545:
654:, Douglas incorporated African themes into his artwork to create a connection between Africans and African Americans. His work is described as being abstract, in that he portrayed the universality of the African-American people through song, dance, imagery and poetry. Through his murals and illustrations for various publications, he addressed social issues connected with race and segregation in the United States, and was one of the first African-American visual artists to utilize African-centered imagery.
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both White and
African-American art in an effort to educate students on being an artist in a segregated American South. Douglas used his experiences as an artist in the Harlem Renaissance to inspire his students to expand on the movements of African-American art. He also encouraged his students to study African-American history to fully understand the necessity for African-American art in predominantly White-American society. Douglas retired from teaching in the Art Department at Fisk University in 1966.
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His work features silhouettes of men and women, often in black and white. His human depictions have characteristically flat shapes that are angular and long, with slits for eyes. Often, his female figures are drawn in a crouched position or moving as if they are dancing in a traditional
African way.
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His artwork is two-dimensional, and his human figures are faceless, allowing their forms to be symbolic and general, so as to create a sense of unity between
Africans and African Americans. Douglas’ paintings include semitransparent silhouettes to portray the struggle of African Americans and their
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in New York City. He received his Master of Arts degree in 1944, and moved to
Nashville, to found and sit as the chairman of the Art Department at Fisk. During his tenure as a professor in the Art Department, he was the founding director of the Carl Van Vechten Gallery of Fine Arts, which included
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to simplify his figures into lines and planes. He employed a narrow range of color, tone and value, most often using greens, browns, mauves, and blacks, with his human forms in darker shades of the present colors of the painting. He created emotional impact with subtle gradations of color, often
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relative successes in various aspects of social life. His work is described as unique in creating a link between
African Americans and their African ancestry through visual elements that are rooted in African art, and thus give the African-American experience a symbolic aesthetic.
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Aaron
Douglas pioneered the African-American modernist movement by combining aesthetic with ancient African traditional art. He set the stage for future African-American artists to utilize elements of African and African-American history alongside racial themes present in society.
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Douglas returned to Harlem in the mid-1930s to work on his mural painting techniques. Having joined the
American Communist Party at some point upon return, he began to explore more political topics within his art as well. In 1934, he was commissioned by New York's
619:, an archive of artworks created by or having to do with Aaron Douglas became available on their website. Users can access the full references of these pieces of art to determine the creation date, subject of the art, and its current residence.
243:(SATC) at the University of Nebraska, but was dismissed. Historians have speculated that this dismissal was correlated with the racially segregated climate of American society and the military. He then transferred for a short time to the
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depicts three events in United States history from an
African-American lens, including the movement of African Americans towards the North in the 1910s, the rise of the Harlem Renaissance in the 1920s, and the Great Depression in the
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452:. He used these murals to inform his audiences of the place of African Americans throughout America's history and its present society. In a series consisting of four murals, Douglas takes his audience from an African setting, to
266:, staying there until 1925. During his time in Kansas City, he exchanged letters with Alta Sawyer, his future wife, about his plans beyond teaching in a high-school setting. He wanted to take his art career to
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in the United States, then through the threats of lynching and segregation in a post-Civil War
America to a final mural depicting the movement of African Americans north towards the Harlem Renaissance and the
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192:. He taught visual art classes at Fisk University until his retirement in 1966. Douglas is known as a prominent leader in modern African-American art whose work influenced artists for years to come.
299:, a German portraitist who encouraged him to work with African-centric themes to create a sense of unity between African Americans with art; Douglas was included in Alain Locke's 1925 anthology
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Cravath Hall library that he described as a "panorama of the development of Black people in this hemisphere, in the new world." While in
Nashville, he was commissioned by the Sherman Hotel in
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376:, philanthropist and founder of the Barnes Foundation, supported him in studying the collection of Modernist paintings and African art. During this same year, Douglas participated in the
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in 1935, an organization designed to create a network of young artists in New York City to provide support, inspiration, and to help out young artists during the Harlem Renaissance.
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in the United States by utilizing African-centric imagery. Douglas set the stage for young, African-American artists to enter the public-arts realm through his involvement with the
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in New York, New York, from August 30 to November 30, 2008. An exhaustive catalog of this exhibition was put together through collaboration between Spencer Museum of Art and
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1552:"James Weldon Johnson, 1871-1938, Aaron Douglas, Illustrated by, and C. B. Falls (Charles Buckles), 1874-1960, Illustrated by God's Trombones. Seven Negro Sermons in Verse"
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depicts the contrast between the promise of emancipation and political shift in power post-Civil War and the disappointments of Reconstruction in the United States.
227:, and held various jobs, including working as a plasterer and molding sand from automobile radiators for Cadillac. During this time, he went to free classes at the
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as its primary figure. He then moved in 1931 for one year to Paris, France, where he received training in sculpture and painting at the Académie Scandinave.
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depicts the perseverance of African-American song and dance against the cruelty of lynching and other threats to African Americans in the United States.
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1527:"Met Museum And National Gallery Of Art, Washington, Each Acquire Significant Work By Leading Harlem Renaissance Artist Aaron Douglas"
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1160:"Trials and Triumphs: 'Aaron Douglas: African-American Modernist' at the Schomburg Center for Research in Black Culture"
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depicts elements of African cultural dances and music to highlight the central heritage of African Americans.
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He adopted elements of West African masks and sculptures into his own art, with a technique that utilized
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Upon returning to the United States in 1940, he worked at Fisk University in Nashville, while attending
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about the importance of Harlem for aspiring African Americans. While in Harlem, Douglas studied under
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1337:"Stop-Loss: Restoring the Aaron Douglas Murals at Fisk University | Smithsonian American Art Museum"
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using concentric circles to influence the viewer to focus on a specific part of the painting.
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During the height of his commissioned work as a muralist, Douglas served as president of the
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512:. In 1938, he again received a travel fellowship from the Rosenwald Foundation to go to the
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in 1918. While attending college, Douglas worked as a busboy to finance his education. When
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Driskell, David C.; Lewis, David L.; Ryan, Deborah Willis; Campbell, Mary Schmidt (1987).
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in Nashville, Tennessee, from January 18 to April 13, 2008. It was then on display at the
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Africana: The Encyclopedia of the African and African American Experience, Second Edition
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Africana: The Encyclopedia of the African and African American Experience, Second Edition
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awarded Douglas a travel fellowship to go to the American South and visit primarily
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in Washington, D.C,. between May 9 and August 3, 2008. Finally, it traveled to the
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to develop a series of watercolors depicting the life of these Caribbean islands.
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Aaron Douglas developed two art styles during his career: first as a traditional
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212:. His passion for art derived from admiring his mother's drawings. He attended
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From Harlem to Texas: African American Art and the Murals of Aaron Douglas
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184:. In 1944, he concluded his art career by founding the Art Department at
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1621:"Study for 'Aspects of Negro Life: From Slavery Through Reconstruction'"
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and creating illustrations that addressed social issues around race and
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Aaron Douglas died in Nashville on February 2, 1979, at the age of 79.
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Study for "Aspects of Negro Life: From Slavery Through Reconstruction"
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Series of illustrations and later paintings initially created for
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1597:"Spencer Museum of Art | Collection – The Founding of Chicago"
465:. Douglas created a similar series of murals, which included
208:, and Elizabeth Douglas, a homemaker and amateur artist from
992:. Berkeley: University of California Press. pp. 9–31.
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until 1923, when he secured a job teaching visual arts at
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Art Inventories Catalog, Smithsonian American Art Museum
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Black America: A State-by-State Historical Encyclopedia
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National Museum of African American History and Culture
1472:"We Speak: Black Artists in Philadelphia, 1920s-1970s"
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to paint a mural on their building, as well as by the
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After graduating, Douglas worked as a waiter for the
204:, on May 26, 1899, to Aaron Douglas Sr, a baker from
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Missouri Remembers: Artists in Missouri through 1951
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Aaron Douglas: Art, Race, and the Harlem Renaissance
605:
We Speak: Black Artists in Philadelphia, 1920s-1970s
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from American Studies at the University of Virginia
1443:"Aaron Douglas's Magisterial Aspects of Negro Life"
1325:. New York: Oxford African American Studies Center.
932:. New York: Oxford African American Studies Center.
602:Douglas's work was featured in the 2015 exhibition
216:, during which he worked for Skinner's Nursery and
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1317:Myers, Aaron (2008). Appiah, Kwame Anthony (ed.).
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990:Painting Harlem Modern: The Art of Jacob Lawrence
721:, murals for the Sherman Hotel, Chicago, 1930–31
336:. These illustrations focused on articles about
793:Illustrations included in selected editions of
469:(1936), for the Texas Centennial Exposition in
1664:Schomburg Center for Research in Black Culture
956:. Greenwood. pp. 289, 291, 298, 812–813.
589:Schomburg Center for Research in Black Culture
554:Harlem Renaissance and Transatlantic Modernism
730:God’s Trombones: Seven Negro Sermons in Verse
8:
1096:. Jackson: University Press of Mississippi.
270:, as many of his aspiring artist peers did.
1652:at the Special Collections and Archives at
881:"Aaron Douglas: African American Modernist"
231:, before going on to attend college at the
283:In 1925, Douglas intended to pass through
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18:
1623:. The Baltimore Museum of Art. artbma.org
1405:Aaron Douglas: African American Modernist
1132:. Topeka: Kansas Historical Society. 2003
748:Mural series commissioned in 1934 by the
597:Aaron Douglas: African American Modernist
573:Aaron Douglas: African-American Modernist
440:to paint his most acclaimed mural cycle,
239:commenced, Douglas attempted to join the
160:(May 26, 1899 – February 2, 1979) was an
1584:British Association for American Studies
1447:Treasures of The New York Public Library
1273:Harlem Renaissance: Art of Black America
1249:Kirschke, Amy (2004). "Douglas, Aaron".
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172:. He developed his art career painting
168:educator. He was a major figure in the
1788:20th-century African-American painters
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1251:Encyclopedia of the Harlem Renaissance
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752:. The series consists of four murals;
220:material yard, and graduated in 1917.
1733:University of Nebraska–Lincoln alumni
1574:Woods, Marianne (October 23, 2014). "
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525:Columbia University Teacher’s College
364:In 1928, Douglas received a one-year
200:Aaron Douglas was born and raised in
104:Columbia University Teacher’s College
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1644:Aaron Douglas: Depression Era Murals
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223:After high school, Douglas moved to
1768:Treasury Relief Art Project artists
1158:Johnson, Ken (September 11, 2008).
650:. Influenced by having worked with
1798:20th-century American male artists
1778:African-American graphic designers
1375:from the original on 19 April 2022
1056:American National Biography Online
332:, the official publication of the
14:
1748:Artists from Nashville, Tennessee
782:Four-part mural cycle (including
715:, murals at Fisk University, 1930
615:In 2016, with the opening of the
1209:. Oxford University Press, USA.
756:The Negro in an African Setting,
581:Frist Center for the Visual Arts
291:, influenced by the writings of
1674:Aaron Douglas: Teacher Resource
1533:. National Gallery of Art. 2015
1277:. New York: The Studio Museum.
762:Slavery through Reconstruction,
585:Smithsonian American Art Museum
571:organized an exhibition titled
380:'s exhibition organized by the
1723:20th-century American painters
1205:Huggins, Nathan Irvin (2014).
1:
1718:African-American illustrators
1092:Kirschke, Amy Helene (1995).
750:Works Progress Administration
500:in Nashville, Tennessee, the
1601:collection.spencerart.ku.edu
1050:DeLombard, Jeannine (2014).
768:The Idyll of the Deep South,
1773:University of Kansas alumni
1758:Painters from New York City
1713:Artists from Topeka, Kansas
1497:"NMAAHC Collections Search"
788:Texas Centennial Exposition
676:The February 1926 issue of
438:Public Works Administration
318:, a monthly journal of the
241:Student Army Training Corps
16:American painter (1899–1979
1819:
1783:American graphic designers
824:Metropolitan Museum of Art
558:Metropolitan Museum of Art
398:Greensboro, North Carolina
370:Philadelphia, Pennsylvania
164:painter, illustrator, and
1803:Topeka High School alumni
688:Mural at Club Ebony, 1927
400:, to create a mural with
394:Bennett College for Women
28:
1650:Aaron Douglas Collection
988:Hills, Patricia (2009).
593:The University of Kansas
552:(1930), featured in the
1753:Fisk University faculty
1668:New York Public Library
1586:. Retrieved 2020-11-28.
1369:National Gallery of Art
952:Hornsby, Alton (2011).
854:Baltimore Museum of Art
840:The Founding of Chicago
834:National Gallery of Art
548:Portrait of Douglas by
450:New York Public Library
421:National Gallery of Art
382:College Art Association
245:University of Minnesota
1738:Artists from Manhattan
1728:American male painters
713:Symbolic Negro History
682:The May 1926 issue of
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510:New Orleans, Louisiana
442:Aspects of Negro Life,
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256:Union Pacific Railroad
233:University of Nebraska
99:University of Nebraska
1678:Spencer Museum of Art
1411:Yale University Press
1401:Earle, Susan (2007).
922:Appiah, Kwame Anthony
918:Lewis, David Levering
885:Spencer Museum of Art
844:Spencer Museum of Art
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569:Spencer Museum of Art
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334:National Urban League
264:Kansas City, Missouri
229:Detroit Museum of Art
1682:University of Kansas
1660:Aaron Douglas Papers
926:"Harlem Renaissance"
726:James Weldon Johnson
490:Rosenwald Foundation
478:Harlem Artists Guild
353:Theatre Arts Monthly
308:Douglas worked with
190:Nashville, Tennessee
182:Harlem Artists Guild
77:Nashville, Tennessee
37:Betsy Graves Reyneau
1476:Woodmere Art Museum
774:Song of the Towers,
610:Woodmere Art Museum
260:Lincoln High School
1763:Harlem Renaissance
1743:People from Harlem
1341:americanart.si.edu
1207:Harlem Renaissance
1165:The New York Times
803:and Alain Locke's
691:Illustrations for
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556:exhibition at the
514:Dominican Republic
506:Dillard University
502:Tuskegee Institute
494:Black universities
458:Reconstruction era
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324:Charles S. Johnson
305:as Reiss's pupil.
289:Harlem Renaissance
214:Topeka High School
170:Harlem Renaissance
150:Harlem Renaissance
1676:published by the
1580:US Studies Online
743:, created in 1939
595:, with the title
575:. It was held in
434:135th Street YMCA
390:Chicago, Illinois
386:Fisk University's
378:Harmon Foundation
366:Barnes Foundation
326:, then-editor at
312:, then-editor at
225:Detroit, Michigan
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891:on June 22, 2020
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830:The Judgment Day
820:Let My People Go
741:The Judgment Day
735:Let My People Go
577:Lawrence, Kansas
504:in Alabama, and
463:Great Depression
374:Albert C. Barnes
310:W. E. B. Du Bois
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69:February 2, 1979
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419:(1936) at the
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23:Aaron Douglas
20:
1625:. Retrieved
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1500:
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1479:. Retrieved
1475:
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1455:. Retrieved
1451:the original
1446:
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1377:. Retrieved
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1272:
1253:. Routledge.
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1163:
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889:the original
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652:Winold Reiss
642:, then as a
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496:, including
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467:Into Bondage
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417:Into Bondage
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297:Winold Reiss
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157:
156:
118:Illustration
71:(1979-02-02)
54:May 26, 1899
35:Portrait by
1708:1979 deaths
1703:1899 births
1531:www.nga.gov
814:Collections
719:Dance Magic
705:, mural at
697:Black Magic
693:Paul Morand
648:illustrator
640:portraitist
347:Vanity Fair
342:segregation
329:Opportunity
293:Alain Locke
237:World War I
178:segregation
166:visual arts
85:Nationality
1697:Categories
1627:2020-11-28
1606:2016-01-25
1561:2022-06-16
1537:2017-03-14
1506:2017-03-21
1457:2017-03-17
1346:2020-06-20
1284:0810910993
1130:Kansapedia
1103:0878057757
861:References
784:Aspiration
684:The Crisis
678:The Crisis
448:Branch of
315:The Crisis
196:Early life
50:1899-05-26
1680:, at the
1429:778017649
1225:923535268
1179:March 14,
1174:0362-4331
1136:March 14,
1112:781087713
1008:868550146
972:767694486
895:March 15,
786:) at the
473:in 1936.
206:Tennessee
136:Modernism
1373:Archived
1293:70455221
920:(2008).
644:muralist
456:and the
444:for the
427:in 2022.
372:, where
338:lynching
162:American
146:Movement
140:Art Deco
132:Jazz Age
114:Painting
89:American
1662:at the
1524:, 1927.
924:(ed.).
608:at the
532:1967–79
484:1937–66
454:slavery
408:1934–36
360:1928–31
279:1925–27
210:Alabama
1481:4 June
1427:
1417:
1379:13 May
1291:
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1006:
996:
970:
960:
790:, 1936
777:1930s.
709:, 1930
699:, 1929
660:cubism
634:(1956)
540:Legacy
471:Dallas
285:Harlem
274:Career
174:murals
122:Murals
623:Style
518:Haiti
320:NAACP
128:Style
1483:2022
1425:OCLC
1415:ISBN
1381:2022
1289:OCLC
1279:ISBN
1221:OCLC
1211:ISBN
1181:2017
1170:ISSN
1138:2017
1108:OCLC
1098:ISBN
1004:OCLC
994:ISBN
968:OCLC
958:ISBN
897:2017
646:and
516:and
350:and
340:and
66:Died
44:Born
1578:".
1365:NGA
797:'s
728:’s
508:in
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396:in
262:in
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101:;
52:)
48:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
