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About Portland observer. (Portland, Or.) 1970-current | View Entire Issue (June 14, 2000)
(Elie © bem ier for a June 14, 2000 - Page 5 Painter Jacob Lawrence Dies On Stage by -< Focus B il l & o n T he P ortland O bserver As an African American artist, I would like to take a moment to ac- . knowledge the going home of a marvelously gifted and courageous artist. Jacob Lawrence passed on • early last week, as you may know. n is loussaint l uverture series luscon, Arizona and asked about dealt with the kind of subject mat his thoughts regarding Jacob ter that African American artists in Law rence’s passing, world re the thirties were not engaging. Of nowned painter Robert Colescott his series o f ____________ paintings on the “ I admired most his ability’ to fuse ab life o f the Gen eral and the Hai stract construction with representation tian revolt against and a strong narrative force, while main slavery, he said: taining a perfect balance. He was a won- The enormous talent of this man is only surpassed in the mind of this writer, by his courage and integrity as an artist. At a time when many Black artists sought refuge from racism by leaving for Europe, Jacob Lawrence stayed. Reginia Perry writes in “Free Within Ourselves”, a book about the African American artists with work in the collection of the National Museum of Ameri can Art: “Jacob Lawrence is one of the few painters of his genera tion who grew up in an African American community, was taught primarily by African American Art ists, and was influenced by Black people”. Lawrence was also inspired by the politically commit ted art of painters like Fran cisco Goya, Jose’ Clemente O rozco, and H onoré’ Daumier. There was little support for Black artists during the hard times of the 1930s and 40s, but Jacob Lawrence never the less had the courage to produce some very powerful politi cal statements. Encouraged by Black Sculptor Augusta Savage, Lawrence joined an easel project with the W.P.A., and under the influ ence of Black historian and lecturer “Professor Seifert”, became interested in the life o f G eneral Toussaint L’Overture. I didn t do it as derful, kind, and gentle man. He will be a historical thing, m is s e ( J - but because I be- lieve these things "Robert Colescott tie up with the — .... Negro today. We don’t have a had this to say: “ 1 admired most physical slavery, but an economic his ability to fuse abstract construc slavery. If these people who were tion with representation and a so much worse off than the people strong narrative force, while main today, could conquer their slavery, taining a perfect balance. He was we certainly can do the same thing.” a wonderful, kind, and gentle man. When contacted at his home in He will be missed.” THURS JUNE 15 AT 7 P.M. M 0RTU NEGA GUINEA-BISSAU 1988 THURS JUNE 2 2 AT 7 P.M TGV SENEGAL 1997 THURS JUNE 29 AT 7 P M. COMEDIA INFANTIL MOZAMBIQUE/SWEDEN 1997 THURS JULY 6 AT 7 P.M. THE BATTLE OF THE SACRED TREE THURSDAYS AT THE GUILD THEATRE KENYA I99S I ■■ n tf» SW 9TH € TAYLOR 221-1156 WWW.NWFILM.ORG BO6 ' D IV IS IO N S T. r. 1 3 _ LACKAM AS R E G A L C I N E M 4 A A S R E G A L C IN E M A S WIM WENDERS • HITCHCOCK • THE RAVE SCENE • VISITING ARTISTS • JOHN WATERS • ALAIN RESNAIS RETROSPECTIVE • WOODY GUTHRIE, WAYNE MORSE ( MORE! 2 2 5 - 5 5 5 5 * 4 6 1 I I 5 ~L W I L S O N V IL L E 9 f 4A3 ■ R E G A L C IN E M A S 2 2 5 - 5 5 5 5 * 4 6 6 2 2 4 ET S T A R K S T R 1E EE R E G A L C IN E M M A A S S iL / f L 3 6 0 -3 9 7 -5 5 5 5 *4 6 3 1 C IT Y C E N T E R 12 t R E L .A L c in e m a s 6 5 3 -9 9 9 9 L OAK GROVE a t K I ■ M ■■ M H V T H E A IS F S g ■■■■■■■■■■‘T’TW VW M O V I E S O Ì N T V t l T IG A R D / "L f 1 22 5 5 5 5 5 *4 6 2 3 2 2 5 -5 5 5 5 *4 6 2 7 ALSO A T THE FILM CENTER THIS SUMMER: l i i 225 5 5 5 5 *4 6 0 6 2 2 5 -5 5 5 6 *4 6 1 9 f~ 2 2 5 -5 5 5 5 *4 6 3 0 L C O R N E L IU S ■ •p e d a l Engagam ant • N o Passe« • C a ll T h e a t r e f o r S h o w t i m e s
