Meta Vaux Warrick Fuller' Beacon of the Harlem Renaissance

Feminist and Black Power Immortalized in a Bronze Sculpture

Ethiopia Awakening, Meta Vaux Warrick Fuller, c. 1921, Bronze Sculpture, 67x16x10"

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Born in 1877 in Philadelphia, Meta Vaux Warrick Fuller grew to be one of the first prominent black female sculptors in America.

Her work, “Ethiopia Awakening,” is incredibly important to the Harlem Renaissance movement. Commissioned by W.E.B. Du Bois and exhibited in the 1921 America’s Making Exhibition in New York City, the bronze sculpture stands at over five feet featuring a black woman adorned with the headdress of Nemes and wrapped in a mummy’s gauze.

The meaning of the work is two-fold. Historically, Ethiopia was one of the only African countries to thwart the attempts of Western imperialism. The title of the piece suggests the determination and strife of African Americans, especially during this time. The second meaning is noted by the use of the Names headdress. Traditionally worn by Egyptian Pharaohs, the headdress and female imagery proclaims the dignity and strength of the African American woman.

This very statue became one of the leading symbols of the Harlem Renaissance, encompassing the idea of African American pride and identity at the turn of the century. Powerful in its noble glance but empathetic with her hand gently cupping her heart, Fuller’s “Ethiopia Awakening” showcases the metamorphic nature of the black consciousness.

“Here was a group who had once made history and now after a long sleep was awaking, gradually unwinding the bandage of its mummied past and looking out on life again, expectant but unafraid and with at least a graceful gesture.”

And that’s art.

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Sources

"Harlem Renaissance Art Movement Overview and Analysis". TheArtStory.org. Content compiled and written by Rebecca Seiferle. Edited and revised, with Synopsis and Key Ideas added by Sarah Archino. First published on 23 Dec 2018. Updated and modified regularly. Accessed11 Jun 2020. https://www.theartstory.org/movement/harlem-renaissance/artworks/

Schomburg Center for Research in Black Culture, Art and Artifacts Division, The New York Public Library. "Ethiopia Awakening" New York Public Library Digital Collections. Accessed June 11, 2020. http://digitalcollections.nypl.org/items/671040d4-2bfa-0930-e040-e00a1806450c

William Johnson and the Basis of Folk Art

Folk art - the heart of the people

(First, Right) Three Friends, William Johnson, 1944 - 1945, Screenprint on Paper, 40.2 x 29.5 cm, Smithsonian American Art Museum

(Second, Left) Sowing, William Johnson, 1940 - 1942, Screenprint on Paper, 25.5 x 41.4 cm, Smithsonian American Art Museum

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What is Folk Art? Well, I never understood it until this very post either! I loved all of my art history professors but they seemed to always breeze over or leave folk art unmentioned. Reading about William Johnson’s art made me question the idea of folk art and its relationship with the people.

Folk art traditionally means “the art of the people.” There is no real definition of the term but generally encompasses artists who are entirely self-taught and art ingrained in tradition. The works are handmade and either decorative and utilitarian. Though this may seem broad, as you start to look at folk art, you begin to understand the various elements involved. There is a feeling of care and it is created with the utmost attention to the narrative, meaning, or personal expression.

Street Musicians, William Johnson, 1939 - 1940, Screenprint on Paper, 45.4 x 35 cm, Smithsonian American Art Museum

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William Johnson (1901 - 1970) utilized folk art in his later works, inspired by the culture and art of Scandinavia. He used the folk style to portray the culture and lifestyle of African Americans, celebrating both urbanism and country living. He also exposed the harsher aspects of black realities - aiming to utilize the simplicity of folk art to communicate a clear message to the viewers.

I personally love folk art. There seems to be such a personal touch and less restrain with formalities - we truly get a glimpse into the heart and soul of the artist.

And that’s art.

P.S. We are sorry for the lack of posting! Javelin and I have been active parts of our BLM planning committee. Our demonstration was a huge success on Tuesday and we have a bit of time before the next event. I hope everyone has been having a wonderful week so far!

Aaron Douglas Inspired Coloring Page

“No Justice, No Peace,” drawn by Javelin Manansala, inspired by Aaron Douglas.

At the forefront of the Harlem Renaissance, Aaron Douglas, also known as “The Father of African American Art,“ played a pivotal role in promoting African American culture through the visual arts.

Douglas was born and raised in Topeka, Kansas, in 1899 taking up the arts at an early age. His mother’s watercolor paintings greatly inspired him and, from then on, he pursued a career in the arts. He became a high school teacher for two years and then subsequently moved to New York City’s Harlem neighborhood, the epicenter for the African American art scene.

Innovative, modern, geometric colorism, are the best words to describe Douglas’ art style. Inspired by the boldness and angularity of Art Deco and Egyptian art, his work typically features colored silhouettes and topics highlighting African American livelihood and struggles. He also took great inspiration from West Africa, using his heritage as fuel for his creative spirit.

Aspects of Negro Life: From Slavery Through Reconstruction, Aaron Douglas, 1934, Oil on Canvas, 5 ft. x 11 ft. 7 in. (152.4 x 353.1 cm)

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Due to his powerful graphics, he became a highly sought after illustrator for many prominent writers like poet James Johnson and author Paul Morand. Additionally, he became a popular muralist with famous works like “Aspects of Negro Life,” a series that highlighted specific moments of the African American experience.

Later in his career, he ultimately became a working art teacher, graduating from Columbia University’s Teacher College in 1941 while still exploring and creating his own art. Throughout his life, he had gained massive recognition for his pieces, earning fellowships and grants that allowed him to grow and develop as a creator. Notably, President John F. Kennedy invited Douglas to the centennial celebration of the Emancipation Proclamation in 1963.

(First, Left) The Negro in African Setting (From the Series Aspects of Negro Life), Aaron Douglas, 1934, Gouache with Touches of Graphite on Illustration Board, 372 x 406 mm, Art Institute Chicago

(Second, Middle) Into Bondage, Aarong Douglas, 1936, Oil on Canvas, 153.4 × 153.7 cm, National Gallery of Art

(Third, Right) Building More Stately Manors, Aaron Douglas, 1944, Oil on Canvas Board, 50.8 x 40.6 cm, Risd Museum

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In 1979, Aaron Douglas died at 79 due to a pulmonary embolism. He is now cemented in American Art history, recognizing him as one of the leading artists of the Harlem Renaissance.

And that’s art.