Asante Slave Drum

1645

Wood, vegetable fibre, & deerskin

18 inches

from Ashanti African people

Afro-Carolinian Face Vessel

1860

red ware & ash glaze

5"

Wave Basket

Linda Graddick Hugar

2004

African House

1796-1800

Resembled African architecture

African american woman

Marie Coin Coin married  with Meto Yea and had a plantation. She was a savvy plantation owner who expanded her land and gave it to her children. It was a Creole owned plantation

Westwood Children

Joshua Johnston

1807

Limner Painter

Portrait of a Gentleman

Joshua Johnston

1805-1810

Bible Quilt

Harriet Powers

1898

Pieced, appliquéd, and printed cotton embroidered with plain and metallic yarns 

175 x 266.7 cm (68 7/8 x 105 in.)  

Quilts were believed to help guide people to the underground railroad. the squares had images that had different meanings.

Am I not a Man and a Brother

William Hackwood

1787

black jasper relief on yellow jasper

he figure's nudity signified a state of nobility and freedom, yet he was bound by chains

this particular image combined the European theme of conversion from heathenism and the idea of emancipation into a posture of gratitude

Am I not a Man and a Brother?

Patrick Reason

1839

he image represents the truth of the bondage that blacks faced as well as the sterotype of blacks being a lesser race (the boy is kneeling as if pleading before a master)

Forever Free

Edmonia Lewis

1867

marble

Lewis also expresses her Black and female consciousness through the image of the subordinate female figure at the side of the male

Uncle Tom and Little Eva

Robert S. Duncanson

1853

Oil on Canvas

69.2 cm x 97.1 cm    

Land of the Lotus Eaters

Robert Duncanson

1861

itinerant artist

Approaching Storm

Edward Mitchell Bannister

1886

40 1/4 x 60 in 

oil on canvas

The Death of Cleopatra

Edmonia Lewis

1876

Marble

symptomatic of her difficult life and neglected career

Banjo Lesson

Henry Ossawa Tenner

1893

49 × 35.5 inches

 American Realism and French academic painting

first celebrity African American artist

the resilience, spiritual grace, and creative and intellectual promise of post-Civil War African-Americans is fully realized

a counterpoint between age and experience, and youth and the promise of achievement

Annunciation

Henry Oshawa Tanner

1898

oil on canvas

painted after returning to Paris from a trip to Egypt or Palestine

Ethiopia Awakening

Meta Warrick Fuller

1921

bronze 

67x16x10"

whose bottom half is mummified and whose top is emerging from the restrictive bindings to reveal a strong and beautiful figure

determination to shatter Africa’s association with slavery and ignorance. In the time that Fuller created this piece, only Ethiopia of all the African nations had successfully maintained its independence against European imperialists

Portrait of a Couple in a Cadillac

James van der Zee

1932

Photography

helped bring about the idea of a new identity of blacks in Harlem who possessed  money, prosperity and most of all class.

Aspects of Negro Life

Aaron Douglas

1934

The four-panel series Aspects of Negro Lifetracks the journey of African Americans from freedom in Africa to enslavement in the United States and from liberation after the Civil War to life in the modern city. In this study for the first panel, a man and woman in Africa dance to the beat of drums as concentric circles of light emphasize the heat and rhythm of their movements

Card Players

Hale Woodruff

1930

oil on canvas

was studying in Paris during the time therefore there was a cubist influence

Fetiche et Fleurs

Palmer Hayden

1931-1932

cubist

Gabon Head

won award from Harmon foundation

Forever Free

Sergeant Johnson

1933

wood, gesso, cloth, and lacquer

Going to Church

William H. Johnson

1940-1941

oil on burlap 

97x121 cm

William H. Johnson painted rural scenes inspired in part by his memories of growing up in South Carolina. A family of four ride on an oxcart toward a distant hill, where three crosses mark their physical destination as well as their spiritual home on Calvary. The flat composition, comprised of clashing hues arranged in stripes and color blocks, recalls the story quilts made of scraps pieced together by African American women.

The Migration of the New Negro Panel 1

Jacob Lawrence

1940-1941

Casein tempera on hardwood

Mutiny Aboard the Amistad Panel 1

Hale A. Woodruff

1939

a 25-year-old enslaved Mendeian named Cinque led a successful revolt aboard the Spanish slave ship La Amistad. After killing the ship’s crew, the rebels ordered their surviving captors to turn back to Africa, though the schooner eventually anchored near Long Island. The US government towed the ship to New London, Connecticut, and charged its “cargo” with piracy and murder. Luckily, abolitionists caught wind of the case, and after a few years, the prisoners were freed and sent back home.

passage from Africa to America of slaves.

things that originate in Africa

pieces of culture or details in art originate from Africa

blending of cultures

blending of cultures

painter of miniatures