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300 CEByzantine Art Medieval Art Tang Dynasty Medieval Persian Art Islamic Dynastic Art Viking Age Classical Oceania Khmer Art Song Dynasty Gothic Art Inca Empire Yuan Dynasty The Aztecs1500

Age of Discovery

1300Italian Renaissance Ming Dynasty Kingdom of Kongo Northern Renaissance Spanish Renaissance Mughal Art Mannerism Baroque Edo Period Qing Dynasty Academic Art The Enlightenment Western Esoteric Art Rococo Neoclassicism1850

Industrial Revolution

1800Oceanic Art Romanticism Orientalism Hudson River School Early Photography Barbizon School Pre Raphaelites Realism Impressionism Meiji Art Early Modernism Post-Impressionism1900

Contemporary Art

1960Pop Art Post Modernism Shona Sculpture Contemporary Indigenous Australian Art Zaire School of Popular Painting2020

Harlem Renaissance

An explosion of black culture in America

Horace Pippin

Augusta Savage

Sculptor, teacher and warrior for civil rights

Meta Vaux Warrick Fuller

Delicate Sculptor of Horrors

William H. Johnson

Painting my people

Charles Alston

"The idea of a march was growing"

Aaron Douglas

Projections of determination

Beauford Delaney

Capturing the sacred light

Charles White

Images of dignity

James Van Der Zee

Don't just document, celebrate

Romare Bearden

Loïs Mailou Jones

The joy of African color and design

Jacob Lawrence

Gwendolyn Knight

“No one can tell us who we are”

Kate and Rachel Van Der Zee, Lenox, Mass.

James Van Der Zee, 1907

Cousin, Suzie Porter, New York City

James Van Der Zee, 1914

Peace Halting the Ruthlessness of War

Meta Vaux Warrick Fuller, 1917

Nude, Harlem

James Van Der Zee, 1923

Garveyite Family, Harlem

James Van Der Zee, 1924

Defiance, from The Emperor Jones series

Aaron Douglas, 1926

Flight, from The Emperor Jones series

Aaron Douglas, 1926

The Creation

Aaron Douglas, 1927

The Judgment Day

Aaron Douglas, 1927

Gamin

Augusta Savage, 1929

Lazy Bones

Meta Vaux Warrick Fuller, 1930

Reverie

Meta Vaux Warrick Fuller, 1930

Couple, Harlem

James Van Der Zee, 1932

Gwendolyn Knight

Augusta Savage, 1934-1935

Aspiration

Aaron Douglas, 1936

Girl with Yellow Hat

Norman Lewis, 1936

Into Bondage

Aaron Douglas, 1936

Five Great American Negroes

Charles White, 1939

Talking Skull

Meta Vaux Warrick Fuller, 1939

The Harp

Augusta Savage, 1939

The Judgment Day

Aaron Douglas, 1939

Blind Singer

William H. Johnson, 1940

I Baptize Thee

William H. Johnson, 1940

Children

William H. Johnson, 1941

Meeting Place

Norman Lewis, 1941

Migration Series No.1: During World War I there was a great migration north by southern African Americans

Jacob Lawrence, 1940-1941

Migration Series No.2: The war had caused a labor shortage in northern industry. Citizens of foreign countries were returning to their native lands

Jacob Lawrence, 1940-1941

Migration Series No.3: From every southern town migrants left by the hundreds to travel north

Jacob Lawrence, 1940-1941

Migration Series No.4: All other sources of labor having been exhausted, the migrants were the last resource

Jacob Lawrence, 1940-1941

Migration Series No.5: Migrants were advanced passage on the railroads, paid for by northern industry. Northern industry was to be repaid by the migrants out of their future wages

Jacob Lawrence, 1940-1941

Migration Series No.6: The trains were crowded with migrants

Jacob Lawrence, 1940-1941

Migration Series No.7: The migrant, whose life had been rural and nurtured by the earth, was now moving to urban life dependent on industrial machinery

Jacob Lawrence, 1940-1941

Migration Series No.8: Some left because of promises of work in the North. Others left because their farms had been devastated by floods

Jacob Lawrence, 1940-1941

Migration Series No.9: They left because the boll weevil had ravaged the cotton crop

Jacob Lawrence, 1940-1941

Migration Series No.10: They were very poor

Jacob Lawrence, 1940-1941

Migration Series No.11: Food had doubled in price because of the war

Jacob Lawrence, 1940-1941

Migration Series No.12: The railroad stations were at times so crowded with people leaving that special guards had to be called to keep order

Jacob Lawrence, 1940-1941

Migration Series No.13: The crops were left to dry and rot. There was no one to tend them

Jacob Lawrence, 1940-1941

Migration Series No.14: For African Americans there was no justice in the southern courts

Jacob Lawrence, 1940-1941

Migration Series No.15: There were lynchings

Jacob Lawrence, 1940-1941

Migration Series No.16: After a lynching the migration quickened

Jacob Lawrence, 1940-1941

Migration Series No.17: Tenant farmers received harsh treatment at the hands of the planter

Jacob Lawrence, 1940-1941

Migration Series No.18: The migration gained in momentum

Jacob Lawrence, 1940-1941

Migration Series No.19: There had always been discrimination

Jacob Lawrence, 1940-1941

Migration Series No.20: In many of the communities the Black press was read with great interest. It encouraged the movement

Jacob Lawrence, 1940-1941

Migration Series No.21: Families arrived at the station very early. They did not wish to miss their trains north

Jacob Lawrence, 1940-1941

Migration Series No.22: Migrants left. They did not feel safe. It was not wise to be found on the streets late at night. They were arrested on the slightest provocation

Jacob Lawrence, 1940-1941

Migration Series No.23: The migration spread

Jacob Lawrence, 1940-1941

Migration Series No.24: Their children were forced to work in the fields. They could not go to school

Jacob Lawrence, 1940-1941

Migration Series No.25: They left their homes. Soon some communities were left almost empty

Jacob Lawrence, 1940-1941

Next Movement

Constructivism

Art should only serve society.

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