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370:(1930–1933), depicts a scene informed by his experience at the Battle of Sechault, where he was shot. (It does not depict the official German surrender on November 11, 1918, which happened as he was recovering in a French hospital.) He also made the frame and decorated it with hand-carved war materiel, including German and French helmets and weapons. He painted World War I several times thereafter in the 1930s and once more in 1945.
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164:, known for their bravery in battle as the famous Harlem Hellfighters. The predominately Black unit faced a segregated US Army, especially before they were transferred to the command of the French Army. They were the longest serving U.S. regiment on the war's frontlines, holding their ground against enemy fire almost continuously from early April until the end of the war. The regiment as a whole was awarded the French
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260:. While he later explained his creative process: "The pictures which I have already painted come to me in my mind, and if to me it is a worth while picture, I paint it," he revised his compositions extensively. He addressed a range of themes, from landscapes and still lifes to biblical subjects and political statements. Some draw on his personal experience of the war or turn-of-the-century domestic life.
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140:, but would return to West Chester in adulthood. In Goshen, he attended segregated schools until he was 15, when he went to work to support his ailing mother. As a boy, Horace responded to an art supply company's advertising contest and won his first set of crayons and a box of watercolors. He apparently liked to draw the racehorses and jockeys from Goshen's celebrated,
506:" slogan, the painting is unique in his oeuvre for its experimental composition and symbolic program. The relatively small image—about the size of a magazine cover—sorts the figures by race and scale around the central motif of a giant V that matches the typography used in support of the US war effort. That Pippin does not use the distinctive logo of Black Americans' "
295:'s traveling exhibition "Masters of Popular Painting" (1938) and his death at the age of fifty-eight, Pippin's recognition grew exponentially across the country and internationally. During this period, he had solo exhibitions in commercial galleries in Philadelphia (1940, 1941) and New York (1940, 1944), and at the
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looms above him. The lower register is filled with smaller scale figures that are segregated by race, reflecting the contemporaneous situation in the military and, to a lesser degree, the war industries. On the left are Black uniformed military, a medic, and a machinist, most of whom face the viewer.
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victory over racism at home, suggests he was aiming to speak to a national—that is, majority White—audience. The upper register is dominated by oversize figures representing symbols or concepts. At center, a White man with a sledgehammer—presumably, Mr. Prejudice himself—drives a wedge into the V. At
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Immediately after the war, Pippin moved to
Bellville, New Jersey, with his brother and worked as a truck driver. The following year, 1920, he married Jennie Fetherstone Wade Giles, who had been widowed twice and had a six-year-old-son, Richard Wade. Pippin moved to his wife's home in West Chester,
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Initially, the injury cost him the use of his arm and earned him a disability pension for life. While he eventually recovered much of his arm's function, he remained unable "to lift my right hand above my head without the aid of my left hand." (Presumably, mischaracterizations of that quote and a
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Pennsylvania
Academy of the Fine Arts, Philadelphia, January 21–April 17, 1994; Art Institute of Chicago, April 30–July 10, 1994; Cincinnati Art Museum, July 28–October 9, 1994; Baltimore Museum of Art, October 26, 1994 – January 1, 1995; and the Metropolitan Museum of Art, February 1–April 30,
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435:, Japan. Some have argued that centrally placed shepherd figure resembles the artist. As he did with other aspects of Pippin's career, his dealer Robert Carlen took credit for exposing the artist to Hicks' series as he was a principal advocate for both autodidacts.
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He was "discovered" when he submitted two paintings to a local art show—the
Chester County Art Association (CCAA) Annual Exhibition—reportedly with the aid and encouragement of various locals, including CCAA co-founders art critic Christian Brinton and artist
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94:(February 22, 1888 – July 6, 1946) was an American painter who painted a range of themes, including scenes inspired by his service in World War I, landscapes, portraits, and biblical subjects. Some of his best-known works address the U.S.'s history of
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After the war, Pippin created four memoirs—one illustrated—that describe his harrowing military service in detail. He returned to war subjects periodically throughout the 1930s and 1940s, and later said that WWI "brought out all the art in me".
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Pippin painted several religious subjects, which align with his roles as a Sunday school teacher and member of a church choir in West
Chester. Many, including his celebrated Holy Mountain series, depict Bible verses. The three paintings of his
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148:. Before he enlisted to serve in World War I, he worked in a coal yard in Goshen, as a hotel porter at the St. Elmo Hotel in Goshen, as a mover at a storage warehouse in Paterson, New Jersey, and as an iron moulder in Mahwah, New Jersey.
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Pippin's oeuvre includes a variety of subjects and compositional strategies. He began in the 1920s by burning designs into wood panels—mostly snow scenes—and adding paint in one or two colors to highlight specific components of the image.
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relate to his childhood in New York State. Views of the everyday activities of Black families "tended to be relatively invisible to the white masses" before the Great
Migration, so Pippin's domestic scenes offered a privileged view.
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I did not care what or where I went. I asked God to help me, and he did so. And that is the way I came through that terrible and
Hellish place. For the whole entire battlefield was hell, so it was no place for any human being to
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Some have read the brown-skinned figure at center left, outfitted in an anachronistic WWI uniform, as a self-portrait. A similar group of White men fill the lower right quadrant, most turned to face their Black counterparts.
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left, a large, copper-colored Statue of
Liberty raises her torch to light the way to freedom. Staring at her from the right is a broad, lighter-skinned figure dressed in red and holding a noose, while a hooded
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that depict predators and prey together. He includes in the backgrounds elements from his own time—soldiers, graveyards, war planes, and bombs—that are at odds with the peace depicted in the foreground. In
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Pa, where city directories from the mid-1920s list him as a laborer. The 1930 census lists him as a junk dealer, and he also reportedly made deliveries for his wife's laundry business.
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later said: "the man, I think, symbolizes Pippin himself, who, having completed his journey and his mission, sits wistfully, in the autumn of the year, all alone on a park bench."
1192:""'Working My Thought More Perfectly': Horace Pippin's The Lady of the Lake": Metropolitan Museum Journal, v. 52 (2017) - MetPublications - The Metropolitan Museum of Art"
268:. Brinton immediately organized a solo exhibition, cosponsored by the CCAA and the interracial West Chester Community Center, and then connected him with MoMA curators
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of 1947. He has since been the subject of three major retrospective exhibitions, several scholarly books and articles, a book of poetry, and several children's books.
179:"I have three wounds, two flesh wounds and one in the right shoulder and arm, splitting my shoulder blade in two places, and wrecking the socket of the right arm."
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photo shoot from
December 1940, illustrated above, are the sources of the erroneous, widespread idea that he had to move his right hand with his left to paint.)
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1657:, ex. cat. Philadelphia: Pennsylvania Academy of the Fine Arts, 1993. For the full text of Stein's essay, "An American Original," see her website
975:. West, Cornel,, Wilson, Judith,, Hartigan, Lynda Roscoe,, Powell, Richard J., 1953-, Bockrath, Mark,, Buckley, Barbara. New York, NY. p. 3.
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He was honorably discharged in 1919. He was retroactively awarded a Purple Heart for his combat injury in 1945. He said of his combat experience:
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in the midst of World War II at the request of an unidentified patron, probably for use as a poster or illustration. Inspired by the Allies' "
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described Pippin as "a real and rare genius, combining folk quality with artistic maturity so uniquely as almost to defy classification."
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In
September 1918, Pippin was shot by a German sniper, probably during the capture of SĂ©chault, which was part of the
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Harlem's
Rattlers and the Great War : the undaunted 369th Regiment & the African American quest for equality
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in the racially segregated southern United States. He inscribes on each a date significant from WWII.
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important Negro painter" in American history. He is buried at Chestnut Grove Cemetery Annex in
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Pippin was the first Black American artist to be the subject of a monograph, Selden Rodman's
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1222:. Lipman, Jean; Armstrong, Tom; Whitney Museum of American Art. Hudson Hills Press. 1980.
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is part of a trilogy on the abolitionist sometimes credited with igniting the Civil War.
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is marked with "June 6, 1944", the date of the Allied landings at Normandy, known as of
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Horace Pippin Notebook and Letters Online at the Smithsonian's Archives of American Art
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Horace Pippin Notebook and Letters Online at the Smithsonian's Archives of American Art
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Horace Pippin Notebook and Letters Online at the Smithsonian's Archives of American Art
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Pippin painted two self portraits, including one seated at the easel. His painting of
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Pippin took up art in the 1920s and began painting on stretched fabric in 1930 with
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102:. He was the first Black artist to be the subject of a monograph, Selden Rodman's
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1112:"Pippin, Horace." Grolier Encyclopedia of Knowledge, volume 15, copyright 1991.
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Pippin painted about 140 works, many held in museum collections, including the
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acquired his works. His paintings were featured in annual or biennials at the
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Conn, Steve (1997). "The Politics of Painting: Horace Pippin the Historian".
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Suffering and sunset : World War I in the art and life of Horace Pippin
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335:, New York, as well as thematic surveys at the Dayton Art Institute, Ohio;
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in the spring 1940 semester. Carlen, Barnes, and, starting in 1941, dealer
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Suffering and Sunset: World War I in the Art and Life of Horace Pippin.
1589:, exh. cat. The Art Alliance, April 8–May 4, 1947. Philadelphia, 1947.
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Conn, Steve. "The Politics of Painting: Horace Pippin the Historian",
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and, by 1940, the Philadelphia art dealer Robert Carlen and collector
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exh. cat. The Trout Gallery (Dickinson College), Carlisle, Pa., 2021.
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In the catalogue for one of his memorial exhibitions in 1947, critic
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New York State Office of Parks, Recreation and Historic Preservation
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868:"Horace Pippin - Pennsylvania Historical Markers on Waymarking.com"
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Forgey, Benjamin, "Horace Pippin's 'personal spiritual journey'",
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Primitive : the art and life of Horace H. Pippin : poems
1029:"National Register of Historic Places Registration: Olivet Chapel"
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Pippin also created images related to popular culture, including
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exh. cat. Brandywine River Museum of Art, Chadds Ford, Pa., 2015
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Chestnut Grove Cemetery Annex, West Chester, Pennsylvania, U.S.
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Zilczer, Judith. "A Not-So-Peaceable Kingdom: Horace Pippin's
1307:. Lewis, Audrey M.,, Brandywine River Museum. New York. 2015.
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is marked "Aug 9, 1945", the day the United States dropped an
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racetrack. He was a member of church congregations, including
1554:, exh. cat., The Phillips Collection. Washington, D.C., 1976.
1259:"A Not-So-Peaceable Kingdom: Horace Pippin's "Holy Mountain""
638:, not long after her famous 1939 concert on the steps of the
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120:. A Pennsylvania State historical Marker at 327 Gay Street,
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Monahan, Anne, Isabelle Duvernois, and Sylvia A. Centeno.
1396:"Barnes Takeout: Art Talk on Horace Pippin's Supper Time"
303:(1942). Private collections and institutions such as the
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A splash of red : the life and art of Horace Pippin
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unfinished in his studio at this death on July 6, 1946.
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are among his most popular works; see, for example, the
510:" campaign, which advocated for military victory abroad
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Barnes Takeout: Art Talk on Horace Pippin's Supper Time
160:, Pippin served in K Company, the 3rd Battalion of the
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is marked "Dec. 7 1944", the third anniversary of the
1618:"'Working My Thought More Perfecty': Horace Pippin's
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911:. Pippin, Horace, 1888-1946. New Haven, Connecticut.
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In the eight years between his national debut in the
1490:. Sweet, Melissa, 1956- (First ed.). New York.
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Sammons, Jeffrey T. (Jeffrey Thomas), 1949- (2014).
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St. John's African Union Methodist Protestant Church
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A Splash of Red: The Life and Art of Horace Pippin.
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851:Horace Pippin's last resting site no longer hidden
280:. Pippin attended art appreciation classes at the
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1613:," Yale University Press Blog, 22 February 2020.
1547:, exh. cat., Carlen Gallery. Philadelphia, 1940.
1062:. Morrow, John Howard, 1944-. Lawrence, Kansas.
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631:. He made two portraits of the celebrated Black
1696:Primitive: The Art and Life of Horace H. Pippin
973:I tell my heart : the art of Horace Pippin
857:, September 5, 2013. Retrieved April 24, 2020.
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761:, Chadds Ford, Pa., June 4–September 5, 1977.
1561:Philadelphia: Temple University Press, 2015.
753:, Washington, D.C., February 25–March 1977;
1522:) CS1 maint: multiple names: authors list (
1384:. Washington, D.C: The Phillips Collection.
1148:. Pippin, Horace, 1888-1946. Philadelphia.
1094:) CS1 maint: multiple names: authors list (
288:played prominent roles in Pippin's career.
1676:https://doi.org/10.1086/aaa.41.1_4.1557755
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1144:Bernier, Celeste-Marie (5 November 2015).
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778:, Chadds Ford, Pa., April 25–July 19, 2015
765:I Tell My Heart: The Art of Horace Pippin.
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1655:I Tell My Heart: The Art of Horace Pippin
1648:Horace Pippin: A Negro Painter in America
1596:. New Haven: Yale University Press, 2020.
1218:American folk painters of three centuries
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802:Horace Pippin: A Negro Painter in America
757:Gallery, New York, April 5–30, 1977; and
741:Horace Pippin: A Negro Painter in America
661:Collections and retrospective exhibitions
104:Horace Pippin, A Negro Painter in America
1762:2015 exhibition of Horace Pippin's works
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1354:Smith, Jessica T. (February 22, 2019).
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381:, 1930–1933. Philadelphia Museum of Art
201:Horace Pippin's War Notebooks, ca. 1920
1842:20th-century African-American painters
1822:People from West Chester, Pennsylvania
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390:series are reminiscent of the bucolic
1550:Bearden, Romare. "Horace Pippin." In
1486:Bryant, Jen, 1960- (8 January 2013).
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1305:Horace Pippin : the way I see it
710:Pennsylvania Academy of the Fine Arts
706:Hirshhorn Museum and Sculpture Garden
460:Pennsylvania Academy of the Fine Arts
329:Pennsylvania Academy of the Fine Arts
1543:Barnes, Albert. "Horace Pippin." In
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379:The Ending of the War, Starting Home
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258:The Ending of the War: Starting Home
458:(1942) is in the collection of the
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1847:20th-century American male artists
1817:American artists with disabilities
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1585:Locke, Alain. "Horace Pippin." In
734:San Francisco Museum of Modern Art
301:San Francisco Museum of Modern Art
118:West Goshen Township, Pennsylvania
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1634:Grolier Encyclopedia of Knowledge
1587:Horace Pippin Memorial Exhibition
1443:(First ed.). Rochester, NY.
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724:, Chadds Ford, Pennsylvania; the
227:Soldiers with Gas Masks in Trench
1775:Gallery of Horace Pippin Artwork
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1672:Archives of American Art Journal
1580:Horace Pippin: The Way I See It,
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530:painted by Horace Pippin in 1943
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480:John Brown Going to His Hanging
1792:20th-century American painters
1611:Horace Pippin's Self-Portraits
1594:Horace Pippin, American Modern
1439:Harrington, Janice N. (2016).
1356:"Horace Pippin, Mr. Prejudice"
1257:Zilczer, Judith (2001-01-01).
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907:Monahan, Anne (January 2020).
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776:Brandywine River Museum of Art
759:Brandywine River Museum of Art
642:, and dedicated a painting to
333:Whitney Museum of American Art
313:Whitney Museum of American Art
251:The Metropolitan Museum of Art
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1:
1650:. New York: Quadrangle, 1947.
1602:Horace Pippin: Racism and War
804:. New York: Quadrangle Press.
692:Horace Pippin's Mr. Prejudice
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1827:People from Goshen, New York
1735:, Metropolitan Museum of Art
1568:(Spring 1997): pp. 5–26
331:, Philadelphia, PA; and the
323:, Pittsburgh, Pennsylvania;
16:American painter (1888–1946)
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1625:Metropolitan Museum Journal
394:paintings of Quaker artist
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234:Postwar life and art career
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1698:. BOA Editions Ltd., 2016.
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1275:10.1086/aaa.41.1_4.1557755
714:Philadelphia Museum of Art
702:Metropolitan Museum of Art
681:, 12:17, Barnes Foundation
553:, and several versions of
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309:Philadelphia Museum of Art
175:. As he later explained:
134:West Chester, Pennsylvania
122:West Chester, Pennsylvania
52:West Chester, Pennsylvania
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1557:Bernier, Celeste-Marie.
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1380:Bearden, Romare (1977).
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722:Brandywine Museum of Art
720:, Philadelphia, PA; the
716:, Philadelphia, PA; The
366:His first oil painting,
317:Art Institute of Chicago
800:Rodman, Selden (1947).
730:Baltimore Museum of Art
600:The Phillips Collection
547:The Phillips Collection
433:atomic bomb on Nagasaki
337:National Gallery of Art
325:Corcoran Gallery of Art
213:Three Soldiers on March
173:Meuse-Argonne Offensive
162:369th infantry regiment
1797:American male painters
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609:, based on the song "
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849:Holmes, Kristin E. "
728:, Washington, D.C.;
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708:, Washington, D.C.;
456:Going to his Hanging
421:The Knowledge of God
401:The Knowledge of God
339:, Washington, D.C.;
327:, Washington, D.C.;
297:Arts Club of Chicago
293:Museum of Modern Art
286:Edith Gregor Halpert
1837:Self-taught artists
1764:, Brandywine Museum
1709:Horace Pippin links
751:Phillips Collection
726:Phillips Collection
555:Cabin in the Cotton
413:The Holy Mountain I
132:Pippin was born in
1632:"Pippin, Horace."
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321:Carnegie Institute
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109:The New York Times
100:racial segregation
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1660:"judithstein.com"
1578:Lewis, Audrey M.
1497:978-0-375-86712-5
1450:978-1-942683-20-9
1420:. 3 February 2023
1400:Barnes Foundation
1314:978-1-85759-941-1
1196:www.metmuseum.org
1155:978-1-4399-1273-7
1069:978-0-7006-1957-3
918:978-0-300-24330-7
718:Barnes Foundation
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689:
677:
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664:
640:Lincoln Memorial
629:Cabin in the Sky
567:
564:
551:Washington, D.C.
491:Lady of the Lake
475:
278:Albert C. Barnes
247:Self-Portrait II
223:
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138:Goshen, New York
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1722:External images
1705:
1691:New York, 2013.
1684:
1682:Further reading
1662:. January 1993.
1658:
1627:, v. 52 (2017).
1599:Monahan, Anne.
1592:Monahan, Anne.
1540:
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663:
636:Marian Anderson
565:
537:genre paintings
534:
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478:Horace Pippin,
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655:Romare Bearden
651:The Park Bench
596:Domino Players
585:School Studies
542:Domino Players
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1422:. Retrieved
1418:Smarthistory
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1363:. Retrieved
1360:Smarthistory
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1199:. Retrieved
1195:
1186:
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1043:November 21,
1041:. Retrieved
1037:the original
1022:
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875:. Retrieved
871:
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649:Pippin left
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644:Paul Robeson
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559:After Supper
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106:(1947), and
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65:(1946-07-06)
63:July 6, 1946
1812:1946 deaths
1807:1888 births
1733:9 paintings
1424:February 3,
823:(1): 5–26.
568:–1939) and
566: 1935
545:(1943), in
444:Crucifixion
352:Alain Locke
299:(1941) and
249:, 1944, at
158:World War I
152:World War I
1786:Categories
1229:0933920059
1201:2023-08-10
927:1111940032
877:October 2,
454:John Brown
427:. Lastly,
266:N.C. Wyeth
128:Early life
44:1888-02-22
1747:Interior,
1514:cite book
1506:775779492
1467:cite book
1459:940795165
1331:cite book
1323:900609614
1291:192411506
1283:0003-9853
1238:cite book
1172:cite book
1164:899114067
1086:cite book
1078:864095787
999:cite book
935:cite book
829:0026-3079
633:contralto
627:and film
615:Uncle Tom
535:Pippin's
991:28148136
837:40642856
598:(1943),
517:Klansman
508:Double V
409:lynching
358:Artworks
311:and the
84:Painting
1573:ARTnews
1538:Sources
625:musical
96:slavery
1640:
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1365:May 1,
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572:(1945)
307:, the
54:, U.S.
1287:S2CID
833:JSTOR
783:Notes
768:1995.
417:D-Day
1749:1944
1638:ISBN
1528:link
1524:link
1520:link
1502:OCLC
1492:ISBN
1473:link
1455:OCLC
1445:ISBN
1426:2023
1367:2020
1341:link
1337:link
1319:OCLC
1309:ISBN
1279:ISSN
1244:link
1224:ISBN
1178:link
1160:OCLC
1150:ISBN
1100:link
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1074:OCLC
1064:ISBN
1045:2010
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987:OCLC
977:ISBN
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913:ISBN
879:2016
825:ISSN
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