#hale aspacio woodruff

[oldsardens]

Hale Aspacio Woodruff - Untitled (Abstract)

[polymorphousculturevulture]

Hale Aspacio Woodruff, The Art of the Negro Murals

Clark Atlanta University Art Museum

source: pwlanier

[scribblesartcollective]

Born in 1937 in Georgia, Emma Amos took an interest in art while she was a child. She made paper dolls and copied the figures from magazines. At age eleven she took classes at Morris Brown School. She improved her draftsmanship and was exposed to the art of other Black American students. While she was still in high school, she was already submitting her work to art shows at Atlanta University. It was clear for the very beginning, Emma was going places.

Emma studied art at the Central School of At in London after graduatiing for Antioch College in Ohio. She would move to New York looking for a more vibrant art scene that she couldn't find in Georgia upon returning to the US. She would be blindsided by the racism and sexism and even, ageism she was met with, perhaps assuming the more metropolitan state would be more progressive. She was too young for galleries to bother with her and she had trouble finding positions available to teach. She did eventually find work, as an assistant, at the Dalton School. This did end up fortuitous as she met other artists that introduced her to the art scenes in New York and East Hampton.

She still found struggles. She was a woman in an art world that prioritized the work of men. And she was a black woman, and like many black artists, struggled to find dealers and curators that wanted to work with her. Emma would not be deterred.

She joined Letterio Calapai's print making studios and Robert Blackburn's Printmaking Workshop. She earned her Masters of Art from New York University in 1966 and became reacquainted with artist Hale Aspacio Woodruff who was teaching there.

She met with Woodruff for feedback and criticism of her work and he introduced her to Spiral Arts Alliance. A collective of African-American Artists. Not just art, this group discussed philosophy, and culture about the meaning of blackness within the African diaspora. A frame work for critique and cultivating "Black Consciousness" and a common racial identity. She would be allowed to join, as the first female member of the group. At this time, she was working full time as a designer and studying full time as well. It left her only time to paint on the weekends.

In 1965 Spiral rented space for the first and only Exhibition. Emma would exhibit an etching called Without a Feather Boa, that sadly, is now lost. Described as a self portrait, a nude bust, of Emma looking dispassionately at the viewer from behind sunglasses. Before this, Emma has been reticent to participate in the idea of Black Art and galleries and shows that only showed the work of black Americans. Like so many artists, she likely though of herself as an artist first, but came to understand the harsh reality was that there were not a lot of options for black artists. These Black Art shows and galleries were the only way to get your foot in the door.

Despite this early resistance, she embraced sex and race in her art, toeing the line of politics but never allowing her work to be drowned in controversy. There were often depictions of the confederate flag, the American flag, traditional African patterns, including her own weavings as she was a well accomplished craftsman as well as a painter.

Emma became a professor in 1980, and later chair of the Visual Arts Department at the Mason Gross School of Art at Rutgers University, and she would teach there for close to thirty years. During her time here she would join the Heresies Collective. A feminist group founded in 1976 in New York by feminist political artists.

She says of the group: "And that’s what Heresies became for me. All of my disdain for white feminists disappeared, because we were all in the same boat. We just came to the boat from different spaces."

She was also a member of the feminist group Guerilla Girls under the pseudonym Zora Neale Hurston.

In these groups, and others she took part in, she discussed the sex revolution of the 60s and 70's the failures of white feminism, and the privilege of white Americans in the arts and in life. She was keenly aware of artists that existed within the margins of society and how difficult it is for those people to continue activities in comparison the white hegemonic art circles.

In 2008, Emma retired from teaching, but she never stopped being a teacher, supporting her students even after, going to their exhibitions and continuing to inspire and be inspired. In 2020, Emma died from complications of Alzheimer's Disease. She was 83. Her work is viewable in many, many galleries and museums and we've only just scratched the surface of this woman's art, passions, and intriguing life. If you'd like to see more of Emma's work and learn more about her: Museum of Modern Art - Emma Amos - Works Philadelphia Museum of Art - Emma Amos: Color Odyssey Virtual Discussion: Emma Amos: Color Odyssey NYT Emma Amos, Painter who challenged Racism and Sexism, Dies at 83 DVD/VHS for purchase Emma Amos - Actions Lines Ryan Lee Gallery - Emma Amos

Emma Amos Website

[lboogie1906]

Hale Aspacio Woodruff (August 26, 1900 - September 6, 1980) was an African American artist known for his murals, paintings, and prints.

He was born in Cairo, Illinois. He grew up in Nashville, where he attended the local segregated schools. He studied at the Herron School of Art and Design in Indianapolis, the Art Institute of Chicago, and the Harvard Fogg Art Museum.

He won an award from the Harmon Foundation in 1926, which enabled him to spend four “crucial years studying in Paris (1927–31).” He studied at the Académie Scandinave and the Académie Moderne. He learned in the city’s museums as well, while getting to know other expatriates, including Henry Ossawa Tanner, the leading African American artist. He met leading figures of the French avant-garde and began collecting African art, which was a source of inspiration for many other modernists, including Pablo Picasso.

He returned to the US and married Theresa Ada Baker (1931). They had one son.

His best-known work is the three-panel Amistad Mutiny murals, which he completed for the Savery Library at Talladega College. The murals are entitled: The Revolt, The Court Scene, and Back to Africa, portraying events related to the 1839 Mende slave revolt on the Spanish Amistad ship.

His two other surviving murals are The Negro in California History, commissioned by the Golden State Mutual Life Insurance Company in Los Angeles. This work was a collaboration with Charles Alston. He completed six panels called Art of the Negro at the Clark Atlanta University Art Galleries. He joined the faculty at NYU. He taught there for more than 20 years. #africanhistory365 #africanexcellence #sigmapiphi

[topcat77]

Hale Aspacio Woodruff   b.1900

[afrotumble]

Artist - Hale Aspacio Woodruff

[j0shripley]

Piece Comparison

Josh Ripley

Comparative Critique

Identify: The first piece I chose to critique and then compare is After the Hurricane, Bahamas by Winslow Homer. It was made in 1899, and as we can see, it is a water color piece. From the initial perspective of its audience, we can tell that there is a black man next to the remnants of some type of ship. You can see in the background, what looks like storm clouds based on Homer's use of colors. What is also apparent at first glance is the island in the background, the fronds on the palm tree seem to be bending in an unnatural direction due to the strong winds from the tropical storm. The man in the foreground seems to be unconscious, it can only be assumed that he was caught in the storm on his boat and got shipwrecked after the battering of the waves.

Analyze: Since this is a Winslow Homer piece we can tell that it falls under the category of style of “Realism.” I love the contrast of colors found between the deep blues of the sea and the paleness of the sand. He creates a wide sense of space in the piece with the distant view of the neighboring island and the perspective of the boat next to him. Seeing the tail end of the small vessel with what looks like an anchor broken behind him creates a strong balance with the tones used between the sand and the storm. Included with the tones used in that retrospect, we can see that the man lays in sunlight, as if he has already endured the storm and now lays in exhaustion and recovery. You see the color shift halfway through the water used in the piece, it moves from a lightened shallow blue to a harshly deep and vigorous tempest continuing to wreak havoc on the sea behind him. With his medium, it must be noted the amount of detail Homer was able to portray on the young man lying in the sand. You can make out muscle definition as well as his hairline and eyelids. With the chaos taking place in the foreground, the lines drawn from the rear end of his boat pull your eyes to the cause of the destruction, the hurricane.

Interpret: The emotional appeal of this painting can be found mostly through the use of light. As stated in my analysis, you can tell that the young man seems to be laying in the sun. In contrast from the storm found in the background of the painting, there is a sense of peace that accompanies the beach from the still imagery as he lays there recovering. It’s as if Homer was trying to give us a sense that there is always a calm after a storm, no matter how battered we get during the tempests in our lives, we will always have a time to recover and gain our strength back.

Judgement: I like this art piece, I mean if I didn’t I wouldn’t of chosen to critique it. But some of my favorite parts of this piece are the subtle uses of vibrant colors to keep the naked eye appealed. Like with the greens of the grass, or the wave found just at the peak of the boat. I think it adds a much needed lightness to the painting. I also really like the detail Homer was able to bring in with the sea foliage on the shore as well as the attention to detail he made with the young man. You can see his muscle definition and that he seems to be unconscious.

Identify: The second piece I chose to critique and then compare is Sergeant Carney and the Death of General Shaw by Hale Aspacio Woodruff. Created in 1942, this modern art piece is a work of tempera on masonite. This piece was created for a program that was supposed to demonstrate the heroism of African-Americans in a building being built in Washington DC. We can see Sergeant Carney displayed in this painting holding the recently shot General shaw during the civil war. We can see a lot of chaos taking place in the painting but the lines that can be drawn from General Shaws body give us a sense of direction to navigate the piece. What is also very apparent is the state of the soldiers they are fighting with. They have bandages and wraps, but continue to press forward undeterred as their fellow soldiers continue to fall next to them.

Analysis: Some notable elements found in this painting include Woodruff’s use of color, lines, space, and perspective. The colors he uses are vibrant and anyone who knows anything about US history can tell that this is taking place from the view of the union side of the war. You can vaguely see the confederacy grey used on the soldiers in the background. The perspective takes place on the front lines of the union side but with the small windows taking place by the fallen soldiers, you can see the use of space and depth used in the piece. The lines drawn from General Shaw's arms and legs draw an easy and attractive path for the viewers eyes to follow. His bent knee pulls you to the expression on his face and notice the holder of his corpse, Sergeant Carney. His outstretched hand helps us see the cause of his demise, the opposing soldiers getting ready to advance.

Interpret: The mood of this painting becomes more apparent as we become aware of the history behind the prompt for the piece in the beginning. It is meant to display heroism. The african-american holding the general displays a sense of compassion that seems to be lacking from the rest of the painting. Other comrades lay fallen on these 2 mens sides but you can see that there was a respect noted of the general in the middle. Understanding this, Sergeant Carney catches him and lays him down as he readies to take a more influential part of the battle and push forward to make sure this man's death wasn’t in vain. They continue to fight for civil liberty and freedom.

Judgement: I love this piece of art. The vibrancy of the color and the many subjects in the painting add a depth that really speaks to me. There are many things about the painting that aren’t immediately noticeable, but the longer you look at it the more you see. Like the broken staff of the flag being held by the wounded soldier, or the difference in apparel held by the union side, or the subtle reds that add a balance to the many blues used in the foreground. This piece arouses strong emotions and is very well done, I wouldn’t change anything about it.

Comparison of the two paintings:

The main differences of the paintings comes from the mediums and art styles. Both invoke an abundance of thought on the perspective. The first piece being a realism piece done about 50 years before the latter. The other one being a work of tempera on masonite in comparison to Homer’s watercolor. Woodruff’s painting holds a different use of color than Homer’s, He uses more vibrant colors throughout the piece and his space is much more crowded. It is easier to feel the calm surrounding Homer’s piece rather than Woodruff’s because of the amount of space used and the gradiance in the light. Overall, I appreciate both pieces and although they portray different messages, and take very different approaches, I enjoy analyzing both of them.

Works Cited

“Sergeant Carney and the Death of General Shaw - Hale Woodruff - Google Arts & Culture.” Google, Google, https://artsandculture.google.com/asset/sergeant-carney-and-the-death-of-general-shaw-hale-woodruff/SAG9gnXJ98uAEw.

Homer, Winslow. “After the Hurricane, Bahamas.” The Art Institute of Chicago, Prints and Drawings, 1 Jan. 1899, https://www.artic.edu/artworks/16776/after-the-hurricane-bahamas.

[disregardcanon]

cool article about a cool artist http://www.kcur.org/post/hale-woodruff-was-so-important-it-takes-two-kansas-city-museums-tell-his-story#stream/0

[sevmeyinkimseyifazla-blog]

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[polymorphousculturevulture]

Hale Aspacio Woodruff, The Art of the Negro Murals

Clark Atlanta University Art Museum

source: pwlanier

[royal-red-asks]

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[lboogie1906]

Hale Aspacio Woodruff (August 26, 1900 - September 6, 1980) was an African-American artist known for his murals, paintings, and prints. He was born in Cairo, Illinois. He grew up in Nashville, where he attended the local segregated schools. He studied at the Herron School of Art and Design in Indianapolis, the Art Institute of Chicago, and the Harvard Fogg Art Museum. He won an award from the Harmon Foundation in 1926, which enabled him to spend four "crucial years studying in Paris from 1927–31." He studied at the Académie Scandinave and the Académie Moderne. He learned in the city's museums as well, while getting to know other expatriates, including Henry Ossawa Tanner, the leading African-American artist. He met leading figures of the French avant-garde and began collecting African art, which was a source of inspiration for many other modernists, including Pablo Picasso. He returned to the US in 1931 and married Theresa Ada Baker that year. They had one son, Roy. His best-known work is the three-panel Amistad Mutiny murals, which he completed for the Savery Library at Talladega College. The murals are entitled: The Revolt, The Court Scene, and Back to Africa, portraying events related to the 1839 Mende slave revolt on the Spanish Amistad ship. His two other surviving murals are The Negro in California History, commissioned by the Golden State Mutual Life Insurance Company in Los Angeles. This work was a collaboration with Charles Alston. He completed six panels called Art of the Negro at the Clark Atlanta University Art Galleries. He joined the faculty at NYU. He taught there for more than 20 years. #africanhistory365 #africanexcellence #sigmapiphi https://www.instagram.com/p/ChuJ6YlL6NihHt9n8gaj8iCf2mg2X_3n8f57Lo0/?igshid=NGJjMDIxMWI=

[captainpachacho-blog]

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[sirlennon]

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