Charles White, 1918 – 1979, was born in the South Side of
Chicago to his parents, a maid and a construction worker. He grew up in
poverty, and much of his art learning was self taught – drawing on shirts,
cardboard, blinds; he snuck into public classes of the Art Institute of Chicago,
learning to mix paint and stretch canvas.
Evan at the young age of 14, White was angered by the systemic racism in
education, and how black contributions were often neglected or omitted entirely,
and began to skip school to instead letter small Black publications, and won
the chance to take a weekend class at the Institute. White became heavily influenced here to recognize the
“beauty of black people”, and the movement of Alain Locke – the New Negro. The
New Negro movement saw a desire for cultural reciprocity, for both blacks and
white to learn and grow with each other.
Figure 1 - Charles White, http://american-biography.blogspot.com/2011/02/african-american-artist-charles-w-white.html
One of the most influential periods of White’s life was as
the Works in Progress Administration artist, as part of Roosevelt’s New Deal
during the Great Depression, 1929-1943.
This movement favored figurative art, rather than abstract art. Here, White’s style of Social Realism
became solidified. Through
monumental prints, murals, bold black lines and striking contrasts, White
highlighted the humanity, beauty, and pride of Black America. His work is primarily black, white, or
sepia drawings and lithographs. His
scenes often depicted African-American history in the United States,
socio-economic struggles, human relationships, and portraits, often emotional and
striking lines on the face, exaggerating facial expressions.
I chose this artist because I loved the nature of his line
work, the bold, loud nature of his art.
His art called for social justice through highlighting the inherent
beauty of blacks, showcasing the strength and pride, and humanity through these
portraits. And White’s passion for art and his perseverance to teach himself
how to draw in the face of so much adversity and lack of opportunity really was
admirable.
The stories behind each piece add so much more to the art,
and the way White participated in political discourse and activism was really
interesting to think about. As
artists, how should I incorporate my work into the larger community, to give
back and work with issues in society?
His work up until the 1940’s represented
direct calls of injustice and stories of the black people.
Figure 2 - Five Great American Negroes
This swirling composition brings together the lives of five
different prominent black activists leading the charge out of slavery,
emphasizing the triumph and power they hold. On the left, Sojourner Truth is depicted with power, large hands, and bare feet, with large sweeping brushstrokes, highlighting a sense of movement and progress away from slavery. Her hands are pointing towards Booker T Washington, behind whom stands Frederick Douglass hugging a runaway slave. The multitude and richness of colors depicted here bring a sense of life, of change and of hope for agitation for change through these strong figures throughout history.
In the 1940’s, White’s style shifted to representing blacks as
dignified subjects and empathetic, hoping to relate to the broader working
class.
Figure 3 - The Embrace
The Embrace’s artistic style becomes tighter in composition, with muted
colors, with sad faces, ripped clothing.
But the strength is still there in the muscular nature of the limbs, the
solidarity and comfort of friendship.
The piece nature of the art also shows elements of Cubism. The landscape is barren, no light, yet not fully dark. The brush strokes smooth, but the color contrast offers a sense of angularity.
Figure 4 - Trenton Six, http://www.charleswhite-imagesofdignity.org/61.html
This piece is one of the most memorable pieces of art I’ve
seen. White used ink and graphite
to depict the false arrest and imprisonment of six black men, where a
73-year-old shopkeeper was brutally murdered; leaving behind a witness who
vaguely stated some black men had done it. Black neighborhoods were terrorized and harassed, and
without evidence or proper questioning, and convicted.
This poignant image of the six men falsely incarcerated for
the color of their skin, standing behind the wire fence, as a woman lawyer
advocates for their release and innocence, uses the distortion of features to
create a sense of pleading and despair.
The clear highlights emphasize the eyes, of how light hits black skin
differently than white, and of the social injustice White feels so deeply
for. I really loved his portraits,
which felt real and powerful. Each
one of his pieces hold roots in history, in telling stories of injustice, and
rooted in black history.
In both The Embrace, and
The Trenton Six, as well as numerous
other pieces from the 1940’s White uses a similar face in all his portraits to depict
the commonality of humanity.
One of White’s final and major shifts towards a different
style came in 1966, after the Civil Rights Act and the Voting Act had become
law, but violence was still erupting.
In this period, White primarily considered blacks as victims of
injustice.
Figure 5 - Print, Archives of American Art
Figure 6 - Print, Archives of American Art
The distortion of proportions, with the large body swathed
in protective clothing, hiding the black body. The faces are much smaller, impassive expressions, but the
overall feeling is one of strength and power.
Figure Five in particular is interesting, as her eyes are clouded, and unfocused on anything in particular. Her sheer size offers a sense of importance, like the matriarch leading a family, in dignity and serenity. The clock is heavy and thick, like a comfort blanket wrapped to protect, to heal, to hide the hurt of history.
Figure Six shows this young man mid step, with branches hanging over his head, just touching them. His pose seems anxious, and about to run, or move, as White really made the large overcoat have a sense of swinging motion. White's use of highlights really was intentional and good.
Figure Five in particular is interesting, as her eyes are clouded, and unfocused on anything in particular. Her sheer size offers a sense of importance, like the matriarch leading a family, in dignity and serenity. The clock is heavy and thick, like a comfort blanket wrapped to protect, to heal, to hide the hurt of history.
Figure Six shows this young man mid step, with branches hanging over his head, just touching them. His pose seems anxious, and about to run, or move, as White really made the large overcoat have a sense of swinging motion. White's use of highlights really was intentional and good.
References
"Charles
White." Heritage Gallery, 2010,
www.heritagegallery.com/charles-white.html. Accessed 19 Feb. 2017.
James, Erica Moiah.
"Charles White's J'Accuse and the Limits of Universal Blackness." Archives of American Art, vol. 55, no.
2, Nov. 2015, pp. 5-25.
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