Explain the Subject of Aaron Douglas Mural and Its Connection to Avant Garde European Art
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Aaron Douglas was born in Topeka, Kansas, to Aaron and Elizabeth Douglas May 26, 1899. He earned a B.A. in 1922 from the Academy of Nebraska. In 1925 he moved to New York City, Harlem. He began to produce illustrations for both The Crisis and Opportunity, the ii most of import magazines associated with the Harlem Renaissance. He began studying with Winold Reiss a High german creative person who had been to illustrate The New Negro. Reiss's educational activity helped Douglas develop the modernist style he would employ for the next decade. Douglas'south engagement with African and Egyptian design brought him to the attention of W.Due east.B. Du Bois and Alain Locke, who were pressing for young African American artists to express their African heritage and African American folk culture in their art.
[The Cosmos 1935]
[/FONT] [FONT=Verdana]For the next several years, Douglas was an important office of a circle of artists and writers. Between 1920-1930 an unprecedented outburst of creative action amongst African-Americans occurred in all fields of art. This African-American cultural motility became known as "The New Negro Movement" and later every bit the Harlem Renaissance. Harlem attracted a prosperous and stylish black eye class from which sprang an extraordinary artistic eye. Like avant-garde movements in Europe, it embraced all fine art-forms, including music, dance, moving-picture show, theater and cabaret. Harlem nightlife, with its trip the light fantastic toe halls and jazz bands, featured prominently in the piece of work of these artists. More than a literary move and more than a social revolt against racism, the Harlem Renaissance exalted the unique culture of African-Americans and redefined African-American expression. African-Americans were encouraged to gloat their heritage and to become "The New Negro," a term coined in 1925 by sociologist and critic Alain LeRoy Locke. Ane of the factors contributing to the rise of the Harlem Renaissance was the bully migration of African-Americans to northern cities (such as New York City, Chicago, and Washington, D.C.) between 1919 and 1926. In his influential volume The New Negro (1925), Locke described the northward migration of blacks as "something like a spiritual emancipation."
[/FONT] [FONT=Verdana]In addition to his magazine illustrations for the 2 near important African-American magazines of the flow, he illustrated books, painted canvases and murals, and tried to commencement a new magazine showcasing the work of younger artists and writers. It was during the early 1930s that Douglas completed the most important works of his career, his murals at Fisk Academy and at the 135th Street Branch of the New York Public Library.
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[/FONT] [FONT=Verdana]In 1939, he moved to Nashville, Tennessee where he founded the Art Department at Fisk University and taught for 27 years. Coinciding with this movement was a shift to a more traditional painting style, including portraits and landscapes. His striking illustrations, murals, and paintings of the life and history of people of color describe an emerging black American individuality in a powerfully personal way. Working primarily from the 1920s through the 1940s, Douglas linked black Americans with their African past and proudly showed black contributions to society decades before the dawn of the ceremonious rights movement. His work fabricated a lasting impression on futurity generations of blackness artists.
[/FONT][Aspiration 1936]Douglas has been called the Father of African American art, and his paintings display elements of cubism likewise as shapes from Ancient Egyptian and Due west African art. Many of his works are similar Aspiration, above, with layered images and like color schemes. His paintings represent the African American struggle for political and artistic freedoms, and though they are so dynamic, it's important to recognize that Douglas was non just a painter, and some of his drawings and illustrations are also on display.
He is also known for his murals, and he fabricated a series for the Cravath Memorial Library at Nashville's Fisk Academy and Greensboro's Bennett College. His more famous series, Aspects of Negro Life, 4 murals in the 135th Street Branch of the New York Public Library, examines how African American feel fits with the American dream and display artistic risks. The murals dealt with subjects such every bit slavery, emancipation, education and African American contributions to American culture.
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[/FONT] [Sahdjio 1925[/Color][/Colour][/COLOR][/COLOR][/COLOR][/Colour][/COLOR][/COLOR][/Color][/COLOR][/COLOR][/COLOR] ]
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Douglas's art fused modernism with bequeathed African images, including fetish motifs, masks, and artifacts. His work celebrates African American versatility and adaptability, depicting people in a variety of settings—from rural and urban scenes to churches to nightclubs. His illustrations in books by leading black writers established him as the black creative person of the period. After in his career, Douglas founded the Art Department at Fisk Academy in Nashville, Tennessee. [/FONT][FONT=Verdana]The style Aaron Douglas developed in the 1920s synthesized aspects of modern European, ancient Egyptian, and West African art. His best-known paintings are semi-abstruse, and feature flat forms, hard edges, and repetitive geometric shapes. Bands of colour radiate from the important objects in each painting, and where these bands intersect with other bands or other objects, the color changes.
[Building More than Stately Mansions 1944]
[/FONT] Douglas employs strongly two-dimensional figures silhouetted in profile seen from a frontal view reminiscent of ancient Egyptian representational conventions. These streamlined silhouettes form figures of abstruse geometrical pattern. His energized compositions and rhythmic use of colour were seen visually to advise music and spirituality. In 1934 Douglas received the WPA commission to paint murals for the 135th Street branch of the New York Public Library. In these murals, titled [FONT=Verdana]Aspects of Negro Life[/FONT], Douglas employed symbolism to accost the aspirations of the New Negro, to celebrate the past and present achievements of African-Americans, and to draw the tragedy and reality of the African-American experience.
[FONT=Verdana] [Mural: An Idyll of the Deep Southward [/FONT][FONT="][FONT=Verdana], Aspects of Negro Life Series, 1934][/FONT]
[/FONT] Aaron Douglas: Art, Race, and the Harlem Renaissance
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[FONT="] [FONT=Verdana]February Creative person[/FONT]
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President Obama
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