We accept

Harlem Renaissance Art Style and History

The legacy of the Harlem Renaissance is the fact it redefined how America and the world, viewed the African-American human population. The migration of Southern Blacks to the North changed the image of the African-American from rural, undereducated peasants to one of metropolitan, cosmopolitan sophistication. This new identity led to a greater social awareness; African-Americans became players on the globe stage, expanding intellectual and social contacts internationally. Some typically common themes represented during the Harlem Renaissance were the effect of the experience of slavery and appearing African-American folk traditions on black personality, the effects of institutional racism, the dilemmas inherent in doing and writing for elite white audiences, and the question of how to convey the experience of modern dark life in the urban North. Characterizing the Harlem Renaissance was an overt racial pleasure that came to be represented in the thought of the New Negro, who through intellect and production of literature, skill, and music could test the pervading racism and stereotypes to market progressive or socialist politics, and racial and communal integration. The creation of artwork and books would serve to 'uplift' the competition. "New Negro" is a term popularized during the Harlem Renaissance implying a far more outspoken advocacy of dignity and a refusal to submit silently to the routines and laws and regulations of Jim Crow racial segregation. The word "New Negro" was made popular by Alain LeRoy Locke. It really is my intent showing how Carl Van Vechten, James Van Der Zee, and James Latimer Allen interpret and display the "New Negro" in their work of portraitures.

As white family members moved from towns to suburbs, the advancement of World War I created a lack of labor in northern cities. African People in america began to migrate north from other southern rural homes. Through the 1920s, 1. 5 million African People in the usa migrated north in trust of work and rest from tthe prejudice that oppressed them so severely in the South. Van Vechten's many portraits of African-American performers, writers, and music artists taken in New York City reflect his involvement in African People in america and the arts. In addition they echo the growing existence of African Americans in northern places caused by the mass migration of the 1920s. A lot more than this, these portraits also document the impact of the migration in popularizing African-American imaginative motions such as jazz, the blues, and the Harlem Renaissance. "I am certain that my first interest in making [these] images was documentary and probably my latest interest in making them is documentary too. . . I needed to show young people of most races how many distinguished Negroes there were in this world. . . he contributes that the procedure of earning photographic portraits is a sensational work. " Bessie Smith's notorious private life contributed to glamorizing the self-destructive tendencies often associated with jazz, blues, and rock performers of present. Smith's excessive drinking alcohol, violent temper (and physical durability), and predatory intimate life involving both men and women were boundary breaking, even by the benchmarks of free-living music artists of the Roaring Twenties. Several Smith's recordings in her later profession were honestly pornographic, shown both her lack of stature as an artist and her first-hand experience in reckless and frequently abusive relationships. All this is important to keep in mind while examining this part. We see the subject, Smith looking up and again at a bust of your African statue. While she is bodily looking in a backward action it can even be interpreted as a metaphor for looking at one's own recent and traditions. With Smith's dicey former and morally greyish activities Van Vechten portrays her as a beautiful female specimen who's in adoration of her African root base. Van Vechten place Smith below the statue which causes her to research in its way which is historically pious in position. She actually is in veneration of her ancestors; she's them to give thanks to for her present success as a performer.

The portraits considered by James Latimer Allen were of several women and men who created the Harlem Renaissance display with a purposeful uniformity. Men dressed up in a dapper manner in suits and ties, ladies in their Sunday best. Through this formal statement Allen was underscoring the emergence of just what a local journal, ''The Survey Graphic, '' in 1925 got called the ''New Negro. '' Harlem photographer James Allen's family portrait of graphic artist James Lesesne Wells shows his subject intensely employed with a taking in glass from Central Africa. Wells gazes down on the face carved on the vessel as though communing with an ancestor. The entire notion of this picture is very contrived. It really is a bit of your strain to assume that Wells has a deep connection-- significantly less a complete understanding-- of his ancestral recent. The truth is the "New Negros" was an organization that had never known slavery. Therefore they were comfortable with the thought of succeeding in every realms of culture and in any occupation. Whether Wells recognizes or appreciates the artifact-- if it is even genuine-- doesn't subject. What is absolutely important is his occurrence and brooding manner. He seems to be engulfed within his own thoughts. His meditative condition gives the audience the idea that Black man is able to think on a higher level showing his intellect and all around competence within population. His is very neatly come up with; though no real emphasis is put on his dress we can still notify that he is not poor. Wells is looking down at the glass, a contrast to the image of Smith who is looking upwards at her African fetishe. In comparison, both of these images are similar in that they both are looking to their recent and pieces of African art work which serve as an affirmation of these heritage and id. In contrast, Wells is putting himself above and beyond his ties to slavery; he's asserting himself in to the image of the "New Negro". Wells may reject the European ideas of primitivism because he himself is an artist who is very inspired by Western european woodcuts and their producers. Alain Locke happens to be one of is own biggest supporters which may also feed into his self applied assured and confident nature that he's going to portray. Visually the structure is missing. Our eye are led diagonally to the glass so that people too may contemplate and feel the magic that lays within the cup. As contrived as the pictorial space and structure is, it really promotes the ideals of the "New Negro".

A lot of scholars and critics concur that James Van Der Zee documented the 'fact' and he was very creative and genuine in doing this. They feel he used picture taking to document Dark colored America by developing a perspective of success and naturalness. Through his artwork he wanted to show that life for African Americans in Harlem could be better and you will be better. He desired them to have a better, wealthier image displaying that they too can be successful he needed pictures of them either looking strong, happy, or dominating. Van Der Zee got the capability to develop his compositions so these were visually interesting and coherent. They have an aesthetic dimension that is unbiased of whatever they depict. Experts make clear that the best professional photographers do the unexpected; they do not simply give attention to the fantasized world however the real life also Van Der Zee do both. He provided an image for African Americans displaying success and exhibiting what they face in everyday activities by creating a natural look so they can fit in. Functions by Van Der Zee are imaginative as well as theoretically efficient. His work was in high demand, credited partly to his experimentation and skill in double exposures and in retouching negatives of children. A theme that reoccurs in his photos is the emergent black middle income, which he captured using traditional techniques in often idealistic images. Negatives were retouched to show glamour and an aura of perfection. This affected the likeness of the individual photographed, but he felt each photography should transcend the subject. His carefully posed family portraits uncover that the family device was an important aspect of Van Der Zee's life. He photographed the folks of Harlem for more than six decades, depicting the life of one of the very most celebrated black areas on earth. By providing intricate halloween costumes, props, and backdrops, in blend with creative two times exposures, expert retouching, and airbrushing, Van Der Zee became renowned for the quality of his portraits. Van Der Zee positively worked to control a graphic through careful composition, use of multiple negatives, retouching, dramatic light, and skillfully painted backdrops and props. It really is tempting to compare his multi-layered images to photomontage created in the 1920's and 1930's. However, Van Der Zee was acquainted with neither the avant-garde photographic practices in European countries nor the modernist photography by Alfred Stieglitz. Although he gained popularity for his portrayal of African-American superstars who approved through Harlem, Van Der Zee made his daily living by taking a large number of photographs of Harlem's residents, including family teams, weddings, athletic clubs, and social clubs. In this family portrait, BIG DAY, Harlem, Van Der Zee was creating an unusual but realistic message. The main principles of the family portrait are the cosmetic expressions on the bride and grooms face. The bride is looking at the camera as the bridegroom is looking at her. Her face has a serious structure, displaying that she actually is dominating, as her body is positioned slanted position but her position is right. The bridegroom is admiring her and being a gentleman. The decorated backdrop of the fireplace and a superimposed image of a little girl who's playing with a recently available dark baby doll all speak of the couple's imagine a middle income status. The structures of the columns and the ornate couch are visual tropes which may have been used throughout history in such other wedding portraits like the Arnolfini family portrait. A domestic family life, and dark pride are the ideas all belong to brand with the "New Negro" movement these are all concepts that Van Der Zee sets into action in his portraits.

These works portray the peoples of African descent in a confident light-- in normal, human situations. Historically and regularly, peoples of African descent tend to be portrayed negatively in the many media, and many mainstream photography lovers working in areas such as Harlem, have historically outlined squalid conditions, public problems, or exoticism. Such American involvement in tribal artifacts grew from the colonization of Africa by Europeans, whose takeover of the continent is recorded through a shaded map. By 1900, few major musicians and artists were untouched by the fascination with African and Oceanic "primitive" art work. Henri Matisse, Pablo Picasso, as well as others were drawn to the styles and motifs from these non-Western civilizations as a way to challenge traditional visual ideas. They saw european styles as stagnant and irrelevant to society. Unfortunately, part of the expectation of African-American artists of this time period was to relate with and produce images that correlated with tribal artifacts. While Europeans understood African things through the lens of colonialism, People in america looked at them as representing the legacy of slavery and segregation. Racial biases led to the negative understanding of African skill which persists to this day. But since the Harlem Renaissance is remembered as a fleeting gold age; a modern-day viewer cannot help but read evanescence into these portraits. Van Der Zee, Allen, and Van Vechten does their part to promote African-Americans in a light that they deserve even if indeed they might not exactly have monetarily deserved the subject. All humans deserve the right to dream and have the same goals despite racial barriers. It really is my belief these painters truly upheld the image of the "New Negro" while also constantly trying to move forward with this idea and their own artwork.

Carl Van Vechten, Portrait of Bessie Smith

James Van Der Zee, Future Objectives (Wedding Day)1926

James Latimer Allen, Portrait of James Lesesne Wells, c. 1930.

More than 7 000 students trust us to do their work
90% of customers place more than 5 orders with us
Special price $5 /page
Check the price
for your assignment