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June 14, 2000
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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.”
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