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Jacob Lawrence letter to Romare Bearden

Archives of American Art
Letter : 1 p. : handwritten ; 21 x 16 cm.

Lawrence congratulates Bearden on a new exhibition.

Jacob Lawrence Christmas card to Henry Schnakenberg

Archives of American Art
1 Christmas card : handwritten, ill. ; 11 x 14 cm. Front of card features a design in black and white which is signed: Jacob Lawrence '51.
Interior signed: Season's greetings, Gwen and Jacob Lawrence.

Jacob Lawrence letter to Philip Howard Evergood

Archives of American Art
Letter : 1 p. : typescript ; 28 x 22 cm. Form letter from Lawrence on behalf of the Artist's Committee for Student Nonviolent Coordinating Committee. He describes the work of the SNCC in support of voter registration and equality for African Americans, and solicits contributions to an exhibit to benefit their cause.
Handwritten notes on letter pertain to a drawing which Evergood donated to the exhibit, titled Wrestlers.

Jacob Lawrence letter to Edith Gregor Halpert

Archives of American Art
Letter : 4 p. : handwritten ; 25 x 16 cm. Discusses sales of his work and what he is working on currently (pen and ink drawings "on the south"). He gives his impressions of St. Augustine as a hostile city for an African American and mentions that he is working his experiences into a series of drawings on "how a Negro sees the South."
Written on letterhead of the U.S. Coast Guard Training Station.

Jacob Lawrence's grant application to the Chapel Brook Foundation

Archives of American Art
Letter : 3 p. : typescript ; 28 x 22 cm.

Oral history interview with Jacob Lawrence, 1968 October 26

Archives of American Art
Transcript: 92 pages.

Interview of Jacob Lawrence conducted 1968 October 26, by Carroll Greene, for the Archives of American Art.

Jacob Lawrence, New Orleans, Louisiana letter to Edith Gregor Halpert, New York, New York

Archives of American Art
Letter : 3 p. : handwritten ; 28 x 22 cm.

Edith Gregor Halpert letter to Jacob Lawrence

Archives of American Art
Letter : 1 p. : typescript, carbon copy ; 28 x 22 cm.

Jacob Lawrence Self-Portrait

National Portrait Gallery
Jacob Lawrence 1917-2000

Jacob Lawrence, best known for his dynamic depictions of African American life and history, rarely engaged in portraiture. But when he made a self-portrait like this one, he treated his own face like his other subjects-as a basis for inventing expressive abstract shapes. In this drawing, Lawrence concentrated his appearance into a few essential lines and shapes. A black arc describes the shape of his skull, only thinly covered by hair. His shaggy mustache is a complex of wavy lines flanked by heavier curves evoking folds of aging flesh. Lawrence left most of his face white to set off the abstracted black shapes of his nose, eyes, mouth, and mustache. Lawrence poetically combined observation with geometry to reflect both his appearance and his approach to art.

Jacob Lawrence

National Portrait Gallery

Jacob Lawrence, Author

National Museum of African American History and Culture
Black and white photographic portrait of Jacob Lawrence. Lawrence is seated in three-quarter view with his legs facing toward the left. His arms rest on his knees. He holds in his PR hand a pair of black frame glasses. He wears a matching tweed jacket and pants. Lawrence looks at the viewer and is seated in front of a plain background. The image is centered on a white background. Below the image is hand-written text with the title, date, and signature [Jacob Lawrence - Author- '72'/A. Barboza].

Jacob Lawrence

National Portrait Gallery
Born Atlantic City, New Jersey

During his lifetime, Jacob Lawrence achieved a level of recognition previously unequaled by an African American artist. In 1941 he exhibited a series of sixty paintings, originally entitled The Migration of the Negro, at Edith Halpert’s prestigious Downtown Gallery in New York City. With the assistance of his future wife, artist Gwendolyn Knight, Lawrence developed a narrative that told the complex history of how and why millions of African Americans moved from the South to the North between the two world wars. Paired with explanatory captions, the paintings attracted wide notice and solidified Lawrence’s reputation for creating multi-picture stories about episodes and individuals in African American history, including Frederick Douglass, Harriet Tubman, and John Brown. In this portrait Lawrence poses in his studio with The Visitors, now in the collection of the Dallas Museum of Art.

Nacido en Atlantic City, New Jersey

Jacob Lawrence alcanzó en vida un nivel de popularidad nunca antes visto para un artista afroamericano. En 1941 expuso una serie de sesenta pinturas, titulada inicialmente The Migration of the Negro, en la prestigiosa Downtown Gallery de Edith Halpert en la ciudad de New York. Con ayuda de su futura esposa, la artista Gwendolyn Knight, Lawrence desarrolló una narrativa pictórica para representar un complicado tema: cómo y porqué millones de afroamericanos pasaron del sur al norte del país entre las dos guerras mundiales. Acompañadas de notas explicativas, las pinturas atrajeron amplia atención y consolidaron la reputación de Lawrence, también creador de narraciones pictóricas sobre figuras de la historia afroamericana como Frederick Douglass, Harriet Tubman y John Brown. Lawrence posó para este retrato en su estudio junto a la pintura The Visitors, ahora en la colección del Dallas Museum of Art. En el Smithsonian American Art Museum pueden apreciarse varias obras de Lawrence.

Jacob Lawrence Self-Portrait

National Portrait Gallery
In about 1965, when Jacob Lawrence began this self-portrait, he had assumed a visibility beyond anything previously accorded to an African American artist. The 1941 exhibition of his epic series of sixty paintings, originally entitled "The Migration of the Negro," had firmly established his reputation. Composition, color, and abstract pattern became the root of Lawrence’s style as he painted the black experience. The human face and figure, normally subject to entrenched artistic conventions, were to him just shapes to be simplified or distorted. With the exception of a small group of self-portraits that he made in the 1960s, Lawrence rarely attempted portraiture. In 1996, he updated this drawing of himself, adding bands of black around the face and changing its contours to a single sweeping curve. Transforming a linear drawing into a muscular interplay of black and white, the likeness reflects both the strength and the anxieties of the artist’s advancing age.

Cuando comenzó este autorretrato, hacia 1965, Jacob Lawrence disfrutaba de una visibilidad nunca antes concedida a un artista afroamericano. En 1941, la exposición de su épica serie de sesenta pinturas titulada "La migración del negro" había cimentado su reputación. La composición, el color y los patrones abstractos constituyeron la base del estilo con que abordó la experiencia del pueblo negro. La cara y la figura humanas, normalmente sujetas a arraigadas convenciones artísticas, eran para él meras formas que simplificaba o distorsionaba. Con excepción de un pequeño grupo de autorretratos que hizo en la década de 1960, Lawrence rara vez abordó el género del retrato. En 1996 actualizó este dibujo de sí mismo con bandas negras alrededor de la cara, convirtiendo los contornos en una amplia curva continua. El dibujo lineal original quedó así transformado en un vigoroso juego de negro y blanco que refleja la fuerza y a la vez las ansiedades del artista ya avanzado en años.

John Brown notes

Archives of American Art
Note : 4 p. : handwritten ; 21 x 13 cm. and 28 x 22 cm.

Jukebox [painting] / (photographed by Peter A. Juley & Son)

Archives and Special Collections, Smithsonian American Art Museum
Nesbett, Peter T. and Michelle DuBois, "Jacob Lawrence : paintings, drawings, and murals (1935-1999): a catalogue raisonne," Seattle, WA: University of Washington Press, 2000.

Wheat, Ellen Harkins, "Jacob Lawrence, American painter," Washington, D.C.: Philliips Collection, 1986.

Orig. negative: 4x5, Safety, BW.

Bus [painting] / (photographed by Peter A. Juley & Son)

Archives and Special Collections, Smithsonian American Art Museum
Nesbett, Peter T. and Michelle DuBois, "Jacob Lawrence : paintings, drawings, and murals (1935-1999): a catalogue raisonne," Seattle, WA: University of Washington Press, 2000.

Wheat, Ellen Harkins, "Jacob Lawrence, American Painter," Seattle, WA: Seattle Art Museum, 1986.

Orig. negative: 4x5, Safety, BW.

Reflection [painting] / (photographed by Peter A. Juley & Son)

Archives and Special Collections, Smithsonian American Art Museum
Nesbett, Peter T. and Michelle DuBois, "Jacob Lawrence : paintings, drawings, and murals (1935-1999): a catalogue raisonne," Seattle, WA: University of Washington Press, 2000.

"Jacob Lawrence, Moving Forward: Paintings, 1936-1999," New York: DC Moore Gallery, 2008.

Orig. negative: 4x5, Safety, BW.

Anchor on Cart [painting] / (photographed by Peter A. Juley & Son)

Archives and Special Collections, Smithsonian American Art Museum
Nesbett, Peter T. and Michelle DuBois, "Jacob Lawrence : paintings, drawings, and murals (1935-1999): a catalogue raisonne," Seattle, WA: University of Washington Press, 2000.

Orig. negative: 4x5, Safety, BW.

The Masked Ball [painting] / (photographed by Peter A. Juley & Son)

Archives and Special Collections, Smithsonian American Art Museum
Nesbett, Peter T. and Michelle DuBois, "Jacob Lawrence : paintings, drawings, and murals (1935-1999): a catalogue raisonne," Seattle, WA: University of Washington Press, 2000.

Sotheby's (New York), May 25, 1995, lot 108.

Orig. negative: 4x5, Safety, BW.

Wash Day [painting] / (photographed by Peter A. Juley & Son)

Archives and Special Collections, Smithsonian American Art Museum
Negative marked: Washday.

Nesbett, Peter T. and Michelle DuBois, "Jacob Lawrence : paintings, drawings, and murals (1935-1999): a catalogue raisonne," Seattle, WA: University of Washington Press, 2000.

Orig. negative: 4x5, Safety, BW.

End of the Day [painting] / (photographed by Peter A. Juley & Son)

Archives and Special Collections, Smithsonian American Art Museum
Nesbett, Peter T. and Michelle DuBois, "Jacob Lawrence : paintings, drawings, and murals (1935-1999): a catalogue raisonne," Seattle, WA: University of Washington Press, 2000.

Orig. negative: 4x5, Safety, BW.

Untitled (Skowhegan School Exhibition and Sale) [graphic arts] / (photographed by Peter A. Juley & Son)

Archives and Special Collections, Smithsonian American Art Museum
Nesbett, Peter T. and Michelle DuBois, "Jacob Lawrence : paintings, drawings, and murals (1935-1999): a catalogue raisonne," Seattle, WA: University of Washington Press, 2000.

Black-and-white study print (8x10).

Orig. negative: 8x10, Safety, BW.

Showhegan School.

Winter [painting] / (photographed by Peter A. Juley & Son)

Archives and Special Collections, Smithsonian American Art Museum
Nesbett, Peter T. and Michelle DuBois, "Jacob Lawrence : paintings, drawings, and murals (1935-1999): a catalogue raisonne," Seattle, WA: University of Washington Press, 2000.

Orig. negative: 4x5, Safety, BW.

No Title Given: Two Women [art work] / (photographed by Peter A. Juley & Son)

Archives and Special Collections, Smithsonian American Art Museum
Black-and-white study print (8x10).

Orig. negative: 8x10, Safety, BW.

Showhegan School.
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