331:
artists at the time he surrounded this figures not with the bounty of an imagined tropical island but with urban debris. The representation of economic pressures and struggles that shaped the world of the
Haitians he painted separates his work from other artists inspired by Haiti before him. His thorough research on Haiti, Cuba, and West Africa stimulated his creating courses at Howard in "Latin American Art" and "African Art and Architecture". In 1955, he was awarded a fellowship by the Belgium-American Art Seminar and studied Flemish and Dutch Art of the 16th to the 18th century while in Belgium. With a grant from the newspaper, the
248:
326:, his approach to the subject matter differed. He did not paint his Haitian subjects as simply picturesque and created monumental figures of the "market women" he saw. Porter's paintings and writing encouraged Americans to resist the urge upon traveling to Haiti and getting lost in the picturesque quality it holds on the surface. In an essay Porter wrote in 1946 for
382:
James A. Porter left a cultural and educational legacy to those passionately involved in the area of
African American art. The drive to explore and firmly document artists of the Diaspora continues today. Porter's artistic and historical work provides a solid foundation in which current and future
330:
entitled "Picturesque Haiti" he wrote, "It is altogether too easy to make the aesthetic blunder so easily made in the presence of the new and the strange, that is, to say of
Haitian life or landscape, 'Oh, how picturesque!' " While his paintings made in Haiti showcased the same characters as other
289:
in 1943, the first comprehensive study in the United States of
African-American art. Porter decisively placed African-American artists within the framework of American art. He was the first to recognize and document the significant contributions these artists made to the history of American art.
364:, where he did research. On December 27, 1929, Porter and Burnett were married. They had one daughter, Constance Porter. The couple became professional as well as personal partners. Dorothy worked with Porter, providing bibliographic information critical to his investigations. Both worked at
294:
became and still is the foundation of
African-American art history and for later texts. Porter's interest in nearly forgotten and often ignored artists of African descent was sparked by reading a brief article on African-American landscape artist
412:
founded an academic colloquium named in Porter's honor and has since held it annually. The
Colloquium annually draws leading and emerging scholars in the field of study he helped establish. Presenters have included Porter students such as
449:
auctioned an immense archive of research material amassed by Porter; it consisted of photographs, letters, exhibit catalogues, art books, flyers, and bibliographical data on important
African-American artists. Acquired by
282:, recalled in an interview with Xavier Nicholas that he was the only student in his "Negro Art" class one semester but "He taught that course as though he had a hundred students there, and I was the only one."
318:. In Haiti, Porter's subjects included the peasant class and landscapes of the country. While his work in Haiti focused on similar subjects as other Black artists who turned to Haiti for inspiration, such as
383:
scholars can build upon. Many scholars owe Porter for the inspiration to probe the depths of
African American visual culture and attest to its significance to American culture.
49:
405:
Honored by
President Lyndon Johnson, on the twenty-fifth anniversary of the founding of the National Gallery of Art as one of America's most outstanding men of the arts.
794:
146:(December 22, 1905 – February 28, 1970) was an African-American art historian, artist and teacher. He is best known for establishing the field of
430:
838:
848:
778:
868:
843:
341:
in 1963 to study West
African architecture. He completed 25 paintings with South African themes during his time in the country.
858:
194:
327:
209:
670:"The Dream of Diaspora in African American Art, 1915–1942: The Dream of Diaspora in African American Art, 1915–1942"
299:. Due to the account's brevity, Porter followed his curiosity to research Duncanson and other artists of African descent.
893:
888:
799:
348:
in Chicago, and in 1948, he mounted a one-man exhibition of his work with the Barnett-Aden Gallery in Washington, D.C.
344:
Porter's work was shown in many group exhibitions during his forty year career. In 1940, his work was displayed at the
224:. He received the Certificat De Presence from the Institute of Art and Archeology, University of Paris in August 1935.
190:
167:
97:
883:
878:
853:
369:
17:
863:
873:
198:
518:
Indepth Arts News: "Annual James A. Porter Colloquium on African American Art." Absolute Arts. April 6-7, 2001.
454:, the papers include correspondence from virtually every major African-American artist from the 1920s forward:
256:
31:
345:
438:
418:
361:
643:
564:
323:
303:
296:
213:
186:, Porter studied painting, drawing, and art history, and graduated with honors in Art in 1927.
519:
319:
833:
828:
170:
and his mother was a teacher. His brother John taught him to paint. He attended schools in
147:
274:, chair the Art Department, and serve as Director of the Art Gallery (1953 through 1970).
8:
267:
228:
221:
163:
151:
106:
102:
73:
795:
Catalogue listing for Swann Galleries auction of Porter's Art History Reference archive
705:
697:
636:
422:
728:
709:
689:
609:
536:
467:
459:
409:
395:
365:
357:
279:
271:
263:
247:
202:
183:
175:
134:
116:
681:
601:
471:
451:
201:. In 1933, his prize winning painting, "Woman Holding A Jug," was selected for the
179:
753:
446:
426:
368:. Dorothy Porter was the director of the Moorland Foundation, later known as the
333:
171:
455:
414:
275:
701:
669:
822:
693:
613:
434:
266:. During his four decade Howard tenure, he would work with artists, such as
372:. She developed and catalogued information about African-American artists.
338:
605:
463:
232:
813:
235:. Porter's master's thesis, later the subject for his influential book
589:
306:
in 1945. He took a leave of absence from teaching and spent a year in
262:
Porter began his career as an instructor of painting and drawing at
685:
809:
48:
217:
558:
556:
27:
African-American art historian, artist and teacher (1905–1970)
642:. Greenwich, Connecticut: New York Graphic Society. pp.
629:
627:
625:
623:
315:
553:
537:"James A. Porter - The Black Renaissance in Washington, DC"
520:
https://www.absolutearts.com/artsnews/2001/03/16/28248.html
490:
488:
486:
421:, along with other important scholars and artists, such as
311:
307:
810:
Stuart A. Rose Manuscript, Archives, and Rare Book Library
620:
216:
grant that allowed him to study art in Europe. He studied
483:
754:"The James A Porter Colloquium on African American Art"
746:
779:"African American artists' papers acquired by Emory"
394:
Recipient of the Schomburg Portrait Prize, from the
193:, where he won the Arthur Schomburg Portrait Prize,
227:He returned to the United States where he attended
635:
820:
208:In 1935, Porter received a scholarship from the
310:from 1945 to 1946, studying art and culture in
239:, focused on African-American art and artists.
231:, graduating in 1937 with a master's degree in
222:Institute of Art and Archeology at the Sorbonne
499:. University of California Press. p. 104.
723:
721:
719:
302:Porter was the recipient of a grant from the
531:
529:
527:
157:
716:
360:, a librarian at the Harlem branch of the
174:between 1918 and 1923, and later attended
47:
524:
514:
512:
510:
508:
506:
667:
246:
166:on December 22, 1905. His father was an
14:
821:
503:
839:20th-century African-American writers
633:
494:
195:Teachers College, Columbia University
663:
661:
659:
657:
655:
653:
375:
210:Institute of International Education
168:African Methodist Episcopal minister
290:With Porter's systematic approach,
150:history and was influential in the
24:
849:20th-century American male writers
429:, Richard Powell, Michael Harris,
191:The Art Institute of New York City
98:The Art Institute of New York City
25:
905:
869:American male non-fiction writers
814:James A. Porter papers, 1867–2009
788:
650:
562:
370:Moorland-Spingarn Research Center
844:20th-century American historians
497:African American Art and Artists
351:
182:, head of the Art Department at
771:
356:During his studies, Porter met
199:Art Students League of New York
30:For the American novelist, see
582:
278:, one of Porter's students at
13:
1:
859:African-American male writers
477:
205:Exhibition of Negro Artists.
152:African American Art movement
668:Thompson, Krista A. (2007).
398:, for the painting entitled
257:Harmon Foundation Collection
126:African-American art history
7:
565:"James A. Porter biography"
212:and was the recipient of a
189:In 1929, Porter studied at
10:
910:
894:University of Paris alumni
889:New York University alumni
800:The art of James A. Porter
32:James A. Porter (novelist)
29:
346:American Negro Exposition
242:
178:. Under the direction of
130:
122:
112:
93:
81:
55:
46:
39:
884:Howard University alumni
879:Historians from Maryland
854:African-American artists
158:Early life and education
864:American art historians
634:Dover, Cedrick (1960).
495:Lewis, Samella (2003).
419:Tritobia Hayes Benjamin
362:New York Public Library
874:Artists from Baltimore
733:Smithsonian Art Museum
600:(5): 1049–1120. 2016.
445:On February 25, 2010,
385:
304:Rockefeller Foundation
297:Robert Scott Duncanson
259:
214:Rockefeller Foundation
606:10.1353/cal.2016.0145
380:
337:, Porter traveled to
250:
812:, Emory University:
328:Opportunity Magazine
162:Porter was born in
148:African-American art
474:, and many others.
400:Woman Holding a Jug
268:James Lesesne Wells
229:New York University
164:Baltimore, Maryland
107:New York University
103:Sorbonne University
74:Baltimore, Maryland
638:American Negro Art
423:Lowery Stokes Sims
260:
758:Howard University
590:"James A. Porter"
569:Howard University
541:dclibrarylabs.org
468:Elizabeth Catlett
460:Lois Mailou Jones
410:Howard University
396:Harmon Foundation
376:Honors and legacy
366:Howard University
272:Lois Mailou Jones
264:Howard University
251:James A. Porter,
203:Harmon Foundation
184:Howard University
176:Howard University
144:James Amos Porter
141:
140:
117:Howard University
85:February 28, 1970
70:December 22, 1905
60:James Amos Porter
18:James Amos Porter
16:(Redirected from
901:
783:
782:
775:
769:
768:
766:
764:
750:
744:
743:
741:
739:
729:"James A Porter"
725:
714:
713:
665:
648:
647:
641:
631:
618:
617:
586:
580:
579:
577:
575:
563:Hayes, Jefreen.
560:
551:
550:
548:
547:
533:
522:
516:
501:
500:
492:
472:Hughie Lee-Smith
452:Emory University
389:
320:William E. Scott
292:Modern Negro Art
287:Modern Negro Art
237:Modern Negro Art
180:James V. Herring
88:
69:
67:
51:
37:
36:
21:
909:
908:
904:
903:
902:
900:
899:
898:
819:
818:
791:
786:
777:
776:
772:
762:
760:
752:
751:
747:
737:
735:
727:
726:
717:
666:
651:
632:
621:
588:
587:
583:
573:
571:
561:
554:
545:
543:
535:
534:
525:
517:
504:
493:
484:
480:
447:Swann Galleries
427:Richard A. Long
391:
387:
378:
358:Dorothy Burnett
354:
245:
172:Washington D.C.
160:
135:Dorothy Burnett
113:Alma mater
105:
101:
86:
77:
76:, United States
71:
65:
63:
62:
61:
42:
41:James A. Porter
35:
28:
23:
22:
15:
12:
11:
5:
907:
897:
896:
891:
886:
881:
876:
871:
866:
861:
856:
851:
846:
841:
836:
831:
817:
816:
807:
797:
790:
789:External links
787:
785:
784:
770:
745:
715:
702:10.1086/526481
686:10.1086/526481
649:
619:
581:
552:
523:
502:
481:
479:
476:
456:Romare Bearden
443:
442:
439:Deborah Willis
415:David Driskell
406:
403:
388:—Jefreen Hayes
379:
377:
374:
353:
350:
276:David Driskell
244:
241:
159:
156:
139:
138:
132:
128:
127:
124:
123:Known for
120:
119:
114:
110:
109:
95:
91:
90:
89:(aged 64)
83:
79:
78:
72:
59:
57:
53:
52:
44:
43:
40:
26:
9:
6:
4:
3:
2:
906:
895:
892:
890:
887:
885:
882:
880:
877:
875:
872:
870:
867:
865:
862:
860:
857:
855:
852:
850:
847:
845:
842:
840:
837:
835:
832:
830:
827:
826:
824:
815:
811:
808:
805:
801:
798:
796:
793:
792:
780:
774:
759:
755:
749:
734:
730:
724:
722:
720:
711:
707:
703:
699:
695:
691:
687:
683:
679:
675:
671:
664:
662:
660:
658:
656:
654:
645:
640:
639:
630:
628:
626:
624:
615:
611:
607:
603:
599:
595:
591:
585:
570:
566:
559:
557:
542:
538:
532:
530:
528:
521:
515:
513:
511:
509:
507:
498:
491:
489:
487:
482:
475:
473:
469:
465:
461:
457:
453:
448:
440:
436:
435:Samella Lewis
432:
431:Judith Wilson
428:
424:
420:
416:
411:
407:
404:
401:
397:
393:
392:
390:
384:
373:
371:
367:
363:
359:
352:Personal life
349:
347:
342:
340:
336:
335:
329:
325:
324:Aaron Douglas
321:
317:
313:
309:
305:
300:
298:
293:
288:
285:He published
283:
281:
277:
273:
269:
265:
258:
254:
249:
240:
238:
234:
230:
225:
223:
219:
215:
211:
206:
204:
200:
197:, and at the
196:
192:
187:
185:
181:
177:
173:
169:
165:
155:
153:
149:
145:
136:
133:
129:
125:
121:
118:
115:
111:
108:
104:
99:
96:
92:
84:
80:
75:
58:
54:
50:
45:
38:
33:
19:
803:
773:
761:. Retrieved
757:
748:
736:. Retrieved
732:
680:(3): 74–97.
677:
674:American Art
673:
637:
597:
593:
584:
572:. Retrieved
568:
544:. Retrieved
540:
496:
444:
399:
386:
381:
355:
343:
339:South Africa
334:Evening Star
332:
301:
291:
286:
284:
261:
253:African Nude
252:
236:
226:
207:
188:
161:
143:
142:
87:(1970-02-28)
834:1970 deaths
829:1905 births
464:Meta Fuller
233:art history
220:art at the
823:Categories
763:4 November
738:4 November
574:4 November
546:2017-02-18
478:References
66:1905-12-22
710:161805052
694:1073-9300
614:1080-6512
137:(m. 1929)
94:Education
594:Callaloo
408:In 1990
255:, 1934.
402:(1930).
218:Baroque
804:Artnet
708:
700:
692:
612:
437:, and
280:Howard
243:Career
131:Spouse
706:S2CID
698:JSTOR
644:19–29
316:Haiti
765:2018
740:2018
690:ISSN
610:ISSN
576:2018
417:and
322:and
314:and
312:Cuba
308:Cuba
270:and
82:Died
56:Born
682:doi
602:doi
825::
802:.
756:.
731:.
718:^
704:.
696:.
688:.
678:21
676:.
672:.
652:^
622:^
608:.
598:39
596:.
592:.
567:.
555:^
539:.
526:^
505:^
485:^
470:,
466:,
462:,
458:,
433:,
425:,
154:.
100:,
806:.
781:.
767:.
742:.
712:.
684::
646:.
616:.
604::
578:.
549:.
441:.
68:)
64:(
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
