anticipate—a spot the place Black artists transfer backwards and forwards throughout the Atlantic, absorbing each affect on supply, dealing with questions of identification, and struggling to make ends meet. In opposition to this, the abundance of images—the marching males in bowler hats, the marcelled girls who lunch, the couple posing in raccoon coats with their shiny roadster like Tom and Daisy Buchanan—works to remind us of the temporal distance that portray and sculpture can collapse.
Trying to outline modernism is a thankless job. However just a few years in the past, the painter Kerry James Marshall supplied this commentary: “Trendy is just not a lot an look or an issue. It’s, certainly, a means of all the time changing into and a negotiation for consideration between the up to date artist’s ego and the legacy of earlier masterworks.” At its greatest, what “Harlem Renaissance” supplies is an opportunity to witness that changing into, to peek at these negotiations in progress, by the work of artists whose achievements have, in lots of circumstances, been insufficiently celebrated. Which brings us again to that Aaron Douglas nonetheless life.
Historical past portray went out of vogue within the Twentieth century as a result of trendy artwork stopped believing in easy tales. Douglas’s narrative work, fantastically designed and crowd pleasing although they are often, are throwbacks—spectacular, environment friendly, impersonal engines for delivering public-service messages. The nonetheless life is completely different. Certain, the sloping magnolia branches and off-kilter Titian conform to his love of diagonals on diagonals. However the issues represented usually are not abstractions; they’re objects that lived in the true world—the leaves are curled and brown in spots; the margins of the Titian are torn and stained. What’s pictured isn’t a lesson, however a meditation on studying, and on the various ways in which which means could make itself felt.
Douglas was a local Kansan. It’s potential that Titian’s Nicodemus echoed, for him, the abolitionist track “Wake Nicodemus,” whose hero, a slave “of African start,” was the namesake of a Kansas city based after the Civil Conflict by the previously enslaved. Or perhaps Douglas simply beloved that portray within the Louvre. Or each.
This text seems within the July/August 2024 print version with the headline “The Harlem Renaissance Was Greater Than Harlem.” If you purchase a guide utilizing a hyperlink on this web page, we obtain a fee. Thanks for supporting The Atlantic.