African American Artist Selma Burke Roosevelt Photo Sculpture President Truman
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AFRICAN AMERICAN ARTIST SELMA BURKE ROOSEVELT PHOTO SCULPTURE PRESIDENT TRUMAN. An extremely rare vintage original 1945 photo measuring 7x9 inches depicting TRUMAN VIEWS ROOSEVELT PLAQUE - President Truman (left), after viewing a bronze plaque of Franklin D. Roosevelt at the Recorder of Deeds Building in Washington Sept, 24, meets the sculptress, SELMA BURKE (second from right), 38, former Brooklyn Navy Yard Truck Driver, at right is Marshall Shepard Negro Recorder of FDeeds for the district.
SELMA BURKE AND PRESIDENT TRUMAN VINTAGE ORIGINAL 7X9 INCH PHOTO FROM 1945 DEPICTING HER DESIGN FOR THE ROOSEVELT DIME 1622 D Associated Press Photo Caution: Use Credit From New York TRUMAN VIEWS New ROOSEVELT PLAQUE The President Truman (left), after viewing A BronzE PLaqUE OF FRAnkLiN D. Roosevelt AT THE Recorder of Deeds building in Washington Sept. 24, meets the sculptress, Selma Burke (second from right), 38, former Brooklyn Navy Yard Truck driver. AT Right is Marshall Shepard, negro recorder of deeds for the district. Associated Press Photo HER-9/ 24-45-12 :55A-WX-STF-JR NY STATE FLS 22 SEP 1945
Harry S. Truman[b] (May 8, 1884 – December 26, 1972) was the 33rd president of the United States, serving from 1945 to 1953. A member of the Democratic Party, he previously served as the 34th vice president from January to April 1945 under Franklin Roosevelt and as a United States Senator from Missouri from 1935 to January 1945. Having assumed the presidency after Roosevelt's death, Truman implemented the Marshall Plan to rebuild the economy of Western Europe and established both the Truman Doctrine and NATO to contain the expansion of communism. He proposed numerous liberal domestic reforms, but few were enacted by the Conservative Coalition which dominated the Congress. Truman grew up in Independence, Missouri, and during the First World War fought in France as a captain in the Field Artillery. Returning home, he opened a haberdashery in Kansas City, Missouri, and was elected as a judge of Jackson County in 1922. Truman was elected to the United States Senate from Missouri in 1934. In 1940–1944 he gained national prominence as chairman of the Truman Committee, which was aimed at reducing waste and inefficiency in wartime contracts. Only after assuming the presidency was he informed about the atomic bomb. Truman authorized the first and only use of nuclear weapons in war against Hiroshima and Nagasaki in Japan. Truman's administration engaged in an internationalist foreign policy by working closely with British Prime Minister Clement Attlee. Truman staunchly denounced isolationism. He energized the New Deal coalition during the 1948 presidential election and won a surprise victory against Republican Thomas E. Dewey that secured his own presidential term. Truman presided over the onset of the Cold War in 1947. He oversaw the Berlin Airlift and Marshall Plan in 1948. With the involvement of the US in the Korean War of 1950–1953, South Korea repelled the invasion by North Korea. Domestically, the postwar economic challenges such as strikes and inflation created a mixed reaction over the effectiveness of his administration. In 1948, he proposed Congress pass comprehensive civil rights legislation. Congress refused, so in 1948 Truman issued Executive Order 9980 and Executive Order 9981 which desegregated the armed forces and federal agencies. Corruption in the Truman administration became a central campaign issue in the 1952 presidential election. He was eligible for reelection in 1952, but with weak polls he decided not to run. Republican Dwight D. Eisenhower attacked Truman's record and won easily. Truman went into a retirement marked by the founding of his presidential library and the publication of his memoirs. It was long thought that his retirement years were financially difficult for Truman, resulting in Congress establishing a pension for former presidents, but evidence eventually emerged that he amassed considerable wealth, some of it while still president. When he left office, Truman's administration was heavily criticized, though critical reassessment of his presidency has improved his reputation among historians and the general population.[7] Contents 1 Early life, family, and education 2 Working career 3 Military service 3.1 National Guard 3.2 World War I 3.3 Officers' Reserve Corps 3.4 Military awards and decorations 4 Politics 4.1 Jackson County judge 4.2 U.S. Senator from Missouri 4.2.1 Truman Committee 5 Vice presidency (1945) 6 Presidency (1945–1953) 6.1 First term (1945–1949) 6.1.1 Assuming office 6.1.2 Dropping atomic bombs on Japan 6.1.3 Labor unions, strikes and economic issues 6.1.4 Approval rating falls; Republicans win Congress in 1946 6.1.5 Proposes "Fair Deal" liberalism 6.1.6 Marshall Plan, Cold War, and China 6.1.7 Berlin airlift 6.1.8 Recognition of Israel 6.1.9 Calls for Civil Rights 6.2 1948 election 6.3 Full elected term (1949–1953) 6.3.1 Hydrogen bomb decision 6.3.2 Korean War 6.3.3 Worldwide defense 6.3.4 Soviet espionage and McCarthyism 6.3.5 Blair House and assassination attempt 6.3.6 Steel and coal strikes 6.3.7 Scandals and controversies 6.4 Civil rights 6.5 Administration and cabinet 6.6 Foreign policy 6.7 1952 election 7 Post-presidency (1953–1972) 7.1 Financial situation 7.2 Truman Library and academic positions 7.3 Politics 7.4 Medicare 8 Death 9 Tributes and legacy 9.1 Legacy 9.2 Sites and honors 10 See also 11 Notes 12 References 13 Bibliography 13.1 Biographies of Truman 13.2 Books 13.3 Primary sources 13.4 Journals 13.4.1 Time 13.4.2 The Washington Post 13.4.3 The New York Times 13.5 Harry S. Truman Library and Museum 13.6 Online sources 14 External links Early life, family, and education Truman at age 13 in 1897 Truman was born in Lamar, Missouri, on May 8, 1884, the oldest child of John Anderson Truman and Martha Ellen Young Truman. He was named for his maternal uncle, Harrison "Harry" Young. His middle initial, "S", is not an abbreviation of one particular name, but rather honors both his grandfathers, Anderson Shipp Truman and Solomon Young, a semi-common practice in the American South.[8][b] A brother, John Vivian, was born soon after Harry, followed by sister Mary Jane.[9] Truman's ancestry is primarily English with some Scots-Irish, German, and French.[10][11] John Truman was a farmer and livestock dealer. The family lived in Lamar until Harry was ten months old, when they moved to a farm near Harrisonville, Missouri. They next moved to Belton and in 1887 to his grandparents' 600-acre (240 ha) farm in Grandview.[12] When Truman was six, his parents moved to Independence, Missouri, so he could attend the Presbyterian Church Sunday School. He did not attend a conventional school until he was eight years old.[13] While living in Independence, he served as a Shabbos goy for Jewish neighbors, doing tasks for them on Shabbat that their religion prevented them from doing on that day.[14][15][16] Truman was interested in music, reading, and history, all encouraged by his mother, with whom he was very close. As president, he solicited political as well as personal advice from her.[17] He rose at five every morning to practice the piano, which he studied more than twice a week until he was fifteen, becoming quite a skilled player.[18] Truman worked as a page at the 1900 Democratic National Convention in Kansas City;[19] his father had many friends active in the Democratic Party who helped young Harry to gain his first political position.[20] After graduating from Independence High School in 1901, Truman took classes at Spalding's Commercial College, a Kansas City business school. He studied bookkeeping, shorthand, and typing but stopped after a year.[21] Working career Truman's home in Independence, Missouri Truman was employed briefly in the mailroom of The Kansas City Star[22] before making use of his business college experience to obtain a job as a timekeeper for construction crews on the Atchison, Topeka & Santa Fe Railway, which required him to sleep in workmen's camps along the rail lines.[23] Truman and his brother Vivian later worked as clerks at the National Bank of Commerce in Kansas City.[24] In 1906, Truman returned to the Grandview farm, where he lived until entering the army in 1917.[25] During this period, he courted Bess Wallace. He proposed in 1911, but she turned him down. Truman later said he intended to propose again, but he wanted to have a better income than that earned by a farmer.[26] To that end, during his years on the farm and immediately after World War I, he became active in several business ventures, including a lead and zinc mine near Commerce, Oklahoma,[27] a company that bought land and leased the oil drilling rights to prospectors,[28] and speculation in Kansas City real estate.[29] Truman occasionally derived some income from these enterprises, but none proved successful in the long term.[30] Truman is the only president since William McKinley (elected in 1896) who did not earn a college degree.[31] In addition to having briefly attended business college, from 1923 to 1925 he took night courses toward an LL.B. at the Kansas City Law School (now the University of Missouri–Kansas City School of Law) but dropped out after losing reelection as county judge.[32] He was informed by attorneys in the Kansas City area that his education and experience were probably sufficient to receive a license to practice law, but did not pursue it because he won election as presiding judge.[33] While serving as president in 1947, Truman applied for a law license.[34] A friend who was an attorney began working out the arrangements, and informed Truman that his application had to be notarized. By the time Truman received this information he had changed his mind, so he never followed up. After the discovery of Truman's application in 1996 the Missouri Supreme Court issued him a posthumous honorary law license.[35] Military service National Guard Because he lacked the funds for college, Truman considered attending the United States Military Academy at West Point, New York, which had no tuition, but he was refused an appointment because of poor eyesight.[32] He enlisted in the Missouri National Guard in 1905 and served until 1911 in the Kansas City-based Battery B, 2nd Missouri Field Artillery Regiment, in which he attained the rank of corporal.[36] At his induction, his eyesight without glasses was unacceptable 20/50 in the right eye and 20/400 in the left (past the standard for legal blindness).[37] The second time he took the test, he passed by secretly memorizing the eye chart.[38] He was described as 5 feet 10 inches tall, gray eyed, dark haired and of light complexion.[39] Truman in military uniform with shoulder and waist belt with helmet Truman in uniform, c. 1918 World War I When the United States entered World War I in 1917, Truman rejoined Battery B, successfully recruiting new soldiers for the expanding unit, for which he was elected as their first lieutenant.[40] Before deployment to France, Truman was sent for training to Camp Doniphan, Fort Sill, near Lawton, Oklahoma when his regiment was federalized as the 129th Field Artillery.[41] The regimental commander during its training was Robert M. Danford, who later served as the Army's Chief of Field Artillery.[42] Truman later said he learned more practical, useful information from Danford in six weeks than from six months of formal Army instruction, and when Truman later served as an artillery instructor, he consciously patterned his approach on Danford's.[42] Truman also ran the camp canteen with Edward Jacobson, a clothing store clerk he knew from Kansas City. Unlike most canteens funded by unit members, which usually lost money, the canteen operated by Truman and Jacobson turned a profit, returning each soldier's initial $2 investment and $10,000 in dividends in six months.[36] At Fort Sill, Truman met Lieutenant James M. Pendergast, nephew of Tom Pendergast, a Kansas City political boss, a connection that had a profound influence on Truman's later life.[43][44] In mid-1918, about one million soldiers of the American Expeditionary Forces were in France.[45] Truman was promoted to captain effective April 23,[46] and in July became commander of the newly arrived Battery D, 129th Field Artillery, 35th Division.[47][48] Battery D was known for its discipline problems, and Truman was initially unpopular because of his efforts to restore order.[36] Despite attempts by the men to intimidate him into quitting, Truman succeeded by making his corporals and sergeants accountable for discipline. He promised to back them up if they performed capably, and reduce them to private if they did not.[49] In an event memorialized in battery lore as "The Battle of Who Run", his soldiers began to flee during a sudden night attack by the Germans in the Vosges Mountains; Truman succeeded at ordering his men to stay and fight, using profanity from his railroad days. The men were so surprised to hear Truman use such language that they immediately obeyed.[36] Truman's unit joined in a massive prearranged assault barrage on September 26, 1918, at the opening of the Meuse-Argonne Offensive.[50] They advanced with difficulty over pitted terrain to follow the infantry, and set up an observation post west of Cheppy.[50] On September 27, Truman saw through his binoculars an enemy artillery battery deploying across a river in a position which would allow them to fire upon the neighboring 28th Division.[50] Truman's orders limited him to targets facing the 35th Division, but he ignored this and patiently waited until the Germans had walked their horses well away from their guns, ensuring they could not relocate out of range of Truman's battery.[50] He then ordered his men to open fire, and their attack destroyed the enemy battery.[50] His actions were credited with saving the lives of 28th Division soldiers who otherwise would have come under fire from the Germans.[51][52] Truman was given a dressing down by his regimental commander, Colonel Karl D. Klemm, who threatened to convene a court-martial, but Klemm never followed through, and Truman was not punished.[50] In other action during the Meuse-Argonne Offensive, Truman's battery provided support for George S. Patton's tank brigade,[53] and fired some of the last shots of the war on November 11, 1918. Battery D did not lose any men while under Truman's command in France. To show their appreciation of his leadership, his men presented him with a large loving cup upon their return to the United States after the war.[36] The war was a transformative experience in which Truman manifested his leadership qualities. He had entered the service in 1917 as a family farmer who had worked in clerical jobs that did not require the ability to motivate and direct others, but during the war, he gained leadership experience and a record of success that greatly enhanced and supported his post-war political career in Missouri.[36] Truman was brought up in the Presbyterian and Baptist churches,[54] but avoided revivals and sometimes ridiculed revivalist preachers.[55] He rarely spoke about religion, which to him, primarily meant ethical behavior along traditional Protestant lines.[56] Truman once wrote in a letter to his future wife, Bess: "You know that I know nothing about Lent and such things..."[57] Most of the soldiers he commanded in the war were Catholics, and one of his close friends was the 129th Field Artillery's chaplain, Monsignor L. Curtis Tiernan.[58] The two remained friends until Tiernan's death in 1960.[59] Developing leadership and interpersonal skills that later made him a successful politician helped Truman get along with his Catholic soldiers, as he did with soldiers of other Christian denominations and the unit's Jewish members.[60][61] Officers' Reserve Corps Truman was honorably discharged from the Army as a captain on May 6, 1919.[62] In 1920, he was appointed a major in the Officers Reserve Corps.[63] He became a lieutenant colonel in 1925 and a colonel in 1932.[64] In the 1920s and 1930s he commanded 1st Battalion, 379th Field Artillery, 102d Infantry Division.[65] After promotion to colonel, Truman advanced to command of the same regiment.[66] After his election to the U.S. Senate, Truman was transferred to the General Assignments Group, a holding unit for less active officers, although he had not been consulted in advance.[67] Truman protested his reassignment, which led to his resumption of regimental command.[67] He remained an active reservist until the early 1940s.[68] Truman volunteered for active military service during World War II, but was not accepted, partly because of age, and partly because President Franklin D. Roosevelt desired senators and congressmen who belonged to the military reserves to support the war effort by remaining in Congress, or by ending their active duty service and resuming their congressional seats.[69] He was an inactive reservist from the early 1940s until retiring as a colonel in the then redesignated U.S. Army Reserve on January 20, 1953.[70] Military awards and decorations Truman was awarded a World War I Victory Medal with two battle clasps (for St. Mihiel and Meuse-Argonne) and a Defensive Sector Clasp. He was also the recipient of two Armed Forces Reserve Medals.[71] Politics Jackson County judge Wedding photo of Truman in gray suit and his wife in hat with white dress holding flowers Harry and Bess Truman on their wedding day, June 28, 1919 After his wartime service, Truman returned to Independence, where he married Bess Wallace on June 28, 1919.[72] The couple had one child, Mary Margaret Truman.[73] Shortly before the wedding, Truman and Jacobson opened a haberdashery together at 104 West 12th Street in downtown Kansas City. After brief initial success, the store went bankrupt during the recession of 1921.[17] Truman did not pay off the last of the debts from that venture until 1935, when he did so with the aid of banker William T. Kemper, who worked behind the scenes to enable Truman's brother Vivian to buy Truman's $5,600 promissory note during the asset sale of a bank that had failed in the Great Depression.[74][75] The note had risen and fallen in value as it was bought and sold, interest accumulated and Truman made payments, so by the time the last bank to hold it failed, it was worth nearly $9,000.[76] Thanks to Kemper's efforts, Vivian Truman was able to buy it for $1,000.[75] Jacobson and Truman remained close friends even after their store failed, and Jacobson's advice to Truman on Zionism later played a role in the U.S. Government's decision to recognize Israel.[77] With the help of the Kansas City Democratic machine led by Tom Pendergast, Truman was elected in 1922 as County Court judge of Jackson County's eastern district—Jackson County's three-judge court included judges from the western district (Kansas City), the eastern district (the county outside Kansas City), and a presiding judge elected countywide. This was an administrative rather than a judicial court, similar to county commissioners in many other jurisdictions. Truman lost his 1924 reelection campaign in a Republican wave led by President Calvin Coolidge's landslide election to a full term. Two years selling automobile club memberships convinced him that a public service career was safer for a family man approaching middle age, and he planned a run for presiding judge in 1926.[78] Truman won the job in 1926 with the support of the Pendergast machine, and he was re-elected in 1930. As presiding judge, Truman helped coordinate the Ten Year Plan, which transformed Jackson County and the Kansas City skyline with new public works projects, including an extensive series of roads and construction of a new Wight and Wight-designed County Court building. Also in 1926, he became president of the National Old Trails Road Association, and during his term he oversaw dedication of 12 Madonna of the Trail monuments to honor pioneer women.[78][79] In 1933, Truman was named Missouri's director for the Federal Re-Employment program (part of the Civil Works Administration) at the request of Postmaster General James Farley. This was payback to Pendergast for delivering the Kansas City vote to Franklin D. Roosevelt in the 1932 presidential election. The appointment confirmed Pendergast's control over federal patronage jobs in Missouri and marked the zenith of his power. It also created a relationship between Truman and Roosevelt's aide Harry Hopkins and assured Truman's avid support for the New Deal.[80] U.S. Senator from Missouri Inside of wooden desk with several names carved into it Drawer from the Senate desk used by Truman After serving as a county judge, Truman wanted to run for governor or Congress,[81][82] but Pendergast rejected these ideas. Truman then thought he might serve out his career in some well-paying county sinecure;[82] circumstances changed when Pendergast reluctantly backed him as the machine's choice in the 1934 Democratic primary election for the U.S. Senate from Missouri, after Pendergast's first four choices had declined to run.[83] In the primary, Truman defeated Congressmen John J. Cochran and Jacob L. Milligan with the solid support of Jackson County, which was crucial to his candidacy. Also critical were the contacts he had made statewide in his capacity as a county official, member of the Freemasons,[c] military reservist,[d] and member of the American Legion.[e][87] In the general election, Truman defeated incumbent Republican Roscoe C. Patterson by nearly 20 percentage points in a continuing wave of pro-New Deal Democrats elected following the Great Depression.[83][88][89] Results of the 1934 U.S. Senate election in Missouri; Truman won the counties in blue Truman assumed office with a reputation as "the Senator from Pendergast". He referred patronage decisions to Pendergast but maintained that he voted with his own conscience. He later defended the patronage decisions by saying that "by offering a little to the machine, [he] saved a lot".[89][90] In his first term, Truman spoke out against corporate greed and the dangers of Wall Street speculators and other moneyed special interests attaining too much influence in national affairs.[91] Though he served on the high-profile Appropriations and Interstate Commerce Committees, he was largely ignored by President Roosevelt and had trouble getting calls returned from the White House.[89][92] During the U.S. Senate election in 1940, U.S. Attorney Maurice Milligan (former opponent Jacob Milligan's brother) and former governor Lloyd Stark both challenged Truman in the Democratic primary. Truman was politically weakened by Pendergast's imprisonment for income tax evasion the previous year; the senator had remained loyal, having claimed that Republican judges (not the Roosevelt administration) were responsible for the boss's downfall.[93] St. Louis party leader Robert E. Hannegan's support of Truman proved crucial; he later brokered the deal that put Truman on the national ticket. In the end, Stark and Milligan split the anti-Pendergast vote in the Senate Democratic primary and Truman won by a total of 8,000 votes. In the November election, Truman defeated Republican Manvel H. Davis by 51–49 percent.[94] As senator, Truman opposed both Nazi Germany and Communist Russia. Two days after Hitler invaded the Soviet Union in June 1941, he said: If we see that Germany is winning we ought to help Russia, and if Russia is winning we ought to help Germany, and that way let them kill as many as possible although I don't want to see Hitler victorious under any circumstances.[95] Truman Committee Further information: Truman Committee In late 1940, Truman traveled to various military bases. The waste and profiteering he saw led him to use his chairmanship of the Committee on Military Affairs Subcommittee on War Mobilization to start investigations into abuses while the nation prepared for war. A new special committee was set up under Truman to conduct a formal investigation; the Roosevelt administration supported this plan rather than weather a more hostile probe by the House of Representatives. The main mission of the committee was to expose and fight waste and corruption in the gigantic government wartime contracts. Truman's initiative convinced Senate leaders of the necessity for the committee, which reflected his demands for honest and efficient administration and his distrust of big business and Wall Street. Truman managed the committee "with extraordinary skill" and usually achieved consensus, generating heavy media publicity that gave him a national reputation.[96][97] Activities of the Truman Committee ranged from criticizing the "dollar-a-year men" hired by the government, many of whom proved ineffective, to investigating a shoddily built New Jersey housing project for war workers.[98][99] In March 1944, Truman attempted to probe the expensive Manhattan Project but was persuaded by Secretary of War Henry L. Stimson to discontinue with the investigation.[100]: 634 The committee reportedly saved as much as $15 billion (equivalent to $220 billion in 2021),[101][102][103][104] and its activities put Truman on the cover of Time magazine.[105] According to the Senate's historical minutes, in leading the committee, "Truman erased his earlier public image as an errand-runner for Kansas City politicos", and "no senator ever gained greater political benefits from chairing a special investigating committee than did Missouri's Harry S. Truman."[106] Vice presidency (1945) See also: 1944 Democratic Party vice presidential candidate selection Truman visits his mother in Grandview, Missouri, after being nominated the Democratic candidate for vice president, July 1944. election poster from 1944 with Roosevelt and Truman Roosevelt–Truman poster from 1944 Roosevelt's advisors knew that Roosevelt might not live out a fourth term and that his vice president would very likely become the next president. Henry Wallace had served as Roosevelt's vice president for four years and was popular among Democratic voters, but he was viewed as too far to the left and too friendly to labor for some of Roosevelt's advisers. The President and several of his confidantes wanted to replace Wallace with someone more acceptable to Democratic Party leaders. Outgoing Democratic National Committee chairman Frank C. Walker, incoming chairman Hannegan, party treasurer Edwin W. Pauley, Bronx party boss Ed Flynn, Chicago Mayor Edward Joseph Kelly, and lobbyist George E. Allen all wanted to keep Wallace off the ticket.[107] Roosevelt told party leaders that he would accept either Truman or Supreme Court Justice William O. Douglas. State and city party leaders strongly preferred Truman, and Roosevelt agreed.[108] Truman had repeatedly said that he was not in the race and that he did not want the vice presidency, and he remained reluctant.[108] One reason was that his wife and sister Mary Jane were both on his Senate staff payroll, and he feared negative publicity.[108] Truman did not campaign for the vice-presidential spot, though he welcomed the attention as evidence that he had become more than the "Senator from Pendergast".[109] Truman's nomination was dubbed the "Second Missouri Compromise" and was well received. The Roosevelt–Truman ticket achieved a 432–99 electoral-vote victory in the election, defeating the Republican ticket of Governor Thomas E. Dewey of New York and running mate Governor John Bricker of Ohio. Truman was sworn in as vice president on January 20, 1945.[110] After the inauguration, Truman called his mother, who instructed him, "Now you behave yourself."[111] Truman's brief vice-presidency was relatively uneventful. On April 10, 1945,[112] Truman cast his only tie-breaking vote as president of the Senate, against a Robert A. Taft amendment that would have blocked the postwar delivery of Lend-Lease Act items contracted for during the war.[113][114] Roosevelt rarely contacted him, even to inform him of major decisions; the president and vice president met alone together only twice during their time in office.[115] In one of his first acts as vice president, Truman created some controversy when he attended the disgraced Pendergast's funeral. He brushed aside the criticism, saying simply, "He was always my friend and I have always been his."[17] He had rarely discussed world affairs or domestic politics with Roosevelt; he was uninformed about major initiatives relating to the war and the top-secret Manhattan Project, which was about to test the world's first atomic bomb.[116] In an event that generated negative publicity for Truman, he was photographed with actress Lauren Bacall sitting atop the piano at the National Press Club as he played for soldiers.[117] Truman had been vice president for 82 days when President Roosevelt died on April 12, 1945.[116] Truman, presiding over the Senate, as usual, had just adjourned the session for the day and was preparing to have a drink in House Speaker Sam Rayburn's office when he received an urgent message to go immediately to the White House, where Eleanor Roosevelt told him that her husband had died after a massive cerebral hemorrhage. Truman asked her if there was anything he could do for her; she replied, "Is there anything we can do for you? For you are the one in trouble now!"[118][119][120] He was sworn in as president at 7:09 pm in the West Wing of the White House, by Chief Justice Harlan F. Stone.[121] Presidency (1945–1953) Main article: Presidency of Harry S. Truman Further information: Foreign policy of the Harry S. Truman administration Truman delegated a great deal of authority to his cabinet officials, only insisting that he give the final formal approval to all decisions. After getting rid of the Roosevelt holdovers, the cabinet members were mostly old confidants. The White House was badly understaffed with no more than a dozen aides; they could barely keep up with the heavy work flow of a greatly expanded executive department. Truman acted as his own chief of staff on a daily basis, as well as his own liaison with Congress—a body he already knew very well. He was not well prepared to deal with the press, and never achieved the jovial familiarity of FDR. Filled with latent anger about all the setbacks in his career, he bitterly mistrusted the journalists. He saw them as enemies lying in wait for his next careless miscue. Truman was a very hard worker, often to the point of exhaustion, which left him testy, easily annoyed, and on the verge of appearing unpresidential or petty. In terms of major issues, he discussed them in depth with top advisors. He mastered the details of the federal budget as well as anyone. Truman was a poor speaker reading a text. However, his visible anger made him an effective stump speaker, denouncing his enemies as his supporters hollered back at him "Give Em Hell, Harry!"[122] Truman surrounded himself with his old friends, and appointed several to high positions that seemed well beyond their competence, including his two secretaries of the treasury, Fred Vinson and John Snyder. His closest friend in the White House was his military aide Harry H. Vaughan, who knew little of military or foreign affairs and was criticized for trading access to the White House for expensive gifts.[123][124] Truman loved to spend as much time as possible playing poker, telling stories and sipping bourbon. Alonzo Hamby notes that: ... to many in the general public, gambling and bourbon swilling, however low-key, were not quite presidential. Neither was the intemperant "give 'em hell" campaign style nor the occasional profane phrase uttered in public. Poker exemplified a larger problem: the tension between his attempts at an image of leadership necessarily a cut above the ordinary and an informality that at times appeared to verge on crudeness.[125][126] First term (1945–1949) Assuming office Further information: Atomic bombings of Hiroshima and Nagasaki Three men in suits standing with several men in the background Joseph Stalin, Harry S. Truman, and Winston Churchill in Potsdam, July 1945 On his first full day, Truman told reporters: "Boys, if you ever pray, pray for me now. I don't know if you fellas ever had a load of hay fall on you, but when they told me what happened yesterday, I felt like the moon, the stars, and all the planets had fallen on me."[127] Truman asked all the members of Roosevelt's cabinet to remain in place, but he soon replaced almost all of them, especially with old friends from his Senate days.[128] Dropping atomic bombs on Japan Truman benefited from a honeymoon period from the success in defeating Nazi Germany in Europe and the nation celebrated V-E Day on May 8, 1945, his 61st birthday.[129] Although Truman was told briefly on the afternoon of April 12 that he had a new, highly destructive weapon, it was not until April 25 that Secretary of War Henry Stimson told him the details. [130] We have discovered the most terrible bomb in the history of the world. It may be the fire destruction prophesied in the Euphrates Valley Era, after Noah and his fabulous Ark. — Harry Truman, writing about the atomic bomb in his diary[131] on July 25, 1945[132] Truman journeyed to Berlin for the Potsdam Conference with Joseph Stalin and the British leader. He was there when he learned the Trinity test—the first atomic bomb—on July 16 had been successful. He hinted to Stalin that he was about to use a new kind of weapon against the Japanese. Though this was the first time the Soviets had been officially given information about the atomic bomb, Stalin was already aware of the bomb project—having learned about it through atomic espionage long before Truman did.[133][134][135] In August, the Japanese government refused surrender demands as specifically outlined in the Potsdam Declaration. With the invasion of Japan imminent, Truman approved the schedule for dropping the two available bombs. Truman always said attacking Japan with atomic bombs saved many lives on both sides; military estimates for the invasion of Japan were that it could take a year and result in 250,000 to 500,000 Allied casualties. Hiroshima was bombed on August 6, and Nagasaki three days later, leaving 105,000 dead.[136] The Soviet Union declared war on Japan on August 9 and invaded Manchuria. Japan agreed to surrender the following day.[137][138] Truman announces Japan's surrender, August 14, 1945. Supporters[f] of Truman's decision argue that, given the tenacious Japanese defense of the outlying islands, the bombings saved hundreds of thousands of lives of Allied prisoners, Japanese civilians, and combatants on both sides that would have been lost in an invasion of Japan. Critics have argued that the use of nuclear weapons was unnecessary, given that conventional attacks or a demonstrative bombing of an uninhabited area might have forced Japan's surrender and therefore assert that the attack constituted a crime of war.[139][140][141] In 1948 Truman defended his decision to use atomic bombs: As President of the United States, I had the fateful responsibility of deciding whether or not to use this weapon for the first time. It was the hardest decision I ever had to make. But the President cannot duck hard problems—he cannot pass the buck. I made the decision after discussions with the ablest men in our Government, and after long and prayerful consideration. I decided that the bomb should be used to end the war quickly and save countless lives—Japanese as well as American.[142] Truman continued to strongly defend himself in his memoirs in 1955–1956, stating many lives could have been lost had the United States invaded mainland Japan without the atomic bombs. In 1963, he stood by his decision, telling a journalist "it was done to save 125,000 youngsters on the U.S. side and 125,000 on the Japanese side from getting killed and that is what it did. It probably also saved a half million youngsters on both sides from being maimed for life."[143] Labor unions, strikes and economic issues See also: Strike wave of 1946 The end of World War II was followed by an uneasy transition from war to a peacetime economy. The costs of the war effort had been enormous, and Truman was intent on diminishing military services as quickly as possible to curtail the government's military expenditures. The effect of demobilization on the economy was unknown, proposals were met with skepticism and resistance, and fears existed that the nation would slide back into depression. In Roosevelt's final years, Congress began to reassert legislative power and Truman faced a congressional body where Republicans and conservative southern Democrats formed a powerful "conservative coalition" voting bloc. The New Deal had greatly strengthened labor unions and they formed a major base of support for Truman's Democratic Party. The Republicans, working with big business, made it their highest priority to weaken those unions.[144] The unions had been promoted by the government during the war and tried to make their gains permanent through large-scale strikes in major industries. Meanwhile, price controls were slowly ending and inflation was soaring.[145] Truman's response to the widespread dissatisfaction was generally seen as ineffective.[145] Truman with Greek-American sponge divers in Florida, 1947 When a national rail strike threatened in May 1946, Truman seized the railroads in an attempt to contain the issue, but two key railway unions struck anyway. The entire national railroad system was shut down, immobilizing 24,000 freight trains and 175,000 passenger trains a day.[146] For two days, public anger mounted. His staff prepared a speech that Truman read to Congress calling for a new law, whereby railroad strikers would be drafted into the army. As he concluded his address, he was handed a note that the strike had been settled on presidential terms; nevertheless, a few hours later, the House voted to draft the strikers. The bill died in the Senate.[147][148] Approval rating falls; Republicans win Congress in 1946 The president's approval rating dropped from 82 percent in the polls in January 1946 to 52 percent by June.[149] This dissatisfaction led to large Democratic losses in the 1946 midterm elections, and Republicans took control of Congress for the first time since 1930. When Truman dropped to 32 percent in the polls, Democratic Arkansas Senator William Fulbright suggested that Truman resign; the president said he did not care what Senator "Halfbright" said.[150][151] Truman cooperated closely with the Republican leaders on foreign policy but fought them bitterly on domestic issues. The power of the labor unions was significantly curtailed by the Taft–Hartley Act which was enacted over Truman's veto. Truman twice vetoed bills to lower income tax rates in 1947. Although the initial vetoes were sustained, Congress overrode his veto of a tax cut bill in 1948. In one notable instance of bipartisanship, Congress passed the Presidential Succession Act of 1947, which replaced the secretary of state with the Speaker of the House and the president pro tempore of the Senate as successor to the president after the vice president.[152] Proposes "Fair Deal" liberalism As he readied for the 1948 election, Truman made clear his identity as a Democrat in the New Deal tradition, advocating for national health insurance,[153] and repeal of the Taft–Hartley Act. He broke with the New Deal by initiating an aggressive civil rights program which he termed a moral priority. His economic and social vision constituted a broad legislative agenda that came to be called the "Fair Deal."[154] Truman's proposals were not well received by Congress, even with renewed Democratic majorities in Congress after 1948. The Solid South rejected civil rights as those states still enforced segregation. Only one of the major Fair Deal bills, the Housing Act of 1949, was ever enacted.[155][156] Many of the New Deal programs that persisted during Truman's presidency have since received minor improvements and extensions.[157] Marshall Plan, Cold War, and China Truman's press secretary was his old friend Charles Griffith Ross. He had great integrity but, says Alonzo L. Hamby, as a senior White House aide he was, "A better newsman than news handler, he never established a policy of coordinating news releases throughout the executive branch, frequently bumbled details, never developed ... a strategy for marketing the president's image and failed to establish a strong press office."[158] As a Wilsonian internationalist, Truman supported Roosevelt's policy in favor of the creation of the United Nations and included Eleanor Roosevelt on the delegation to the first UN General Assembly.[159] With the Soviet Union expanding its sphere of influence through Eastern Europe, Truman and his foreign policy advisors took a hard line against the USSR. In this, he matched U.S. public opinion which quickly came to believe the Soviets were intent upon world domination.[160] Although he had little personal expertise on foreign matters, Truman listened closely to his top advisors, especially George Marshall and Dean Acheson. The Republicans controlled Congress in 1947–1948, so he worked with their leaders, especially Senator Arthur H. Vandenburg, chairman of the powerful Foreign Relations Committee.[161] He won bipartisan support for both the Truman Doctrine, which formalized a policy of Soviet containment, and the Marshall Plan, which aimed to help rebuild postwar Europe.[162][163] To get Congress to spend the vast sums necessary to restart the moribund European economy, Truman used an ideological argument, arguing that communism flourishes in economically deprived areas.[164] As part of the U.S. Cold War strategy, Truman signed the National Security Act of 1947 and reorganized military forces by merging the Department of War and the Department of the Navy into the National Military Establishment (later the Department of Defense) and creating the U.S. Air Force. The act also created the Central Intelligence Agency (CIA) and the National Security Council.[165] In 1952, Truman secretly consolidated and empowered the cryptologic elements of the United States by creating the National Security Agency (NSA). Truman did not know what to do about China, where the Nationalists and Communists were fighting a large-scale civil war. The Nationalists had been major wartime allies and had large-scale popular support in the United States, along with a powerful lobby. General George Marshall spent most of 1946 in China trying to negotiate a compromise, but failed. He convinced Truman the Nationalists would never win on their own and a very large-scale U.S. intervention to stop the Communists would significantly weaken U.S. opposition to the Soviets in Europe. By 1949, the Communists under Mao Zedong had won the civil war, the United States had a new enemy in Asia, and Truman came under fire from conservatives for "losing" China.[166] Berlin airlift Further information: Berlin Blockade On June 24, 1948, the Soviet Union blocked access to the three Western-held sectors of Berlin. The Allies had not negotiated a deal to guarantee supply of the sectors deep within the Soviet-occupied zone. The commander of the U.S. occupation zone in Germany, General Lucius D. Clay, proposed sending a large armored column across the Soviet zone to West Berlin with instructions to defend itself if it were stopped or attacked. Truman believed this would entail an unacceptable risk of war. He approved Ernest Bevin's plan to supply the blockaded city by air. On June 25, the Allies initiated the Berlin Airlift, a campaign to deliver food, coal and other supplies using military aircraft on a massive scale. Nothing like it had ever been attempted before, and no single nation had the capability, either logistically or materially, to accomplish it. The airlift worked; ground access was again granted on May 11, 1949. Nevertheless, the airlift continued for several months after that. The Berlin Airlift was one of Truman's great foreign policy successes; it significantly aided his election campaign in 1948.[167] Recognition of Israel Truman in the Oval Office, receiving a Hanukkah Menorah from the prime minister of Israel, David Ben-Gurion (center). To the right is Abba Eban, ambassador of Israel to the United States. Truman had long taken an interest in the history of the Middle East and was sympathetic to Jews who sought to re-establish their ancient homeland in Mandatory Palestine. As a senator, he announced support for Zionism; in 1943 he called for a homeland for those Jews who survived the Nazi regime. However, State Department officials were reluctant to offend the Arabs, who were opposed to the establishment of a Jewish state in the large region long populated and dominated culturally by Arabs. Secretary of Defense James Forrestal warned Truman of the importance of Saudi Arabian oil in another war; Truman replied he would decide his policy on the basis of justice, not oil.[168] U.S. diplomats with experience in the region were opposed, but Truman told them he had few Arabs among his constituents.[169] Palestine was secondary to the goal of protecting the "Northern Tier" of Greece, Turkey, and Iran from communism, as promised by the Truman Doctrine.[170] Weary of both the convoluted politics of the Middle East and pressure by Jewish leaders, Truman was undecided on his policy and skeptical about how the Jewish "underdogs" would handle power.[171][172] He later cited as decisive in his recognition of the Jewish state the advice of his former business partner, Eddie Jacobson, a non-religious Jew whom Truman absolutely trusted.[169] Truman decided to recognize Israel over the objections of Secretary of State George Marshall, who feared it would hurt relations with the populous Arab states. Marshall believed the paramount threat to the United States was the Soviet Union and feared Arab oil would be lost to the United States in the event of war; he warned Truman the United States was "playing with fire with nothing to put it out".[173] Truman recognized the State of Israel on May 14, 1948, eleven minutes after it declared itself a nation.[174][175] Of his decision to recognize the Israeli state, Truman said in an interview years later: "Hitler had been murdering Jews right and left. I saw it, and I dream about it even to this day. The Jews needed some place where they could go. It is my attitude that the American government couldn't stand idly by while the victims [of] Hitler's madness are not allowed to build new lives."[176] Calls for Civil Rights Under his predecessor, Franklin D. Roosevelt, the Fair Employment Practices Committee was created to address racial discrimination in employment,[177] and in 1946, Truman created the President's Committee on Civil Rights. On June 29, 1947, Truman became the first president to address the National Association for the Advancement of Colored People (NAACP). The speech took place at the Lincoln Memorial during the NAACP convention and was carried nationally on radio. In that speech, Truman laid out the need to end discrimination, which would be advanced by the first comprehensive, presidentially proposed civil rights legislation. Truman on "civil rights and human freedom", declared:[178] It is my deep conviction that we have reached a turning point in the long history of our country's efforts to guarantee freedom and equality to all our citizens … it is more important today than ever before to ensure that all Americans enjoy these rights. … [And] When I say all Americans, I mean all Americans … Our immediate task is to remove the last remnants of the barriers which stand between millions of our citizens and their birthright. There is no justifiable reason for discrimination because of ancestry, or religion, or race, or color. We must not tolerate such limitations on the freedom of any of our people and on their enjoyment of basic rights which every citizen in a truly democratic society must possess. Every man should have the right to a decent home, the right to an education, the right to adequate medical care, the right to a worthwhile job, the right to an equal share in making the public decisions through the ballot, and the right to a fair trial in a fair court. We must ensure that these rights – on equal terms – are enjoyed by every citizen. To these principles I pledge my full and continued support. Many of our people still suffer the indignity of insult, the harrowing fear of intimidation, and, I regret to say, the threat of physical injury and mob violence. Prejudice and intolerance in which these evils are rooted still exist. The conscience of our nation, and the legal machinery which enforces it, have not yet secured to each citizen full freedom from fear. In February 1948, Truman delivered a formal message to Congress requesting adoption of his 10-point program to secure civil rights, including anti-lynching, voter rights, and elimination of segregation. "No political act since the Compromise of 1877," argued biographer Taylor Branch, "so profoundly influenced race relations; in a sense it was a repeal of 1877."[179] 1948 election Main article: Harry S. Truman 1948 presidential campaign Further information: 1948 United States presidential election President Truman (left) with Governor Dewey (right) at dedication of the Idlewild Airport, meeting for the first time since nominated by their respective parties for the Presidency The 1948 presidential election is remembered for Truman's stunning come-from-behind victory.[180] In the spring of 1948, Truman's public approval rating stood at 36 percent,[181] and the president was nearly universally regarded as incapable of winning the general election. At the 1948 Democratic National Convention, Truman attempted to unify the party with a vague civil rights plank in the party platform. His intention was to assuage the internal conflicts between the northern and southern wings of his party. Events overtook his efforts. A sharp address given by Mayor Hubert Humphrey of Minneapolis—as well as the local political interests of a number of urban bosses—convinced the convention to adopt a stronger civil rights plank, which Truman approved wholeheartedly.[182] Truman delivered an aggressive acceptance speech attacking the 80th Congress, which Truman called the "Do Nothing Congress,"[145] and promising to win the election and "make these Republicans like it."[183] Republicans approve of the American farmer, but they are willing to help him go broke. They stand four-square for the American home—but not for housing. They are strong for labor—but they are stronger for restricting labor's rights. They favor minimum wage—the smaller the minimum wage the better. They endorse educational opportunity for all—but they won't spend money for teachers or for schools. They think modern medical care and hospitals are fine—for people who can afford them ... They think American standard of living is a fine thing—so long as it doesn't spread to all the people. And they admire the Government of the United States so much that they would like to buy it. — Harry S. Truman, October 13, 1948, St. Paul, Minnesota, Radio Broadcast[184][185][186][187] Within two weeks of the 1948 convention Truman issued Executive Order 9981, ending racial discrimination in the Armed Services} and Executive Order 9980 to end discrimination in federal agencies.[188][189] Truman took a considerable political risk in backing civil rights, and many seasoned Democrats were concerned the loss of Dixiecrat support might seriously weaken the party. South Carolina Governor Strom Thurmond, a segregationist, declared his candidacy for the presidency on a Dixiecrat ticket and led a full-scale revolt of Southern "states' rights" proponents. This rebellion on the right was matched by one on the left, led by Wallace on the Progressive Party ticket. The Democratic Party was splitting three ways and victory in November seemed unlikely.[190] For his running mate, Truman accepted Kentucky Senator Alben W. Barkley, though he really wanted Justice William O. Douglas, who turned down the nomination.[191] Truman's political advisors described the political scene as "one unholy, confusing cacophony." They told Truman to speak directly to the people, in a personal way.[192] Campaign manager William J. Bray said Truman took this advice, and spoke personally and passionately, sometimes even setting aside his notes to talk to Americans "of everything that is in my heart and soul."[193] The campaign was a 21,928-mile (35,290 km) presidential odyssey.[194] In a personal appeal to the nation, Truman crisscrossed the United States by train; his "whistle stop" speeches from the rear platform of the observation car, Ferdinand Magellan, came to represent his campaign. His combative appearances captured the popular imagination and drew huge crowds. Six stops in Michigan drew a combined half-million people;[195] a full million turned out for a New York City ticker-tape parade.[196] 1948 electoral vote results Truman holding Chicago Tribune that says "Dewey Defeats Truman" Truman was so widely expected to lose the 1948 election that the Chicago Tribune had printed papers with this erroneous headline when few returns were in. The large, mostly spontaneous gatherings at Truman's whistle-stop events were an important sign of a change in momentum in the campaign, but this shift went virtually unnoticed by the national press corps. It continued reporting Republican Thomas Dewey's apparent impending victory as a certainty. The three major polling organizations stopped polling well before the November 2 election date—Roper in September, and Crossley and Gallup in October—thus failing to measure the period when Truman appears to have surged past Dewey.[197][198] In the end, Truman held his progressive Midwestern base, won most of the Southern states despite the civil rights plank, and squeaked through with narrow victories in a few critical states, notably Ohio, California, and Illinois. The final tally showed the president had secured 303 electoral votes, Dewey 189, and Thurmond only 39. Henry Wallace got none. The defining image of the campaign came after Election Day, when an ecstatic Truman held aloft the erroneous front page of the Chicago Tribune with a huge headline proclaiming "Dewey Defeats Truman."[199] Full elected term (1949–1953) Truman's second inauguration was the first ever televised nationally.[200] Hydrogen bomb decision The Soviet Union's atomic bomb project progressed much faster than had been expected,[201] and they detonated their first bomb on August 29, 1949. Over the next several months there was an intense debate that split the U.S. government, military, and scientific communities regarding whether to proceed with the development of the far more powerful hydrogen bomb.[202] The debate touched on matters from technical feasibility to strategic value to the morality of creating a massively destructive weapon.[203][204] On January 31, 1950, Truman made the decision to go forward on the grounds that if the Soviets could make an H-bomb, the United States must do so as well and stay ahead in the nuclear arms race.[205][206] The development achieved fruition with the first U.S. H-bomb test on October 31, 1952, which was officially announced by Truman on January 7, 1953.[207] Korean War Further information: Korean War President Truman signing a proclamation declaring a national emergency and authorizing U.S. entry into the Korean War On June 25, 1950, the North Korean army under Kim Il-sung invaded South Korea, starting the Korean War. In the early weeks of the war, the North Koreans easily pushed back their southern counterparts.[208] Truman called for a naval blockade of Korea, only to learn that due to budget cutbacks, the U.S. Navy could not enforce such a measure.[209] Truman promptly urged the United Nations to intervene; it did, authorizing troops under the UN flag led by U.S. General Douglas MacArthur. Truman decided he did not need formal authorization from Congress, believing that most legislators supported his position; this would come back to haunt him later when the stalemated conflict was dubbed "Mr. Truman's War" by legislators.[208] However, on July 3, 1950, Truman did give Senate Majority Leader Scott W. Lucas a draft resolution titled "Joint Resolution Expressing Approval of the Action Taken in Korea". Lucas stated Congress supported the use of force, the formal resolution would pass but was unnecessary, and the consensus in Congress was to acquiesce. Truman responded he did not want "to appear to be trying to get around Congress and use extra-Constitutional powers," and added that it was "up to Congress whether such a resolution should be introduced."[210] By August 1950, U.S. troops pouring into South Korea under UN auspices were able to stabilize the situation.[211] Responding to criticism over readiness, Truman fired his secretary of defense, Louis A. Johnson, replacing him with the retired General Marshall. With UN approval, Truman decided on a "rollback" policy—conquest of North Korea.[212] UN forces led by General Douglas MacArthur led the counterattack, scoring a stunning surprise victory with an amphibious landing at the Battle of Inchon that nearly trapped the invaders. UN forces marched north, toward the Yalu River boundary with China, with the goal of reuniting Korea under UN auspices.[213] China surprised the UN forces with a large-scale invasion in November. The UN forces were forced back to below the 38th parallel, then recovered.[214] By early 1951 the war became a fierce stalemate at about the 38th parallel where it had begun. Truman rejected MacArthur's request to attack Chinese supply bases north of the Yalu, but MacArthur promoted his plan to Republican House leader Joseph Martin, who leaked it to the press. Truman was gravely concerned further escalation of the war might lead to open conflict with the Soviet Union, which was already supplying weapons and providing warplanes (with Korean markings and Soviet aircrew). Therefore, on April 11, 1951, Truman fired MacArthur from his commands.[215] I fired him [MacArthur] because he wouldn't respect the authority of the President ... I didn't fire him because he was a dumb son of a bitch, although he was, but that's not against the law for generals. If it was, half to three-quarters of them would be in jail.[216] —Truman to biographer Merle Miller, 1972, posthumously quoted in Time magazine, 1973 The dismissal of General Douglas MacArthur was among the least politically popular decisions in presidential history. Truman's approval ratings plummeted, and he faced calls for his impeachment from, among others, Senator Robert A. Taft.[217] Fierce criticism from virtually all quarters accused Truman of refusing to shoulder the blame for a war gone sour and blaming his generals instead. Others, including Eleanor Roosevelt and all of the Joint Chiefs of Staff, publicly supported Truman's decision. MacArthur meanwhile returned to the United States to a hero's welcome, and addressed a joint session of Congress, a speech the president called "a bunch of damn bullshit."[218] Truman and his generals considered the use of nuclear weapons against the Chinese army, but ultimately chose not to escalate the war to a nuclear level.[219] The war remained a frustrating stalemate for two years, with over 30,000 Americans killed, until an armistice ended the fighting in 1953.[220] In February 1952, Truman's approval mark stood at 22 percent according to Gallup polls, which is the all-time lowest approval mark for a sitting U.S. president, though it was matched by Richard Nixon in 1974.[221][222] Worldwide defense Truman and Indian Prime Minister Jawaharlal Nehru during Nehru's visit to the United States, October 1949 The escalation of the Cold War was highlighted by Truman's approval of NSC 68, a secret statement of foreign policy. It called for tripling the defense budget, and the globalization and militarization of containment policy whereby the United States and its NATO allies would respond militarily to actual Soviet expansion. The document was drafted by Paul Nitze, who consulted State and Defense officials and was formally approved by President Truman as the official national strategy after the war began in Korea. It called for partial mobilization of the U.S. economy to build armaments faster than the Soviets. The plan called for strengthening Europe, weakening the Soviet Union, and building up the United States both militarily and economically.[223] Truman and Shah of Iran Mohammad Reza Pahlavi speaking at Washington National Airport, during ceremonies welcoming him to the United States Truman was a strong supporter of the North Atlantic Treaty Organization (NATO), which established a formal peacetime military alliance with Canada and democratic European nations not under Soviet control following World War II. The treaty establishing it was widely popular and easily passed the Senate in 1949; Truman appointed General Eisenhower as commander. NATO's goals were to contain Soviet expansion in Europe and to send a clear message to communist leaders that the world's democracies were willing and able to build new security structures in support of democratic ideals. The United States, Britain, France, Italy, the Netherlands, Belgium, Luxembourg, Norway, Denmark, Portugal, Iceland, and Canada were the original treaty signatories. The alliance resulted in the Soviets establishing a similar alliance, called the Warsaw Pact.[224][225] General Marshall was Truman's principal adviser on foreign policy matters, influencing such decisions as the U.S. choice against offering direct military aid to Chiang Kai-shek and his nationalist Chinese forces in the Chinese Civil War against their communist opponents. Marshall's opinion was contrary to the counsel of almost all of Truman's other advisers; Marshall thought propping up Chiang's forces would drain U.S. resources necessary for Europe to deter the Soviets.[226] When the communists took control of the mainland, establishing the People's Republic of China and driving the nationalists to Taiwan, Truman would have been willing to maintain some relationship between the United States and the new government but Mao was unwilling.[227] Truman announced on January 5, 1950, that the United States would not engage in any dispute involving the Taiwan Strait, and that he would not intervene in the event of an attack by the PRC.[228] On June 27, 1950, after the outbreak of fighting in Korea, Truman ordered the U.S. Navy's Seventh Fleet into the Taiwan Strait to prevent further conflict between the communist government on the China mainland and the Republic of China (ROC) on Taiwan.[229][230] Truman usually worked well with his top staff – the exceptions were Israel in 1948 and Spain in 1945–1950. Truman was a very strong opponent of Francisco Franco, the right-wing dictator of Spain. He withdrew the American ambassador (but diplomatic relations were not formally broken), kept Spain out of the UN, and rejected any Marshall Plan financial aid to Spain. However, as the Cold War escalated, support for Spain was strong in Congress, the Pentagon, the business community and other influential elements especially Catholics and cotton growers. Liberal opposition to Spain had faded after the Wallace element broke with the Democratic Party in 1948; the CIO became passive on the issue. As Secretary of State Acheson increased his pressure on Truman, the president stood alone in his administration as his own top appointees wanted to normalize relations. When China entered the Korean War and pushed American forces back, the argument for allies became irresistible. Admitting he was "overruled and worn down," Truman relented and sent an ambassador and made loans available.[231] Soviet espionage and McCarthyism Official portrait of President Truman by Greta Kempton, c. 1945 In August 1948, Whittaker Chambers, a former spy for the Soviets and a senior editor at Time magazine, testified before the House Un-American Activities Committee (HUAC). He said an underground communist network had worked inside the U.S. government during the 1930s, of which Chambers had been a member, along with Alger Hiss, until recently a senior State Department official. Chambers did not allege any spying during the Truman presidency. Although Hiss denied the allegations, he was convicted in January 1950 for perjury for denials under oath. The Soviet Union's success in exploding an atomic weapon in 1949 and the fall of the nationalist Chinese the same year led many Americans to conclude subversion by Soviet spies was responsible and to demand that communists be rooted out from the government and other places of influence.[232][233] Hoping to contain these fears, Truman began a "loyalty program" with Executive Order 9835 in 1947.[234] However, Truman got himself into deeper trouble when he called the Hiss trial a "red herring".[235][236] Wisconsin Senator Joseph McCarthy accused the State Department of harboring communists and rode the controversy to political fame,[237] leading to the Second Red Scare,[238] also known as McCarthyism. McCarthy's stifling accusations made it difficult to speak out against him. This led President Harry Truman to call McCarthy "the greatest asset the Kremlin has" by "torpedo[ing] the bipartisan foreign policy of the United States."[239] Charges that Soviet agents had infiltrated the government were believed by 78 percent of the people in 1946 and became a major campaign issue for Eisenhower in 1952.[240] Truman was reluctant to take a more radical stance, because he felt it could threaten civil liberties and add to a potential hysteria. At the same time, he felt political pressure to indicate a strong national security.[241] It is unclear to what extent President Truman was briefed of the Venona intercepts, which discovered widespread evidence of Soviet espionage on the atom bomb project and afterward.[242][243] Truman continued his own loyalty program for some time while believing the issue of communist espionage was overstated.[242] In 1949, Truman described American communist leaders, whom his administration was prosecuting, as "traitors",[241] but in 1950 he vetoed the McCarran Internal Security Act. It was passed over his veto.[244] Truman would later state in private conversations with friends that his creation of a loyalty program had been a "terrible" mistake.[245] Blair House and assassination attempt Main articles: White House Reconstruction and Attempted assassination of Harry S. Truman Inside of a building being renovated, with scaffolding View of the interior shell of the White House during renovation in 1950 In 1948, Truman ordered an addition to the exterior of the White House: a second-floor balcony in the south portico, which came to be known as the Truman Balcony. The addition was unpopular. Some said it spoiled the appearance of the south facade, but it gave the First Family more living space.[246][247] [248] Meanwhile, structural deterioration and a near-imminent collapse of the White House led to a comprehensive dismantling and rebuilding of the building's interior from 1949 to 1952. Architectural and engineering investigations during 1948 deemed it unsafe for occupancy. President Harry S. Truman, his family, and the entire residence staff were relocated across the street into Blair House during the renovations. As the newer West Wing, including the Oval Office, remained open, Truman walked to and from his work across the street each morning and afternoon.[249] External video video icon Newsreel scenes in English of the assassination attempt on U.S. President Harry S. Truman On November 1, 1950, Puerto Rican nationalists Griselio Torresola and Oscar Collazo attempted to assassinate Truman at Blair House. On the street outside the residence, Torresola mortally wounded a White House policeman, Leslie Coffelt. Before he died, the officer shot and killed Torresola. Collazo was wounded and stopped before he entered the house. He was found guilty of murder and sentenced to death in 1952. Truman commuted his sentence to life in prison. To try to settle the question of Puerto Rican independence, Truman allowed a plebiscite in Puerto Rico in 1952 to determine the status of its relationship to the United States. Nearly 82 percent of the people voted in favor of a new constitution for the Estado Libre Asociado, a continued 'associated free state.'[250] Steel and coal strikes Further information: 1952 steel strike In response to a labor/management impasse arising from bitter disagreements over wage and price controls, Truman instructed his Secretary of Commerce, Charles W. Sawyer, to take control of a number of the nation's steel mills in April 1952. Truman cited his authority as commander in chief and the need to maintain an uninterrupted supply of steel for munitions for the war in Korea. The Supreme Court found Truman's actions unconstitutional, however, and reversed the order in a major separation-of-powers decision, Youngstown Sheet & Tube Co. v. Sawyer (1952). The 6–3 decision, which held that Truman's assertion of authority was too vague and was not rooted in any legislative action by Congress, was delivered by a court composed entirely of justices appointed by either Truman or Roosevelt. The high court's reversal of Truman's order was one of the notable defeats of his presidency.[251] Scandals and controversies Truman in an official portrait In 1950, the Senate, led by Estes Kefauver, investigated numerous charges of corruption among senior administration officials, some of whom received fur coats and deep freezers in exchange for favors. A large number of employees of the Internal Revenue Bureau (today the IRS) were accepting bribes; 166 employees either resigned or were fired in 1950,[252] with many soon facing indictment. When Attorney General J. Howard McGrath fired the special prosecutor in early 1952 for being too zealous, Truman fired McGrath.[253] Truman submitted a reorganization plan to reform the IRB; Congress passed it, but corruption was a major issue in the 1952 presidential election.[254][255] On December 6, 1950, Washington Post music critic Paul Hume wrote a critical review of a concert by the president's daughter Margaret Truman: Miss Truman is a unique American phenomenon with a pleasant voice of little size and fair quality ... [she] cannot sing very well ... is flat a good deal of the time—more last night than at any time we have heard her in past years ... has not improved in the years we have heard her ... [and] still cannot sing with anything approaching professional finish.[256] Truman wrote a scathing response: I've just read your lousy review of Margaret's concert. I've come to the conclusion that you are an 'eight ulcer man on four ulcer pay.' It seems to me that you are a frustrated old man who wishes he could have been successful. When you write such poppy-cock as was in the back section of the paper you work for it shows conclusively that you're off the beam and at least four of your ulcers are at work. Some day I hope to meet you. When that happens you'll need a new nose, a lot of beefsteak for black eyes, and perhaps a supporter below! Pegler, a gutter snipe, is a gentleman alongside you. I hope you'll accept that statement as a worse insult than a reflection on your ancestry.[256] Truman was criticized by many for the letter. However, he pointed out that he wrote it as a loving father and not as the president.[257][258][259] In 1951, William M. Boyle, Truman's longtime friend and chairman of the Democratic National Committee, was forced to resign after being charged with financial corruption.[260] Civil rights Further information: President's Committee on Civil Rights A 1947 report by the Truman administration titled To Secure These Rights presented a detailed ten-point agenda of civil rights reforms. Speaking about this report, international developments have to be taken into account, for with the UN Charter being passed in 1945, the question of whether international human rights law could be applicable also on an inner-land basis became crucial in the United States. Though the report acknowledged such a path was not free from controversy in the 1940s United States, it nevertheless raised the possibility for the UN-Charter to be used as a legal tool to combat racial discrimination in the United States.[261] In February 1948, the president submitted a civil rights agenda to Congress that proposed creating several federal offices devoted to issues such as voting rights and fair employment practices.[262] This provoked a storm of criticism from southern Democrats in the runup to the national nominating convention, but Truman refused to compromise, saying: "My forebears were Confederates ... but my very stomach turned over when I had learned that Negro soldiers, just back from overseas, were being dumped out of Army trucks in Mississippi and beaten."[263] Tales of the abuse, violence, and persecution suffered by many African-American veterans upon their return from World War II infuriated Truman and were major factors in his decision to issue Executive Order 9981, in July 1948, requiring equal opportunity in the armed forces.[264] In the early 1950s after several years of planning, recommendations and revisions between Truman, the Committee on Equality of Treatment and Opportunity and the various branches of the military, the services became racially integrated.[265] Executive Order 9980, also in 1948, made it illegal to discriminate against persons applying for civil service positions based on race. A third, in 1951, established the Committee on Government Contract Compliance, which ensured defense contractors did not discriminate because of race.[266][267] In 1950 he vetoed the McCarran Internal Security Act. It was passed over his veto.[268] Administration and cabinet Main article: Presidency of Harry S. Truman § Administration and cabinet Foreign policy Main article: Foreign policy of the Harry S. Truman administration From 1947 until 1989, world affairs were dominated by the Cold War, in which the U.S. and its allies faced the Soviet Union and its allies. There was no large-scale fighting but instead several local civil wars as well as the ever-present threat of a catastrophic nuclear war.[269][270] Unlike Roosevelt, Truman distrusted Stalin and the Soviet Union, and did not have FDR's faith in the UN to soften major tensions. Nevertheless, he cooperated in terms of dividing control over Germany. Soviet efforts to use its army to control politics in Eastern Europe and Iran angered Washington. The final break came in 1947 when the Labour government in London could no longer afford to help Greece fight communism and asked Washington to assume responsibility for suppressing the Communist uprising there.[271][272] The result was the Truman Doctrine of 1947–48 which made it national policy to contain Communist expansion.[273] Truman was supported by the great majority of Democrats, after he forced out the Henry Wallace faction that wanted good terms with Moscow.[274] Truman's policy had the strong support of most Republicans, who led by Senator Arthur Vandenberg overcame the isolationist Republicans led by Senator Robert A. Taft.[275] In 1948, Truman signed the Marshall Plan, which supplied Western Europe—including Germany—with US$13 billion in reconstruction aid. Stalin vetoed any participation by East European nations. A similar program was operated by the United States to restore the Japanese economy. The U.S. actively sought allies, which it subsidized with military and economic "foreign aid", as well as diplomatic support. The main diplomatic initiative was the establishment of the North Atlantic Treaty Organization (NATO) in 1949, committing the United States to nuclear defense of Western Europe. The result was a peace in Europe, coupled with the fear of Soviet invasion and a reliance on American protection.[276] The United States operated a worldwide network of bases for its Army, Navy and Air Force, with large contingents stationed in Germany, Japan and South Korea.[277] Washington had a weak intelligence community before 1942, and the Soviets had a very effective network of spies. The solution was to create the Central Intelligence Agency (CIA) in 1947.[278] Economic and propaganda warfare against the communist world became part of the American toolbox.[279] The containment policy was developed by State Department official George Kennan in 1947.[280] Kennan characterized the Soviet Union as an aggressive, anti-Western power that necessitated containment, a characterization which would shape US foreign policy for decades to come. The idea of containment was to match Soviet aggression with force wherever it occurred while not using nuclear weapons. The policy of containment created a bipolar, zero-sum world where the ideological conflicts between the Soviet Union and the United States dominated geopolitics. Due to the antagonism on both sides and each countries' search for security, a tense worldwide contest developed between the two states as the two nations' governments vied for global supremacy militarily, culturally, and politically.[281] The Cold War was characterized by a lack of global hot wars Instead there were proxy wars, fought by client states and proxies of the United States and Soviet Union. The most important was Korean War (1950–1953), a stalemate that drained away Truman's base of support. Truman made five international trips during his presidency.[282] 1952 election Further information: 1952 United States presidential election Three men at a desk reviewing a document President Truman; Alabama Senator John J. Sparkman, vice presidential nominee; and Illinois Governor Adlai Stevenson, presidential nominee, in the Oval Office, 1952 In 1951, the United States ratified the 22nd Amendment, making a president ineligible for election to a third term or for election to a second full term after serving more than two remaining years of a term of a previously elected president. The latter clause did not apply to Truman's situation in 1952 because of a grandfather clause excluding the amendment's application to the incumbent president.[283] President Truman conferring with labor leader Walter Reuther about economic policy in the Oval Office, 1952 Therefore, he seriously considered running for another term in 1952 and left his name on the ballot in the New Hampshire primary. However all his close advisors, pointing to his age, his failing abilities, and his poor showing in the polls, talked him out of it.[284] At the time of the 1952 New Hampshire primary, no candidate had won Truman's backing. His first choice, Chief Justice Fred M. Vinson, had declined to run; Illinois Governor Adlai Stevenson had also turned Truman down, Vice President Barkley was considered too old,[285][286] and Truman distrusted and disliked Senator Kefauver, who had made a name for himself by his investigations of the Truman administration scandals. Truman let his name be entered in the New Hampshire primary by supporters. The highly unpopular Truman was handily defeated by Kefauver; 18 days later the president formally announced he would not seek a second full term. Truman was eventually able to persuade Stevenson to run, and the governor gained the nomination at the 1952 Democratic National Convention.[287] Harry S. Truman's Farewell Address 24:33 Truman's speech on leaving office, and returning home to Independence, Missouri. (January 15, 1953) Problems playing this file? See media help. Eisenhower gained the Republican nomination, with Senator Nixon as his running mate, and campaigned against what he denounced as Truman's failures: "Korea, communism and corruption". He pledged to clean up the "mess in Washington," and promised to "go to Korea."[285][286] Eisenhower defeated Stevenson decisively in the general election, ending 20 years of Democratic presidents. While Truman and Eisenhower had previously been on good terms, Truman felt annoyed that Eisenhower did not denounce Joseph McCarthy during the campaign.[288] Similarly, Eisenhower was outraged when Truman accused the former general of disregarding "sinister forces ... Anti-Semitism, anti-Catholicism, and anti-foreignism" within the Republican Party.[289] Post-presidency (1953–1972) Financial situation Two men at a desk with a document one is signing with their wives standing behind them Truman and his wife Bess attend the signing of the Medicare Bill on July 30, 1965, by President Lyndon B. Johnson Before being elected as Jackson County judge, Truman had earned little money, and was in debt from the failure of his haberdashery. His election as senator in 1934 carried with it a salary of $10,000 (about $210,000 in 2022), high for the time, but the need to maintain two homes, with one in expensive Washington, Margaret Truman's college expenses, and contributions to the support of needy relatives, left the Trumans little extra money. He probably had about $7,500 in cash and government bonds when nominated for vice president.[290] His finances were transformed by his accession to the presidency, which carried with it a salary of $75,000 ($1.17 million in 2022), which was increased to $100,000 in 1949 (about $1.17 million in 2022). This was more than any Major League Baseball star except Joe DiMaggio, who also earned $100,000 in his final two seasons (1950 and 1951). Beginning in 1949, the president was also granted a $50,000 expense allowance ($589,000 in 2022), which was initially tax-free, and did not have to be accounted for. Although the allowance became taxable later in his presidency, Truman never reported it on his tax return, and converted some of the funds to cash he kept in the White House safe and later in a safe deposit box in Kansas City.[290] Upon leaving the presidency, Truman returned to Independence, Missouri, to live at the Wallace home he and Bess had shared for years with her mother.[291] In a biography that contributed greatly to the myth that Truman was near penury after departing the White House,[290] McCullough stated that the Trumans had little alternative than to return to Independence, for his only income was his army pension of $112.56 per month (equivalent to $1,140 in 2021), and he had only been able to save a modest amount from his salary as president.[292] In February 1953, Truman signed a book deal for his memoirs, and in a draft will dated December of that year listed land worth $250,000, savings bonds of the same amount, and cash of $150,000.[290] He wrote, "Bonds, land, and cash all come from savings of presidential salary and free expense account. It should keep you and Margaret comfortably."[290] The writing of the memoirs was a struggle for Truman and he went through a dozen collaborators during the project,[293] not all of whom served him well,[294] but he remained heavily involved in the result.[295] For the memoirs, Truman received a payment of $670,000 (equivalent to $6,785,833 in 2021).[296] The memoirs were a commercial and critical success.[297][298] They were published in two volumes: Memoirs by Harry S. Truman: Year of Decisions (1955) and Memoirs by Harry S. Truman: Years of Trial and Hope (1956).[299][300] Former members of Congress and the federal courts received a federal retirement package; President Truman himself ensured that former servants of the executive branch of government received similar support. In 1953, however, there was no such benefit package for former presidents, and Congressional pensions were not approved until 1946, after Truman had left the Senate, so he received no pension for his Senate service.[301] Truman, behind the scenes, lobbied for a pension, writing to congressional leaders that he had been near penury but for the sale of family farmlands, and in February 1958, in the first televised interview of a former US president that aired on CBS, Truman claimed that "If I hadn't inherited some property that finally paid things through, I'd be on relief right now."[290] That year, Congress passed the Former Presidents Act, offering a $25,000 (equivalent to $253,203 in 2021) yearly pension to each former president, and it is likely that Truman's claim to be in difficult financial straits played a role in the law's enactment.[302] The only other living former president at the time, Herbert Hoover, also took the pension, even though he did not need the money; reportedly, he did so to avoid embarrassing Truman.[303] Truman's net worth improved further in 1958 when he and his siblings sold most of the family farm to a Kansas City real estate developer.[304] When he was serving as a county judge, Truman borrowed $31,000 (equivalent to $313,971 in 2021) by mortgaging the farm to the county school fund, which was legal at the time.[304] When Republicans controlled the court in 1940, they foreclosed in an effort to embarrass Truman politically, and his mother and sister Mary Jane had to vacate the home.[304] In 1945, Truman organized a syndicate of supporters who purchased the farm with the understanding that they would sell it back to the Trumans.[304] Harry and Vivian Truman purchased 87 acres in 1945, and Truman purchased another portion in 1946.[304] In January 1959, Truman calculated his net worth as $1,046,788.86 ($10.1 million in 2022), including a share in the Los Angeles Rams football team. Nevertheless, the Trumans always lived modestly in Independence, and when Bess Truman died in 1982, almost a decade after her husband, the house was found to be in poor condition due to deferred maintenance.[290] Bess Truman's personal papers were made public in 2009,[305] including financial records and tax returns. The myth that Truman had been in straitened circumstances after his presidency was slow to dissipate; Paul Campos wrote in 2021, "The current, 20,000-plus-word Wikipedia biography of Truman goes so far as to assert that, because his earlier business ventures had failed, Truman left the White House with 'no personal savings.' Every aspect of this narrative is false."[290][g] Truman Library and academic positions See also: Harry S. Truman Presidential Library and Museum Truman's predecessor, Franklin D. Roosevelt, had organized his own presidential library, but legislation to enable future presidents to do something similar had not been enacted. Truman worked to garner private donations to build a presidential library, which he donated to the federal government to maintain and operate—a practice adopted by his successors.[306] He testified before Congress to have money appropriated to have presidential papers copied and organized, and was proud of the bill's passage in 1957. Max Skidmore, in his book on the life of former presidents, wrote that Truman was a well-read man, especially in history. Skidmore added that the presidential papers legislation and the founding of his library "was the culmination of his interest in history. Together they constitute an enormous contribution to the United States—one of the greatest of any former president."[307] Truman taught occasional courses at universities, including Yale, where he was a Chubb Fellow visiting lecturer in 1958.[308] In 1962, Truman was a visiting lecturer at Canisius College.[309] Politics Truman supported Adlai Stevenson's second bid for the White House in 1956, although he had initially favored Democratic governor W. Averell Harriman of New York.[310] He continued to campaign for Democratic senatorial candidates for many years.[311] In 1960 Truman gave a public statement announcing he would not attend the Democratic Convention that year, citing concerns about the way that the supporters of John F. Kennedy had gained control of the nominating process, and called on Kennedy to forgo the nomination for that year.[312] Kennedy responded with a press conference where he bluntly rebuffed Truman's advice.[313] Despite his supportive stance on civil rights during his presidency, Truman expressed criticism of the civil rights movement during the 1960s. In 1960, he stated that he believed the sit-in movement to be part of a Soviet plot.[314] Truman's statement garnered a response from Martin Luther King Jr., who wrote a letter to Truman stating that he was "baffled" by Truman's accusation, and demanded a public apology.[315] Truman would later criticize King following the Selma march in 1965, believing the protest to be "silly" and claiming that it "[couldn't] accomplish a darn thing except to attract attention."[316] In 1963, Truman voiced his opposition to interracial marriage, believing that daughters of white people would never love someone of an opposite color.[317][318] Upon turning 80 in 1964, Truman was feted in Washington, and addressed the Senate, availing himself of a new rule that allowed former presidents to be granted privilege of the floor.[319] Medicare After a fall in his home in late 1964, Truman's physical condition declined. In 1965, President Lyndon B. Johnson signed the Medicare bill at the Harry S. Truman Presidential Library and Museum and gave the first two Medicare cards to Truman and his wife Bess to honor the former president's fight for government health care while in office.[311] Death Wreath by Truman's casket, December 27, 1972 On December 5, 1972, Truman was admitted to Kansas City's Research Hospital and Medical Center with pneumonia. He developed multiple organ failure, fell into a coma, and died at 7:50 a.m. on December 26, at the age of 88.[320][291] Bess Truman opted for a simple private service at the library rather than a state funeral in Washington. A week after the funeral, foreign dignitaries and Washington officials attended a memorial service at Washington National Cathedral. Bess Truman died in 1982 and was buried next to her husband at the Harry S. Truman Library and Museum in Independence, Missouri.[321][322] Tributes and legacy Legacy Man in suit sitting behind desk with sign that says "The buck stops here" Former President Harry Truman with "The Buck Stops Here" sign on a recreation of his Oval Office desk When he left office in 1953, Truman was one of the most unpopular chief executives in history. His job approval rating of 22% in the Gallup Poll of February 1952 was lower than Richard Nixon's 24% in August 1974, the month that Nixon resigned. American public feeling towards Truman grew steadily warmer with the passing years; as early as 1962, a poll of 75 historians conducted by Arthur M. Schlesinger, Sr. ranked Truman among the "near great" presidents. The period following his death consolidated a partial rehabilitation of his legacy among both historians and members of the public.[323] Truman died when the nation was consumed with crises in Vietnam and Watergate, and his death brought a new wave of attention to his political career.[324] In the early and mid-1970s, Truman captured the popular imagination much as he had in 1948, this time emerging as a kind of political folk hero, a president who was thought to exemplify an integrity and accountability many observers felt was lacking in the Nixon White House. This public reassessment of Truman was aided by the popularity of a book of reminiscences which Truman had told to journalist Merle Miller beginning in 1961, with the agreement that they would not be published until after Truman's death.[325] Truman had his latter-day critics as well. After a review of information available to Truman about the presence of espionage activities in the U.S. government, Democratic Senator Daniel Patrick Moynihan concluded that Truman was "almost willfully obtuse" concerning the danger of American communism.[326] In 2010, historian Alonzo Hamby concluded that "Harry Truman remains a controversial president."[327] However, since leaving office, Truman has fared well in polls ranking the presidents. He has never been listed lower than ninth, and most recently was fifth in a C-SPAN poll in 2009.[328] The fall of the Soviet Union in 1991 caused Truman advocates to claim vindication for Truman's decisions in the postwar period. According to Truman biographer Robert Dallek, "His contribution to victory in the cold war without a devastating nuclear conflict elevated him to the stature of a great or near-great president."[329] The 1992 publication of David McCollough's favorable biography of Truman further cemented the view of Truman as a highly regarded Chief Executive.[329] According to historian Daniel R. McCoy in his book on the Truman presidency, Harry Truman himself gave a strong and far-from-incorrect impression of being a tough, concerned and direct leader. He was occasionally vulgar, often partisan, and usually nationalistic ... On his own terms, Truman can be seen as having prevented the coming of a third world war and having preserved from Communist oppression much of what he called the free world. Yet clearly he largely failed to achieve his Wilsonian aim of securing perpetual peace, making the world safe for democracy, and advancing opportunities for individual development internationally.[330] Sites and honors Stamp issued in 1973, following Truman's death—Truman has been honored on five U.S. postage stamps, issued from 1973 to 1999.[331] In 1956, Truman traveled to Europe with his wife. In Britain, he received an honorary degree in Civic Law from Oxford University and met with Winston Churchill.[310] In 1959, he was given a 50-year award by the Masons, recognizing his longstanding involvement: he was initiated on February 9, 1909 into the Belton Freemasonry Lodge in Missouri. In 1911, he helped establish the Grandview Lodge, and he served as its first Worshipful Master. In September 1940, during his Senate re-election campaign, Truman was elected Grand Master of the Missouri Grand Lodge of Freemasonry; Truman said later that the Masonic election assured his victory in the general election. In 1945, he was made a 33° Sovereign Grand Inspector General and an Honorary Member of the supreme council at the Supreme Council A.A.S.R. Southern Jurisdiction Headquarters in Washington D.C. [332][333] Truman was also a member of Sons of the American Revolution (SAR)[334] and a card-carrying member of the Sons of Confederate Veterans.[335] Two of his relatives were Confederate soldiers.[335][336] In 1975, the Truman Scholarship was created as a federal program to honor U.S. college students who exemplified dedication to public service and leadership in public policy.[337] In 2004, the President Harry S. Truman Fellowship in National Security Science and Engineering was created as a distinguished postdoctoral three-year appointment at Sandia National Laboratories.[338] In 2001, the University of Missouri established the Harry S. Truman School of Public Affairs to advance the study and practice of governance.[339] The University of Missouri's Missouri Tigers athletic programs have an official mascot named Truman the Tiger. On July 1, 1996, Northeast Missouri State University became Truman State University—to mark its transformation from a teachers' college to a highly selective liberal arts university and to honor the only Missourian to become president. A member institution of the City Colleges of Chicago, Harry S Truman College in Chicago, Illinois, is named in his honor for his dedication to public colleges and universities. In 2000, the headquarters for the State Department, built in the 1930s but never officially named, was dedicated as the Harry S Truman Building.[340] Despite Truman's attempt to curtail the naval carrier arm, which led to the 1949 Revolt of the Admirals,[341] an aircraft carrier is named after him. The USS Harry S. Truman (CVN-75) was christened on September 7, 1996. [342] The 129th Field Artillery Regiment is designated "Truman's Own" in recognition of Truman's service as commander of its D Battery during World War I.[343] In 1991, Truman was inducted into the Hall of Famous Missourians, and a bronze bust depicting him is on permanent display in the rotunda of the Missouri State Capitol. In 2006, Thomas Daniel, grandson of the Trumans, accepted a star on the Missouri Walk of Fame to honor his late grandfather. In 2007, John Truman, a nephew, accepted a star for Bess Truman. The Walk of Fame is in Marshfield, Missouri, a city Truman visited in 1948.[344] Other sites associated with Truman include: Harry S. Truman National Historic Site includes the Wallace House at 219 N. Delaware in Independence and the family farmhouse at Grandview, Missouri (Truman sold most of the farm for Kansas City suburban development including the Truman Corners Shopping Center). Harry S. Truman Birthplace State Historic Site is the house where Truman was born and spent 11 months in Lamar, Missouri.[345] Harry S. Truman Presidential Library and Museum – The Presidential library in Independence Harry S. Truman Little White House – Truman's winter getaway at Key West, Florida See also Electoral history of Harry S. Truman Truman (film) Truman Day List of presidents of the United States "Harry Truman", a 1975 hit song by the band Chicago Notes Truman was vice president under Franklin D. Roosevelt and became president upon Roosevelt's death on April 12, 1945. As this was prior to the adoption of the Twenty-fifth Amendment in 1967, a vacancy in the office of vice president was not filled until the next ensuing election and inauguration. Truman was given the initial S as a middle name. There is disagreement over whether the period after the S should be included or omitted, or if both forms are equally valid. Truman's own archived correspondence shows that he regularly used the period when writing his name.[6] Truman hald several leadership positions at the local and state level and in 1940 was elected to a one year term as Grand Master of the Grand Lodge of Missouri.[84] In October 1945 he received the 33rd degree of the Scottish Rite.[84] Truman was a founder of the Reserve Officers Association and organized Missouri's first chapter, Chapter 1.[85] Truman organized the first American Legion post in Missouri, aided in organizing several others, and attended numerous annual conventions as a delegate.[86] For example, see Fussell, Paul (1988). "Thank God for the Atomic Bomb". Thank God for the Atomic Bomb and Other Essays. New York Summit Books. That claim was removed from this article on August 1, 2021, with this edit. Selma Hortense Burke (December 31, 1900 – August 29, 1995) was an American sculptor and a member of the Harlem Renaissance movement.[1] Burke is best known for a bas relief portrait of President Franklin D. Roosevelt that may have inspired the profile found on the obverse of the dime.[2] She described herself as "a people's sculptor" and created many pieces of public art, often portraits of prominent African-American figures like Duke Ellington, Mary McLeod Bethune and Booker T. Washington.[3][4] In 1979, she was awarded the Women's Caucus for Art Lifetime Achievement Award[5] She summed up her life as an artist, "I really live and move in the atmosphere in which I am creating" (Interview with Selma Burke, 3 September 1990).[6] Contents 1 Biography 1.1 Harlem Renaissance and education 1.2 Teaching and later life 2 Sculpture 2.1 Portrait of F.D.R. 3 Honors 4 Death 5 References 6 Further reading 7 External links Biography Selma Burke was born on December 31, 1900, in Mooresville, North Carolina, the seventh of 10 children of Reverend Neil and Mary Elizabeth Coalfield Burke.[7][8] Her father was an AME Church Minister who worked on the railroads for additional income. Her father died when she was twelve and at the time her mother was one hundred one years old.[9] As a child, she attended a one-room segregated schoolhouse, and often played with the riverbed clay found near her home.[3][10] She would later describe the feeling of squeezing the clay through her fingers as a first encounter with sculpture, saying "It was there in 1907 that I discovered me."[11] Burke's interest in sculpture was encouraged by her maternal grandmother, a painter, although her mother thought she should pursue a more financially stable career.[12] "You can't make a living at that," Burke recalls her mother saying about her desire to study art. [13] Burke attended Winston-Salem State University before graduating in 1924 from the St. Agnes Training School for Nurses in Raleigh.[14] She married a childhood friend, Durant Woodward, in 1928, although the marriage ended with his death less than a year later.[15] She later moved to Harlem to work as a private nurse.[16][17] She was employed as a private nurse to a wealthy heiress. This heiress later became a patron of Burke and helped her become financially stable during the great depression. [18] Harlem Renaissance and education After moving to New York City in 1935, Burke began art classes at Sarah Lawrence College.[19] She also worked as a model in art classes to pay for that schooling. In 1935, during this time, she also became involved with the Harlem Renaissance cultural movement through her marriage with the writer Claude McKay, with whom she shared an apartment in the Hell's Kitchen neighborhood of Manhattan.[20] The relationship was brief and tumultuous – McKay would destroy her clay models when he did not find the work to be up to his standards – but it introduced Burke to an artistic community that would support her burgeoning career.[21] Burke began teaching for the Harlem Community Arts Center under the leadership of sculptor Augusta Savage, and would go on to work for the Works Progress Administration on the New Deal Federal Art Project.[10] One of her WPA works, a bust of Booker T. Washington, was given to Frederick Douglass High School in Manhattan in 1936.[22] Burke traveled to Europe twice in the 1930s, first on a Rosenwald fellowship to study sculpture in Vienna in 1933-34. She returned in 1936 to study in Paris with Aristide Maillol. While in Paris she met Henri Matisse, who praised her work.[10] One of her most significant works from this period is "Frau Keller" (1937), a portrait of a German-Jewish woman in response to the rising Nazi threat which would convince Burke to leave Europe later that year.[4] With the onset of World War II, Burke chose to work in a factory as a truck driver for the Brooklyn Navy Yard. It was her opinion that, during the war, "artists should get out of their studios."[23] After returning to the United States, Burke won a graduate school scholarship to Columbia University, where she would receive a Master of Fine Arts degree in 1941.[23][24] Teaching and later life In 1940 Burke founded the Selma Burke School of Sculpture in New York City.[16] She was committed to teaching art. She opened the Selma Burke Art School in New York City in 1946, and later opened the Selma Burke Art Center in Pittsburgh, Pennsylvania.[2][25] Open from 1968 to 1981, the center "was an original art center that played an integral role in the Pittsburgh art community," offering courses ranging from studio workshops to puppetry classes.[26] Burke used her art to make opportunities to bring people together. In Mooresville, black children were banned from use of the public library. With her rising fame, Burke chose to donate a bust of a local doctor on the condition that the ban be removed. The town accepted.[23] In 1949 Burke married architect Herman Kobbe, and moved with him to an artists' colony in New Hope, Pennsylvania.[10] Kobbe died in 1955, but Burke continued to live in her New Hope home until her death in 1995, at the age of 94.[15] She has taught at Livingstone College, Swarthmore College, and Harvard University, as well as Friends Charter School in Pennsylvania and Harlem Center in New York.[27] Sculpture Selma Burke sculpted portraits of famous African-American figures as well as lesser-known subjects. She also explored human emotion and family relationships in more expressionistic works.[15] While she admired the abstract modernists, her work was more concerned with rendering the symbolic human form in ways both dignified and symbolic.[4] She worked in a wide variety of media including wood, brass, alabaster, and limestone.[28] Burke's public sculpture pieces include a bust of Duke Ellington at the Performing Arts Center in Milwaukee, as well as works on display at the Hill House Center in Pittsburgh, the Schomburg Center for Research in Black Culture in New York City, Atlanta University, Spelman College, and the Smithsonian Museum of American Art.[29] Her last monumental work, created in 1980 when she was 80 years old, is a bronze statue of Martin Luther King, Jr. in Charlotte, N.C.[3] Burke was among the artists featured at The National Urban League's inaugural exhibition at Gallery 62 in 1978.[30] She had solo exhibitions at Princeton University and the Carnegie Museum, among other venues. Her work is held in the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the Philadelphia Museum of Art,[10] and the James A. Michener Museum of Art in Doylestown, Pennsylvania. Portrait of F.D.R. Burke's best-known work is a portrait honoring President Franklin D. Roosevelt and the Four Freedoms. In 1943, she competed in a national contest to win a commission for the sculpture, created from sketches made during a 45-minute sitting with Roosevelt at the White House.[2] Burke herself "wrote to Roosevelt to request a live sitting, to which the president generously agreed, scheduling the first of two sittings on February 22, 1944."[8] The President passed before the third such appointment could be met. Mrs. Roosevelt objected to how young Burke chose to present Roosevelt as, but she responded by saying, "This profile is not for today, but for tomorrow and all time."[23] When asked about her experience sketching the president, "she said he wiggled too much when she began to sketch him that day. She told him to sit still and he did."[31] The 3.5-by-2.5-foot plaque was completed in 1944 and unveiled by President Harry S. Truman in September 1945 at the Recorder of Deeds Building in Washington, D.C., where it still hangs today.[26] A number of sources contend that John R. Sinnock's obverse design on the Roosevelt dime was adapted from Burke's plaque[3][4][15][32] even though Sinnock later denied that Burke's portrait was an influence.[33][34][35] Sinnock's 1933 presidential medal for Roosevelt bears a striking resemblance to the 1946 dime, with Roosevelt facing the opposite direction.[36] Roosevelt's 1941 inaugural medal, which Sinnock was involved in designing, also resembles the 1946 dime.[37] Both the 1933 and 1941 medals predate Burke's bas relief. Selma Burke discovered her love for sculpture as a young child and followed her passion to Harlem Renaissance New York, Parisian art studios, and even the White House. The artist behind President Franklin Roosevelt’s image on the dime, she was a dedicated art teacher and one of the most notable sculptors of the twentieth century. Selma Hortense Burke was born on December 31, 1900 in Mooresville, North Carolina. She was the seventh of Mary Jackson and Neal Burke’s 10 children. Her father was a Methodist minister who also worked on the railroads and cruise ships. Burke’s interest in art began at an early age, sculpting small objects and animals with white clay from a nearby riverbed. "One day, I was mixing the clay and I saw the imprint of my hands," she told the New York Post in 1945. "I found that I could make something... something that I alone had created." Burke’s father encouraged her artistic pursuits. She often used the objects he brought back from his ocean travels as the models for her sculptures. Her interest in African art began with a collection of African artifacts the family inherited from Burke's uncles who had done missionary work abroad. Burke’s mother, on the other hand, encouraged her to follow the more practical career path of nursing. Burke graduated from the Slater Industrial and Slater Normal School (later Winston-Salem State University) in 1922. She went on to Saint Agnes Training School for Nurses in Raleigh, North Carolina, where she graduated as a registered nurse in 1924. After that, she completed further nursing training in Philadelphia. She married her childhood friend Durant Woodward, but she was widowed when he died not long after their wedding. Burke moved to New York City in the late 1920s where she worked as the private nurse for Amelia Waring, an heiress to the Otis Elevator empire. Waring helped Burke gain exposure to the arts and culture scenes in New York. Burke began socializing with the artists and writers associated with the Harlem Renaissance. She was romantically involved with poet and novelist Claude McKay (sources vary as to whether they ever legally married), but it was a tumultuous pairing and the two soon separated. After Waring’s death, Burke left nursing and turned her focus to sculpture. She studied art at Sarah Lawrence College, modeling to pay for her classes. Burke twice traveled to Europe to hone her technique, where she studied under artists such as Henri Matisse and Aristide Maillol in Paris. But with the threat of Nazism rising in Europe, Burke returned to the United States. She taught art to youth in New York City through the Works Progress Administration’s Federal Art Project and the Harlem Community Arts Center, where influential sculptor Augusta Savage was her mentor. In 1940, Burke opened the Selma Burke School of Sculpture. The next year, Burke earned a Master of Fine Arts degree from Columbia University (where she had received a scholarship) and held her first solo exhibit in a New York gallery. Following the entry of the United States into World War II, Burke enlisted in the Navy, becoming one of the first African-American women to sign up. Her assignment was to drive a truck at the Brooklyn Navy Yard. She injured her back on the job and while recuperating, she won a nationwide contest for the commission of a bronze relief portrait of President Franklin Roosevelt. Burke felt that photographs of Roosevelt were inadequate for her needs and requested a sitting with the President so she could draw him. Roosevelt agreed and Burke sketched Roosevelt over two days in February 1944. Roosevelt passed away in April 1945. His successor, President Harry S. Truman, unveiled Burke’s relief portrait at the Recorder of Deeds Building in Washington, D.C. on September 24, 1945. Though she endorsed it, Eleanor Roosevelt reportedly did not like the portrait at first, as it depicted her husband as a younger man. Burke responded that she intended the image to represent Roosevelt as Americans had long known him, not as he appeared in his final years. In addition to the bronze portrait, Burke’s profile of Roosevelt is widely acknowledged as the basis for his image on the U.S. dime. The dime’s image is officially attributed to U.S. Mint Chief Engraver John Sinnock, but many, including Burke, claim that Sinnock borrowed from Burke’s depiction. Burke described herself as “a people’s sculptor” and intended for her art to speak to wide audiences, including those who lacked an arts education. Her work often focused on the human body and she used brass, bronze, alabaster, and limestone, among other materials. Her sculptures included figures and busts of prominent African Americans such as John Brown, Duke Ellington, Mary McLeod Bethune, and A. Philip Randolph. Some of her well-known pieces include Torso (1937), Temptation (1938), (Untitled) Woman and Child (1950), and Together (1975). Burke married architect Herman Kobbe in 1949 and the two moved to an artists’ colony in New Hope, Pennsylvania. Kobbe passed away in 1955, but Burke remained in Pennsylvania for the rest of her life. Burke continued to emphasize arts education, running the Selma Burke Art Center in Pittsburgh from 1968-1981. She taught children about the vibrancy of sculpture and encouraged them to touch works of art in order to fully understand them. In 1979, President Jimmy Carter awarded Burke with a Women’s Caucus for Art Lifetime Achievement award. Burke received honorary doctorates from Livingstone College in 1970 and Spelman College in 1988. Burke completed her final sculpture in 1980: a nine-foot bronze statue of Martin Luther King Jr. that stands in Marshall Park in Charlotte, North Carolina. She passed away in 1995 in New Hope, Pennsylvania. Her sculptures are still on display at institutions such as Winston-Salem State University, the Smithsonian American Art Museum, and the Mooresville Public Library in her North Carolina hometown. Burke, Selma Hortense. (Mooresville, NC, 1900-Newtown, PA, 1995) Bibliography and Exhibitions MONOGRAPHS AND SOLO EXHIBITIONS: Austin (TX). Lyndon Baines Johnson Library and Museum. The Sculpture of Dr. SELMA BURKE, An Exhibition. October 12, 1990-February 28, 1991. Exhib. cat., illus, biog. Pictorial wraps. Jackson, Garnet Nelson and Cheryl Hannah (illus.). SELMA BURKE, Artist. Cleveland: Modern Curriculum Press, 1994. 26 pp., color plates. Biography for young readers of the African American sculptor whose bas-relief of Roosevelt's profile is on the United States dime. 8vo (21 cm.), cloth. First ed. New York (NY). McMillen Galleries. SELMA BURKE. November, 1941. Solo exhibition. New York (NY). Modernage Art Gallery. SELMA BURKE. 1945. Solo exhibition. Perkasie (PA). Pearl S. Buck Estate. SELMA BURKE. 1989. Solo exhibition. Shaker Heights (OH). Malcolm Brown Gallery. SELMA BURKE: Sculpture. 1994. Solo exhibition of fifteen 15 stone and bronze sculptures, including a bust of Duke Ellington. Watson, Walter Ray, Jr. BURKE Offers Sage Advice to Young Artists: 'Stop Waiting'. 1986. In: Pittsburgh Courier, November 29, 1986:7. Interview, photo of artist. GENERAL BOOKS AND GROUP EXHIBITIONS: ALBANY (NY). Albany Institute of History and Art. The Negro Artist Comes of Age: A National Survey of Contemporary American Artists. January 3-February 11, 1945. vii, 77 pp., 63 b&w illus., checklist of 76 works by 38 artists, with 14 others mentioned as well. A major early survey. Foreword by John Davis Hatch, Jr.; essay "Up Till Now" by Alain Locke who states that the show is both "a representative and challenging cross-section of contemporary American art and, additionally, convincing evidence of the Negro’s maturing racial and cultural self-expression in painting and sculpture." The exhibition coincided with the last months of WWII and the return of the troops. Artists mentioned or included: Charles Alston, William Artis, Henry (Mike) Bannarn, Edward M. Bannister, Richmond Barthé, Romare Bearden, Eloise Bishop, Selma Burke, William S. Carter, Elizabeth Catlett, Claude Clark, Sr., Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Joseph Delaney, Aaron Douglas, Robert S. Duncanson, Frederick Flemister, Meta Warrick Fuller, Rex Goreleigh, William A. Harper, Palmer Hayden, James Herring, May Howard Jackson, Joshua Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Lois Mailou Jones, Ronald Joseph, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Edward L. Loper, Archibald J. Motley, Frank Neal, Marion Perkins, Horace Pippin, James A. Porter, William E. Scott, Charles Sebree, Thelma Streat, Henry Ossawa Tanner, Dox Thrash, Laura Wheeler Waring, James Lesesne Wells, Charles White, Ellis Wilson, John Wilson, Vernon Winslow, Hale Woodruff. [Traveled to: Brooklyn Museum of Art.] [Locke's essay is reprinted in: The Critical Temper of Alain Locke. A Selection of His Essays on Art and Culture. New York: Garland, 191-94.] [Reviews: Carter G. Woodson, The Journal of Negro History, Vol. 30, No. 2 (April 1945):227-228; "The Negro Artist Comes of Age," ARTnews (February 1-14, 1945) reprinted in ARTnews 91 (November 1992):109-10.] 8vo (9 x 6 in.; 23 cm.), wraps. First ed. ALFORD, STERLING G. Famous First Blacks. New York: Vantage, 1974. Minimal coverage of art, pp. 9-11. Artists mentioned include: Edward Bannister, Joshua Johnson, Scipio Moorhead, Georg Olden, Henry Tanner, Richmond Barthé, Selma Burke, Edmonia Lewis, Elizabeth Prophet, William Majors, Jacob Lawrence. ANDERSON, JERVIS. This Was Harlem: A Cultural Portrait, 1900-1950. New York: Ferrar, Straus, Giroux, 1982. x, 389 (1) pp., illus. (Vanderzee photos and Aaron Douglas Crisis cover). Mentions: Charles Alston, William Artis, Henry Bannarn, Richmond Barthé, Romare Bearden, Robert Blackburn, Selma Burke, Yolande Du Bois, E. Simms Campbell, Ernest Crichlow, Aaron Douglas, Elton Fax, Vertis Hayes, Gwendolyn Knight, Jacob Lawrence, Norman Lewis, Augusta Savage, Hale Woodruff, James Vanderzee. 8vo (25 cm.; 9.2 x 6.2 in.), cloth, d.j. ATLANTA (GA). Atlanta University. Atlanta University Contemporary Art Collection. 1959. 38 pp., 22 b&w illus., biogs. and illus. for: Charles Alston, Jacob Lawrence, William Palmer, and Hale Woodruff; list of 186 African American artists whose works were the prize winner purchases from the annual Atlanta University shows, 1942-1959, with titles of works. Prizewinners: 1942: William Carter, Frederick C. Flemister, Edward L. Loper, Charles Alston, Lois Mailou Jones; 1943: John Wilson, Hughie Lee-Smith, Mark Hewitt, Henry W. Bannarn, Frederick D. Jones; 1944: Cecil D. Nelson, Jr., John Farrar, John Wilson, Walter W. Smith, Frank W. Neal, Vernon Winslow, William E. Artis, Selma Burke, Mark Hewitt, James Dallas Parks, John Wilson; 1945: Henry W. Bannarn, John Wilson, Frederick Flemister, John N. Robinson (as John D.), Robert Willis, Margery W. Brown (as Marjorie), William E. Artis, Richmond Barthé, Mark Hewitt, Jenelsie Walden Holloway (as Jenelse Walden), Margaret G. Burroughs (as Margaret Goss); 1946: Joseph Delaney, Charles White, Ellis Wilson, Franklin M. Shands (painting), Leonard Cooper, Franklin M. Shands (watercolor), Richmond Barthé, Elizabeth Catlett, Charles White, Wilmer Jennings, Roy DeCarava; 1947: Frank H. Alston, Jr., Frank Neal, John Wilson, Joseph D. Atkinson, Calvin Burnett, Julia Ann Fields, William Artis, Samella Sanders (Lewis), H.E. Chandler, Hayward L. Oubré, Frank A. Wyley; 1948: Henry Bannarn, Rose Piper, Jacob Lawrence, Clarence Shivers, Calvin Burnett, William E. Pajaud, Richmond Barthé, Houston E. Chandler (sculpture), Bob Blackburn, Houston E. Chandler (prints), Hayward L. Oubré; 1949: Lois Mailou Jones, Cecil D. Nelson, Jr., Frederick D. Jones, Jr., Romeyn Van Vleck Lippman, Walter A. Simon, Charles W. Stallings, Jewel Simon, Charles White, Samella Sanders (Lewis), James H. Malone; 1950: John Howard, James Reuben Reed, Merton D. Simpson, William Hayden, Warren L. Harris, Estella W. Johnson, Eddie F. Jordan, John W. Rhoden, Samella Sanders (Lewis), Bob Blackburn, John T. Biggers; 1951: Merton D. Simpson, Walter A. Simon, Hale A. Woodruff, Richard W. Dempsey, Donald H. Roberts, Gladys W. Renwick, William E. Artis, Charles W. Stallings, Charles White, Charles W. Enoch Jr., John Wilson; 1952: Harvey W. Lee, Jr., Fred Jones, Ernest Crichlow, Samuel A. Countee, Lois Mailou Jones, Donald H. Roberts, Guy L. Miller, William E. Artis, John Wilson, Elizabeth Catlett, Patricia C. Walker; 1953: Walter H. Simon, Irvin H. Turner, Thomas E. Goodwin, Charles White, Romeyn Van Vleck Lippman, Jewel Woodward (as Woodard) Simon, John T. Biggers (sculpture), Hayward L. Oubré, Leroy C. Weaver, John T. Biggers (print), Robert A. Daniel; 1954: Jean Flowers, Romeyn Van Vleck Lipmann, Frederick D. Jones, Jr., Harper T. Phillips, John Wilson (watercolor), Henry Bannarn, Jack Jordan, Margaret S. Collins, John Wilson (print), Charles W. Stallings, Samella S. Lewis; 1955: William E. Rice, John Wilson, James Yeargans, Lois Mailou Jones, Margaret T. Burroughs, Archie Taylor, Henry W. Bannarn, Jewel Woodward (as Woodard) Simon, Howard E. Lewis, Jimmie Mosely, Robert A. Daniel; 1956: Merton D. Simpson, Frederick D. Jones, Jr., Irene V. Clark, Leonard H. Jones, Lewis H. Stephens, Gerald F. Hooper, Marion Perkins, Elizabeth Catlett, Samella Sanders Lewis, Calvin Burnett, Charles W. Stallings; 1957: Thomas Jefferson Flanagan, Benjamin Britt, Geraldine McCullough, Walter Wallace, Jewel Woodard Simon, John Wilson (watercolor), Hayward L. Oubré (sculpture), Jack Jordan, John Wilson (print), Hayward L. Oubré (print), Howard E. Lewis; 1958: Irene V. Clark, James Watkins, Cullen C. Lowe, Benjamin Britt, June Hector, William S. Carter, Guy L. Miller, Gregory Ridley, Barbara L. Gallon, Tommie E. Price, Zenobia Hammonds; 1959: David C. Driskell, Mildred A. Braxton, James Yeargans, James Watkins, Vivian Williams, Leedell Moorehead, William E. Artis, Alfred Stevenson, Hubert C. Taylor, John W. (as H.) Arterbery, Anna E. Costley. 8vo, blue paper covers, lettered in brown. First ed. ATLANTA (GA). Atlanta University. Third Annual Exhibition of Paintings, Sculptures and Prints by Negro Artists: The Two Generations. April 2-30, 1944. Juried group exhibition. Artists included: Charles Alston, William E. Artis, Annabelle Baker, Mike Bannarn, Romare Bearden (Honorable Mention), John T. Biggers, Selma Burke, Calvin Burnett, William S. Carter, Claude Clark, Francis P. Conch, Ernest Crichlow, Allan Rohan Crite, Mary Tobias Daniel, Roy DeCarava, Arthur Diggs, Lillian Dorsey, John Farrar (top prize - Ferrar was 16 yrs. old), Frederick C. Flemister, Charlotte Franklin, Charles Haig, Vertis C. Hayes, Mark Hewitt, Jenelsie Holloway, John Miller Howard, Sargent Johnson, Henry Bozeman Jones, Lois Mailou Jones, Clarence Lawson, Hughie Lee-Smith, Samella Lewis, Frank Neal, Cecil D. Nelson, Jr. (winner, John Hope Purchase award, landscape painting), Allison Oglesby, James Dallas Parks, Horace Pippin, James Porter, Walter W. Smith, Clyde Turner, John E. Washington, Ora Washington, Albert Wells, James Lesesne Wells, Ellis Wilson, John Wilson (Atlanta University award), Vernon Winslow, Hale Woodruff, Frank Wyley, et al. [Review: Art News, May 1, 1944:7.] ATLANTA (GA). High Museum of Art. Highlights from the Atlanta University Collection of Afro-American Art. October-November, 1973. Unpag. (37 pp. plus errata slip) exhib. cat., illus. Intro. by Thomas D. Jarrett; foreword by Gudmund Vigtel; text by Richard A. Long. Over 70 artists listed. Includes: James Adair, Jackie W. Adams, Charles Alston, Frank Herman Alston, Jr., Benny Andrews, John W. Arterbery, Joseph Atkinson, William E. Artis, Herman Kofi Bailey, Mike Bannarn, Ernie Barnes, Richmond Barthé, Romare Bearden, John Biggers, Bob Blackburn, Shirley Bolton, Eva Booker, Mildred A. Braxton, Arthur L. Britt, Margery Brown, Selma Burke, Calvin Burnett, Margaret Burroughs, William S. Carter, Elizabeth Catlett, Houston E. Chandler, Irene V. Clark, Floyd Coleman, Robert Colescott, Margaret S. Collins, William Leonard Cooper, Anne A. Costley, Samuel A. Countee, Ernest Crichlow, Robert A. Daniel, Roy DeCarava, Joseph Delaney, Richard Dempsey, David Driskell, Charles Enoch, John Farrar, Julia A. Fields, Thomas J. Flanagan, Frederick Flemister, Jean Flowers, Otis Galbreath, Barbara L. Gallon, Sam Gilliam, Charles Haines, Zenobia Hammonds, Edwin A. Harleston, William A. Harper, Palmer C. Hayden, William M. Hayden, June Hector, Mark Hewitt, Leon Hicks, Jenelsie Holloway, John Miller Howard, Richard Hunt, Wilmer Jennings, Estella W. Johnson, Malvin Gray Johnson, William H. Johnson, Fred Jones, Leonard Jones, Jacob Lawrence, Samella Lewis, Norma Morgan, Marion Perkins, John Rhoden, Franklin M. Shands, Jewel Simon, Merton Simpson, Henry Ossawa Tanner, Charles White, Robert Willis, Ellis Wilson, Hale Woodruff, et al. [Traveled to: Baltimore Museum of Art, January 15-February 24, 1974; Jacksonville Art Museum, FL, March 15-April 15; Minnesota Museum of Art, St. Paul, June 1-July 15, 1974; Delta Fine Arts, Inc., Winston-Salem, NC; Museum of the National Center of Afro-American Artists, Boston; Studio Museum in Harlem; DuSable Museum of African American History, Chicago.] 4to (28 cm.), wraps. First ed. ATLANTA (GA). Spelman College Museum. Bearing Witness: Contemporary Works by African-American Women Artists. 1996. 176 pp. exhib. cat., 80 color plates, 14 b&w illus., chronol., extensive bibliog., index. Ed. Jontyle Theresa Robinson; foreword by Maya Angelou, six essays, chronol., bibliog., index. A beautiful book with fine scholarly texts by African American women art historians covering the accomplishments of important women artists whose work has been absent from many other surveys. Includes: Amalia Amaki, Emma Amos, Hilda Wilkinson Brown, Beverly Buchanan, Selma H. Burke, Nanette Carter, Elizabeth Catlett, Barbara Chase-Riboud, Sarah Mapps Douglass, Meta Vaux Warrick Fuller, Maren Hassinger, Freida High, Charnelle Holloway, Varnette P. Honeywood, Stephanie Johnson, Lois Mailou Jones, Jean Lacy, Mary Edmonia Lewis, Valerie Maynard, Geraldine McCullough, Howardena, Pindell, Stephanie Pogue, Harriet Powers, Debra Priestly, Elizabeth Prophet, Rachelle Puryear, Faith Ringgold, Malkia Roberts, Alison Saar, Betye Saar, Augusta Savage, Joyce J. Scott, Lorna Simpson, Alma W. Thomas, Annie E.A. Walker, Carrie Mae Weems, Philemona Williamson, Beulah Ecton Woodard. [Traveled to: Tuskegee University Art Gallery, Tuskegee, AL; Fort Wayne Museum of Art, Fort Wayne, IN; St. Paul Museum, St. Paul, MN; Museum of African- American Culture, Fort Worth, TX; Portland Museum of Art, Portland, OR; Museum of Fine Arts, Houston, TX.] 4to, cloth, dust jacket. First ed. ATLANTA (GA). Trevor Arnett Hall, Clark Atlanta University Art Galleries. Women Enchanting Muses. January 15-April 30, 2013. Group exhibition of work selected from the Cochran Collection. Curated by Tina Dunkley and Christopher Hickey. Included: Emma Amos, Trena Banks, Camille Billops, Betty Blayton, Vivian Browne, Beverly Buchanan, Selma Burke, Nanette Carter, Elizabeth Catlett, Maren Hassinger, Cynthia Hawkins, Margo Humphrey, Lois Mailou Jones, Valerie Maynard, Norma Morgan, Mary Lovelace O’Neal, Stepnie Pogue, Tochell Puryear, Mavis Pusey, Barbara Chase Riboud, Faith Ringgold, Aminah Robinson, Betye Saar, Alma Thomas, Mildred Thompson, and Joyce Wellman. BALTIMORE (MD). Baltimore Museum of Art. New Names in American Art. 1944. Exhib. cat. Group exhibition. Included Romare Bearden, John Biggers, Selma Burke, Elizabeth Catlett, Eldzier Cortor, Sargent Johnson,William H. Johnson, Jacob Lawrence, Norman Lewis, Horace Pippin, Thelma Johnson Streat, Charles White and Hale Woodruff. [Also exhibited at G Place Gallery, Washington, DC; Renaissance Society at the University of Chicago, October 7-October 31, 1944.] BALTIMORE (MD). Murphy Fine Arts Center, Morgan State College. Salute to the Barnett Aden Gallery. November 24-December 20, 1968. Exhib. cat., illus. Includes: A. B. Jackson, James C. McMillan, David Driskell, James V. Herring, James L. Wells, William H. Johnson, Sue Jane Mitchell Smock, Charles White, Samuel Brown, Hughie Lee-Smith; drawings: Norman Lewis, Adolphus Ealey, James Porter, Carroll Sockwell; oil paintings: Henry Ossawa Tanner, Aaron Douglas, Laura Wheeler Waring, Elizabeth Catlett, Lee-Smith, Edward M. Bannister, Ellis Wilson, Merton Simpson, Lois Mailou Jones, Aaron Douglas, Charles Sebree, Eldzier Cortor, John Farrar, Norman Lewis, David Driskell, Hale Woodruff, Archibald Motley, Romare Bearden, William E. Scott, Charles Davis, Charles White; watercolors: W. H. Johnson, Alma Thomas, Jacob Lawrence, Samuel Brown; sculpture: Elizabeth Catlett, Selma Burke. BARBOUR, FLOYD B., ed. The Black Seventies. Boston: Porter Sargent, 1970. 335 pp., bibliog., index. Includes: Margaret Burroughs essay "To Make a Painter Black"; Porter Sargent, The Chicago Wall of Pride and Respect. Lois Mailou Jones, Eugene E. White, Selma Burke, Ernest Crichlow, Charles White, Evangeline J. Montgomery; brief mention of Romare Bearden. 8vo, cloth, d.j. BARDOLPH, RICHARD. The Negro Vanguard. New York: Rinehart, 1959. viii, 495, xvi pp., bibliog., index. Mentions very briefly approximately 40 African American visual artists (419-425). 8vo (24 cm.), cloth, d.j. Beauford, Fred, ed. Black Creation: A Quarterly Review of Black Arts and Letters Vol. 6 (1974-5). 1974-75. Includes: Charles Alston, Emma Amos, Benny Andrews ("The Big Bash." Fiction), Emmanuel V. Asihene, Cleveland J. Bellow, Camille Billops ["Contemporary Egyptian Art"], Bob Blackburn, Kay Brown, Vivian Browne, Linda Goode Bryant, Selma Burke, Elizabeth Catlett, Gylbert Coker, Art Coppedge, Eldzier Cortor, Ernest Crichlow, Roy DeCarava, Joseph Delaney, Jeff Donaldson, Aaron Douglas, Sarah Duffy, Joseph Geran, Ray Gibson, Palmer Hayden, Adrienne Hoard, Richard Hunt, Nigel Jackson, Suzanne Jackson, Rosalind Jeffries, Ben Jones, Lois Mailou Jones, Barbara Jones-Hogu, Jacob Lawrence, Norman Lewis, Samella Lewis, Tom Lloyd, Edmund Marshall, Valerie Maynard, Lev Mills, Archibald Motley, Otto Neals, Ademola Olugebefola, Hayward Oubre, et al. BELLEVUE (WA). Bellevue Art Museum. Hidden Heritage: Afro-American Art, 1800-1950. 1985. 104 pp., 59 illus. (18 color plates including cover plates), checklist of 84 works by 42 artists, notes, bibliography. Driskell's essay is an excellent general survey including numerous artists not in the exhibition. Artists in exhibition in chronological order include: Joshua Johnson, William Simpson, David Bowser, Robert Duncanson, Edward Bannister, Grafton T. Brown, Edmonia Lewis, Henry Ossawa Tanner, William A. Harper, William E. Scott. Sargent Johnson, Horace Pippin, Elizabeth Prophet, Archibald Motley, Augusta Savage, Palmer Hayden, Malvin G. Johnson, Aaron Douglas, Meta Warrick Fuller, Ellis Wilson, Hale Woodruff, Richmond Barthé, Selma Burke, Beauford Delaney, William H. Johnson, James L. Wells, Joseph Delaney, Lois Mailou Jones, James Porter, Charles Alston, Marion Perkins, Norman Lewis, Romare Bearden, Ernest Crichlow, Charles Sebree, Hughie-Lee Smith, Claude Clark, Eldzier Cortor, Jacob Lawrence, Charles White, Elizabeth Catlett, James Lewis. [Traveling exhibition.] 4to, wraps. First ed. BLOCKSON, CHARLES L. Pennsylvania's Black History. Philadelphia: Portfolio Associates, 1975. Includes section on The Arts. Mentions: Selma Burke, Robert Bustill, John G. Chaplin, Allan Freelon, Meta Warrick Fuller, May Jackson, Harry and Edgar Patience, Horace Pippin, Pheoris West, and critic Alain Locke. BONTEMPS, ARNA, ed. Forever Free: Art by African-American Women 1862-1980. Hampton: Hampton University and Stephenson Inc., Alexandria, VA, 1980. 214 pp. exhib. cat., 44 color plates, 4 b&w illus., plus b&w thumbnail photos of artists, checklist of 118 works, biogs., bibliogs., colls, exhibs. for each artist. Intro. David Driskell; intro. by Roslyn A. Walker, book-length text by Arna Bontemps and Jacqueline Fonvielle-Bontemps; afterword by Keith Morrison; biogs. by Alan M. Gordon (often with quotes from the artists.) Artists include: Rose Auld, Camille Billops, Betty Blayton, Vivian E. Browne, Selma Burke, Margaret Burroughs, Yvonne Catchings, Elizabeth Catlett, Catti, Barbara Chase-Riboud, Minnie Evans, Meta Fuller, Ethel Guest, Maren Hassinger, Adrienne Hoard, Varnette Honeywood, Margo Humphrey, Clementine Hunter, Suzanne Jackson, Marie Johnson-Calloway, Lois Mailou Jones, Vivian Key, Edmonia Lewis, Geraldine McCullough, Victoria Susan Meek, Eva Hamlin-Miller, Mary Lovelace O'Neal, Winnie Owens, Delilah Pierce, Georgette Powell, Nancy Prophet, Helen Ramsaran, Faith Ringgold, Betye Saar, Augusta Savage, Sylvia Snowden, Shirley Stark, Ann Tanksley, Alma Thomas, Mildred Thompson, Yvonne Tucker, Annie Walker, Laura Waring, Deborah Wilkins, Viola Wood, Shirley Woodson, Estella Wright, Barbara Zuber. [Traveled to: Center for Visual Arts, Normal, IL; Montgomery Museum of Fine Arts, Montgomery, AL; Indianapolis Museum of Art.] [Review by Susan Willand Worteck, Feminist Studies, Vol. 8, No. 1. (Spring, 1982):97-108.] Large 4to, cloth, pictorial d.j. First ed. BRITTON, CRYSTAL A. African-American Art: The Long Struggle. New York: Smithmark, 1996. 128 pp., 107 color plates (mostly full-page and double-page), notes, index. Artists include: Terry Adkins, Charles Alston, Amalia Amaki, Emma Amos, Benny Andrews, William E. Artis, Radcliffe Bailey, Xenobia Bailey, James P. Ball, Jean-Michel Basquiat, Romare Bearden, Edward Mitchell Bannister, John T. Biggers, Camille Billops, Willie Birch, Bob Blackburn, Betty Blayton, David Bustill Bowser, Grafton Tyler Brown, James Andrew Brown, Kay Brown, Vivian Browne, Beverly Buchanan, Selma Burke, Margaret Burroughs, Carole Byard, Elizabeth Catlett, Dana Chandler, Barbara Chase-Riboud, Ed Clark, Robert Colescott, Houston Conwill, Eldzier Cortor, Renée Cox, Ernest Crichlow, Allan Rohan Crite, Giza Daniels-Endesha, Dave [the Potter], Thomas Day, Beauford Delaney, Joseph Delaney, Jeff Donaldson, Aaron Douglas, Leonardo Drew, Robert S. Duncanson, William Edmondson, Melvin Edwards, Minnie Evans, William Farrow, Gilbert Fletcher, James Forman, Meta Vaux Warrick Fuller, Michele Godwin, David Hammons, Edwin Harleston, William A. Harper, Palmer Hayden, Thomas Heath, white artist Jon Hendricks (no illus.), Robin Holder, May Howard Jackson, Wadsworth Jarrell, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Joshua Johnston, Napoleon Jones-Henderson, Barbara Jones-Hogu, Lois Mailou Jones, Cliff Joseph, Jacob Lawrence, Hughie-Lee Smith, Edmonia Lewis, Norman Lewis, Juan Logan, Valerie Maynard, Dindga McCannon, Sam Middleton, Scipio Moorhead, Keith Morrison, Archibald J. Motley, Jr., Sana Musasama, Marilyn Nance, Gordon Parks, Marion Perkins, Howardena Pindell, Adrian Piper, Horace Pippin, James A. Porter, Harriet Powers, Nancy Elizabeth Prophet, Martin Puryear, Patrick Reason, Gary Rickson, Faith Ringgold, Alison Saar, Betye Saar, Raymond Saunders, Augusta Savage, Joyce J. Scott, William E. Scott, Charles Sebree, Lorna Simpson, William H. Simpson, Clarissa Sligh, Frank Smith, Vincent D. Smith, Nelson Stevens, Renée Stout, Freddie L. Styles, Henry Ossawa Tanner, Alma Thomas, Jean Toche (no illus.), Lloyd Toone, Bill Traylor, James Vanderzee, Annie E. Walker, William Walker, Laura Wheeler Waring, Carrie Mae Weems, James Lesesne Wells, Charles White, Grace Williams, Michael Kelly Williams, Pat Ward Williams, William T. Williams, Ellis Wilson, Fred Wilson, Hale Woodruff, et al. 4to (32 cm.), pictorial boards, d.j. First ed. BROOKLYN (NY). New Muse Community Museum of Brooklyn. Black Artists in the WPA, 1933-1943: An Exhibition of Drawings, Paintings and Sculpture. February 15-March 30, 1976. 24 pp. exhib. cat., illus. Curated by Charlene Claye VanDerzee; asst. curator; George Carter, assistant. Texts by VanDerzee and Ed Spriggs. Short biographies for Richmond Barthé, Jacob Lawrence, Charles White, Charles Sebree, Charles Alston, Ernest Crichlow, Norman Lewis, Palmer Hayden, Joseph Delaney, Selma Burke, Lois Mailou Jones, Wilmer A. Jennings, Malvin Gray Johnson, Earl Richardson, Hale Woodruff. [Others mentioned in foreword: Benny Andrews and Nii Ahene La Mettle-Nunoo] 8vo (21 cm.), stapled wraps. BROOKVILLE (NY). Hillwood Art Museum, Long Island University. BOB BLACKBURN's Printmaking Workshop: Artists of Color. 1992. 62, (2) pp., 74 illus. (8 color plates), biographies of over fifty artists. Intro. by Kay Walkingstick; text by Noah Jemisin. One of the early references to Blackburn's profound influence on the printmaking world, and still not focusing on his own prints. A tribute to the Printmaking Workshop with illus. of more than 70 artists who worked with Blackburn (approximately two thirds of those included are Black artists.) Includes: Charles Alston, Emma Amos, Benny Andrews, William Artis, Ellsworth Ausby, Henry Bannarn, Romare Bearden, Hameed Benjamin, John Biggers, Camille Billops, Willie Birch, Betty Blayton, Marion Brown, Vivian Browne, Selma Burke, Nanette Carter, Elizabeth Catlett, Ed Clark, Adger Cowans, Ernest Crichlow, Nadine DeLawrence, Louis Delsarte, Aaron Douglas, Melvin Edwards, Herbert Gentry, (John) Solace Glenn, Michele Godwin, Rex Goreleigh, Manuel Hughes, Zell Ingram, Noah Jemison, Ronald Joseph, Mohammad Omer Khalil, Jacob Lawrence, Spencer Lawrence, Norman Lewis, Norma Morgan, Sara Murrell, Otto Neals, Nefertiti, Lee Pate, Faith Ringgold, Betye Saar, Augusta Savage, AJ Smith, Jr., Vincent Smith, Maxwell Taylor, Luther Vann, Charles White, Michael Kelly Williams, William T. Williams. [One of the most widely circulated exhibitions of African American art. Traveled to: Bronx River Art Center and Gallery, Bronx, NY; Bergstrom-Mahler Museum, Neenah, WI, October 3-November 21, 1993; ; Chicago Public Library, Chicago, IL, July 10-August 28, 1994; Telfair Academy of Art and Sciences, Savannah, GA, December 12, 1994-January 30, 1995; Fisk University, Nashville, TN, September 18, 1994-January 15, 1995; Albany Institute of History & Art, Albany, NY, September 3-December 31, 1995; Edwin A. Ulrich Museum of Art, Wichita State University; Wichita, KS, April 16-June 4, 1995; The Roger Guffey Gallery; Federal Reserve Bank of Kansas City, Kansas City, MO, February 5-March 26, 1995.] Small oblong 4to, wraps. First ed. BROUDE, NORMA and MARY D. GARRARD. The Power of Feminist Art. New York: Abrams, 1994. One of the first attempts to incorporate the history of Black feminism into the usual account of the feminist art movement. Artists and groups mentioned include: Carole Blank, Kay Brown, Beverly Buchanan, Viola Burley, Selma Burke, Carole Byard, Gylbert Coker, Jerrolyn Crooks, Iris Crump, Pat Davis, Margret Gallegos, Janet Olivia Henry, Jamillah Jennings, Lois Mailou Jones, Doris Kane, Mai Mai Leabua, Dindga McCannon, Senga Nengudi, Lorraine O'Grady, Howardena Pindell, Adrian Piper, Willi Posey; Charlotte Richardson, Faith Ringgold, Betye Saar, Elizabeth Scott, Joyce Scott, Akweke Singho, Clarissa Sligh, Ann Tanksley, Jean Taylor, Judith Wilson. Groups mentioned include: Artists for Black Art Liberation (WSABAL), founded in 1970 by Faith Ringgold and her daughter Michele Wallace; Coast to Coast; Where We At Black Women Artists. 4to, cloth, d.j. First ed. CAMPBELL, MARY SCHMIDT. Harlem Renaissance: Art of Black America. New York: The Studio Museum and Abrams, N.Y., 1994. 200 pp., 140 illus., 55 in color, 29 artists mentioned along with an overall focus on music, dance, literature, and general culture, chronols., bibliog., good reference bibliography, books and magazines illustrated by Aaron Douglas, index. Texts by David Levering Lewis, David C. Driskell, Deborah Willis Ryan, J. Stewart. Artists included: Edward M. Bannister, Richmond Barthé, Selma Burke, Allan Rohan Crite, Roy DeCarava, Aaron Douglas, David Driskell, Meta Vaux Fuller, Palmer Hayden, Charles S. Johnson, Sargent Johnson, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Edmonia Lewis, Archibald Motley, Richard B. Nugent, James A. Porter, Nancy Elizabeth Prophet, Augusta Savage, Charles Sebree, Marvin and Morgan Smith, Henry O. Tanner, James Vanderzee, Laura W. Waring, Charles White, Hale Woodruff. Many others mentioned very briefly in passing. [Review: Kay Larsen, "Born Again," New York Magazine, March 16, 1987:74-75, color illus.] 4to (30 cm.; 11.5 x 8.6 in.), cloth, d.j. First ed. CHAMBERS, LUCILLE ARCOLA. America's Tenth Man. New York: Twayne, 1957. 357 pp., approx. 1000 illus. Foreword by Henry Cabot Lodge, Jr. A pictorial review of the African American contribution to American life. Includes: Alonzo Aden, Charles Alston, William E. Artist, Henry Bannarn, Edward M. Bannister, Richmond Barthé, Romare Bearden, Eloise Bishop, Bob Blackburn, Emile Broussard, Selma Burke, Elmer Simms Campbell, George Washington Carver, Elizabeth Catlett, Eldzier Cortor, Charles C. Davis, Charles Dawson, Aaron Douglas, Robert S. Duncanson, Mrs. Charley Rosenberg Foster, Allan R. Freelon, Rex Goreleigh, Bernard Goss, William T. Goss, Palmer Hayden, Zell Ingram, Joshua Johnson, Sargent Claude Johnson, John H. Jones, Joseph Kersey, Jacob Lawrence, Edmonia Lewis, Archibald J. Motley, Jr., Edgar Patience, Horace Pippin, John Rhoden, Augusta Savage, Albert Alexander Smith, Alma G. Scott (b. 1878; china painter; the only known source for this artist), Henry Ossawa Tanner, Laura Wheeler Waring, Mme. Toussaint Welcome (the only known source for this artist, active Jamaica, NY, with illus., p. 203), Charles White, John Wilson, Hale Woodruff. [Review: The Crisis, November 1957:579.] CHIARMONTE, PAULA. Women Artists in the United States. A Selective Bibliography and Resource Guide on the Fine and Decorative Arts, 1750-1986. Boston: G.K. Hall & Co., 1990. Non-black or male artists who were erroneously included are omitted from this list: Eileen Abdulrashid, Mrs. Allen, Charlotte Amevor, Emma Amos, Dorothy Atkins, Joan Cooper Bacchus, Ellen Banks, Camille Billops, Betty Blayton, Gloria Bohanon, [as Bottanon], Shirley Bolton, Kay Brown, Vivian Browne, Beverly Buchanan, Selma Burke, Margaret Burroughs, Sheryle Butler, Carole Byard, Catti [as Caiti], Yvonne Catchings, Elizabeth Catlett, Barbara Chase-Riboud, Doris L. Colbert, Luiza Combs, Marva Cremer, Doris Crudup, Oletha Devane, Stephanie Douglas, Eugenia Dunn, Queen Ellis, Annette Lewis Ensley, Minnie Jones Evans, Irene Foreman, Miriam Francis, Meta Vaux Warrick Fuller, Ibibio Fundi [as Ibibin] (a.k.a. Jo Austin), Alice Gafford, Wilhelmina Godfrey [as Wihelmina], Amanda Gordon, Cynthia Hawkins, Kitty L. Hayden, Lana T. Henderson [as Lane], Vernita Henderson, Adrienne Hoard, Jacqui Holmes, Margo Humphrey, Clementine Hunter, Claudia Jane Hutchinson, Martha E. Jackson, May Howard Jackson, Suzanne Jackson, Rosalind Jeffries, Marie Johnson, Lois Mailou Jones, Barbara Jones-Hogu [as Jones-Hogn], Harriet Kennedy, Gwendolyn Knight, Edmonia Lewis, Samella Lewis, Ida Magwood, Mary Manigault, Valerie Maynard, Geraldine McCullough, Mrs. McIntosh, Dorothy McQuarter, Yvonne Cole Meo, Onnie Millar, Eva Hamlin Miller, Evangeline Montgomery, Sister Gertrude Morgan, Norma Morgan, Marilyn Nance, Inez Nathaniel-Walker, Senga Nengudi, Winifred Owens-Hart, Denise Palm, Louise Parks, Angela Perkins, Howardena Pindell, Adrian Piper, Stephanie Pogue, Harriet Powers, Elizabeth Prophet, Mavis Pusey, Faith Ringgold, Brenda Rogers, Juanita Rogers, Nellie Mae Rowe, Betye Saar, Augusta Savage, Elizabeth Scott, Joyce Scott, Jewel Simon, Shirley Stark, Della Brown Taylor [as Delia Braun Taylor], Jessie Telfair [as Jessi], Alma Thomas, Phyllis Thompson, Roberta Thompson, Betty Tolbert, Elaine Tomlin, Lucinda Toomer, Elaine Towns, Yvonne Tucker, Charlene Tull, Anna Tyler, Florestee Vance, Pinkie Veal, Ruth Waddy, Carole Ward, Laura W. Waring, Pecolia Warner, Mary Parks Washington, Laura W. Williams, Yvonne Williams. A few African American male artists are also included: Leslie Garland Bolling, Ademola Olugebefola [as Adennola]. CHICAGO (IL). Chicago Public Library. WPA and the Black Artist: Chicago and New York. 1978. 16 pp., color cover illus., 17 b&w illus. Checklist of 62 works by 13 New York artists and 21 Chicago artists. Intro. by Ruth Ann Stewart. Artists included: Charles Alston, Robert Blackburn, Selma Burke, Margaret Burroughs, Eldzier Cortor, Ernest Crichlow, Joseph Delaney, Aaron Douglas, Rex Goreleigh, Vertis Hayes, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Archibald Motley, Gordon Parks, Augusta Savage, Charles White, Henry Avery, Richmond Barthé, William Carter, Charles Dawson, Walter W. Ellison, Ramon Gabriel, Bernard Goss, Fred Hollingsworth, Joseph Kersey, William McBride, Frank Neal, Marion Perkins, Charles Sebree, Dox Thrash, Vernon Winslow. Biographies mention Alonzo Aden, James Porter, Hale Woodruff. [Traveled to: Studio Museum in Harlem, New York, NY.] 8vo, stapled stiff wraps. CHICAGO (IL). Tanner Art Galleries. Exhibition of the Art of the American Negro (1851-1940). July 4-September 2, 1940. Exhib. cat., 18 illus. Assembled by the American Negro Exposition. Statement by Alain Locke, chairman of the art committee; lists selections jury, awards jury, exhibition committees. Included 100 artists: Charles Alston, William E. Artis, John Ingliss Atkinson, Henry Avery, Edward M. Bannister, Richmond Barthé, Leslie G. Bolling, Selma Burke, Margaret Burroughs, Simms Campbell, Fred Carlo, William S. Carter, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Charles C. Davis, Charles C. Dawson, Beauford Delaney, Joseph Delaney, Aaron Douglas, Robert S. Duncanson, Elba Lightfoot DeReyes, Walter Ellison, William M. Farrow, Elton Fax, Frederick C. Flemister, Allan R. Freelon, Meta Vaux Fuller, Reginald Gammon, Rex Goreleigh, Bernard Goss, J. Eugene Grigsby, John Hardrick, Edwin Harleston, William A. Harper, Palmer C. Hayden, William M. Hayden, Vertis Hayes, James Herring, Fred Hollingsworth, Zell Ingram, Burt Jackson, Robert M. Jackson, Louise E. Jefferson, Wilmer Jennings, Malvin Johnson, Sargent Johnson, William H. Johnson, Lawrence Arthur Jones, Lois Mailou Jones, Joseph Kersey, Jacob Lawrence (won second prize), Clarence Lawson, Edmonia Lewis, Norman Lewis, Richard Lindsey, Romeyn Van Vleck Lippman, Ed Loper, Rosemary Louis, John Lutz, Francis McGee, Ron Moody, Archibald J. Motley, George E. Neal, Robert L. Neal, Marion Perkins, Frederick Perry, Robert Pious, Horace Pippin, James A. Porter, Georgette Powell, Teodoro Ramos-Blanco (South American artist), Donald Reid, John Rollins, David Ross, Charles Sallee, Augusta Savage, Charles Sebree, Samuel Simms, Albert A. Smith, Marvin Smith, Mary E. Smith, William E. Smith, Thelma Streat, Henry Ossawa Tanner, Dox Thrash, Daniel N. Tillman, Earl Walker, Laura Wheeler Waring, Wilbert (Masood Ali) Warren, Claude Weaver, Albert Wells, James Lesesne Wells, Charles White, Ellis Wilson, Leroy Winbush, Hale Woodruff, Leon Wright. [Among the many reviews: Selma Gordon, "Seventy-Five Years of Negro Progress," The Criss 48 (January 1941):10-11+; mainstream review in Newsweek Vol XVI, No 11, September 9, 1940.] 8vo, pictorial wraps. Exhibition poster and catalogue cover design by James Lesesne Wells. CLAPP, JANE, ed. Sculpture Index. Metuchen (NJ): Scarecrow, 1970. Vol. 2: Sculpture of the Americas, the Orient, Africa, the Pacific area, and the classical world. 1369 pp. Includes: Charles H. Alston, William E. Artis, Henry Bannarn, Richmond Barthé, Leslie Bolling, Selma Burke, Elizabeth Catlett, Barbara Chase-Riboud, William Edmondson, Meta Vaux Fuller, Richard Hunt, May Howard Jackson, Sargent Johnson, Joseph Kersey, Edmonia Lewis, Guy L. Miller, Hayward Oubre, Marion Perkins, John W. Rhoden, Gregory D. Ridley, Augusta Savage, Carroll Simms, Daniel Warburg, Eugene Warburg, John Wilson. COOKS, BRIDGET R. Exhibiting Blackness: African Americans and the American Art Museum. Amherst: University of Massachusetts Press, 2011. 240 pp., color illus., notes, index. The narrative begins in 1927 with the Chicago "Negro in Art Week" exhibition, and in the 1930s with the Museum of Modern Art's exhibition of "William Edmondson" (1937) and "Contemporary Negro Art" (1939) at the Baltimore Museum of Art; the focus, however, is on exhibitions held from the 1960s to present with chapters on "Harlem on My Mind" (1969), "Two Centuries of Black American Art" (1976); "Black Male" (1994-95); and "The Quilts of Gee's Bend" (2202). Numerous artists, but most mentioned only in passing: Cedric Adams, Charles Alston, Emma Amos, Benny Andrews, Edward M. Bannister, Richmond Barthé, Romare Bearden, numerous Bendolphs (Annie, Jacob, Mary Ann, Mary Lee, Louisiana) and Loretta Bennett, Ed Bereal, Donald Bernard, Nayland Blake, Gloria Bohanon, Leslie Bolling, St. Clair Bourne, Cloyd Boykin, Kay Brown, Selma Burke, Bernie Casey, Roland Charles, Barbara Chase-Riboud, Claude Clark, Linda Day Clark, Robert Colescott, Dan Concholar, Emilio Cruz, Ernest Crichlow (footnote only), Alonzo Davis, Selma Day (footnote only), Roy DeCarava, Aaron Douglas, Emory Douglas, Robert M. Douglass, Jr., David Driskell, Robert S. Duncanson, William Edmondson, Elton Fax (footnote only), Cecil L. Fergerson, Roland Freeman, Meta Vaux Warrick Fuller, Reginald Gammon (footnote only), K.D. Ganaway, Sam Gilliam, David Hammons, William A. Harper, Palmer Hayden, Vertis C. Hayes, Barkley L. Hendricks, James V. Herring, Richard Hunt, Rudy Irwin, May Howard Jackson, Suzanne Jackson, Joshua Johnson, William H. Johnson, Lois Mailou Jones, Gwendolyn Knight, Wifredo Lam, Artis Lane, Jacob Lawrence, Edmonia Lewis, Norman Lewis, Samella Lewis, Alvin Loving (footnote only), William Majors (footnote only), Richard Mayhew, Reginald McGhee, Archibald J. Motley, Jr., Richard Mayhew, Willie Middlebrook, Ron Moody, Lottie and Lucy Mooney, Flora Moore, Scipio Moorhead, Norma Morgan, Archibald J. Motley, Jr., Sara Murrell (footnote only), Otto Neals (footnote only), Odili Donald Odita, Noni Olubisi, Ademola Olugebefola, John Outterbridge, Gordon Parks, six Pettways (Annie E., Arlonzia, Bertha, Clinton, Jr., Jesse T., Letisha), James Phillips, Howardena Pindell, Horace Pippin, Carl Pope, James A. Porter, Nancy Elizabeth Prophet, Noah Purifoy, Martin Puryear, Okoe Pyatt (footnote only), Robert Reid (footnote only), John Rhoden, John Riddle, Faith Ringgold (footnote only), Betye Saar, Raymond Saunders (footnote only), Augusta Savage, William E. Scott, Georgette Seabrook, James Sepyo (footnote only), Taiwo Shabazz (footnote only), Gary Simmons, Lorna Simpson, Merton Simpson (footnote only), Albert Alexander Smith, Arenzo Smith, Frank Stewart, Henry Ossawa Tanner, Alma Thomas, Danny Tisdale, Melvin Van Peebles, James Vanderzee, Annie Walker, Kara Walker, Augustus Washington, Timothy Washington, Carrie Mae Weems, James Lesesne Wells, Charles White, Pat Ward Williams, William T. Williams, Deborah Willis, Fred Wilson, Ernest C. Withers, Beulah Ecton Woodard, Hale Woodruff, Lloyd Yearwood, Annie Mae and Nettie Pettway Young. 8vo (9 x 6 in.), wraps. DAVIS (CA). Nelson Gallery, University of California-Davis. Shared Histories: African American Art from Local Collections. July 12-August 17, 2007. Group exhibition. Includes painting, sculpture and drawing by 35 artists: Ernie Barnes, Romare Bearden, Charles Bibbs, Lynda E. Bibbs, Ella Mae Bolton, Milton Bowens, Manuelita Brown, Selma Burke, Margaret Burroughs, Elizabeth Catlett, Betty Davies, Aaron Douglas, David Driskell, Ed Dwight, Frank Frazier, Jonathan Green, Mike Henderson, Oliver Jackson, Charles Joyner, Jacob Lawrence, Edna McIver, Mamie McKinstry, Betye Saar, John T. Scott, Sir Shadow, Bernice Sims, Hughie Lee-Smith, Jimmie Lee Sudduth, Milan Tiff, Mose Tolliver, Charles White, Fred Wilson, Hale Woodruff, Joseph Yoakum. DOYLESTOWN (PA). Keenan Motors. Gone But Not Forgotten. April 23-May 6. 23rd Annual Byers Bucks Fever Art Exhibition. Group exhibition. Included: Selma Burke. DRISKELL, DAVID C. Two Centuries of Black American Art. Los Angeles: Museum of Art, 1976. 221 pp. exhib. cat., 205 illus., 32 in color, bibliog., index. Groundbreaking survey exhibition of African American art. Texts by Driskell; catalogue notes by Leonard Simon. Includes Dave the Potter, Charles H. Alston, William E. Artis, Edward M. Bannister, Richmond Barthé, Romare Bearden, John Biggers, Grafton Tyler Brown, David Butler, Selma Burke, Calvin Burnett, Margaret Burroughs, Elizabeth Catlett, Claude Clark, Eldzier Cortor, Allan Rohan Crite, Thomas Day, Joseph Delaney, Aaron Douglas, Robert S. Duncanson, William Edmondson, Minnie Evans, Edwin A. Harleston, Palmer Hayden, Felrath Hines, Earl J. Hooks, Julien Hudson, Clementine Hunter, Wilmer Jennings, James Butler Johnson, Joshua Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Richard Mayhew, Sam Middleton, Leo Moss, Archibald J. Motley, Jr., Marion Perkins, Horace Pippin, James A. Porter, Patrick Reason, John Rhoden, Gregory Ridley, Jr., William E. Scott, Charles Sebree, Henry Ossawa Tanner, William (Bill) Taylor, Alma Thomas, Dox Thrash, Laura Wheeler Waring, Edward Webster, James Lesesne Wells, Charles White, Walter Williams, Ed Wilson, Ellis Wilson, John Wilson, Hale Woodruff. Additional artists mentioned in the text: James Allen, Leslie Bolling, John Kane (?), Jules Lion, James Vanderzee, many more. [Traveled to Los Angeles County Museum of Art, Los Angeles, CA; High Museum of Art, Atlanta, GA; Museum of Fine Arts, Dallas, TX; and the Brooklyn Museum, NY.] 4to, wraps. First ed. DURHAM (NC). NCCU Art Museum, North Carolina Central University. Black Women Artists: North Carolina Connections. 1990. Exhib. cat. Includes important text by Lynn Igoe: "Black Women Artists: An Introduction." Provides an extensive list of exhibits featuring black women artists since the first such show in 1947 at the Barnett Aden Gallery, Washington, DC. Artists mentioned includes the usual 50-60 names: Edmonia Lewis, Meta Warrick Fuller, May Howard Jackson, Bertina Lee, Betty Blayton, Barbara Chase-Riboud, Harriet Powers, Minnie Evans, Clementine Hunter, Sister Gertrude Morgan, Eva Hamlin Miller, Jacqueline Fonvielle-Bontemps, Betye Saar, Alison Saar, Lezley Saar, Nellie Mae Rowe, Liani Foster, Barbara Tyson Mosley, Camille Billops, Alma Thomas, Maren Hassinger. Checklist of women artists includes: Emma Amos, Gwendolyn Bennett, Camille Billops, Betty Blayton, Kay Brown, Margery Wheeler Brown, Vivian Browne, Beverly Buchanan, Selma Burke, Margaret Burroughs, Carole Byard, Yvonne Pickering Carter, Elizabeth Catlett, Barbara Chase-Riboud, Minnie Evans, Meta Warrick Fuller, Maren Hassinger, Varnette P. Honeywood, Margo Humphrey, Clementine Hunter, May Howard Jackson, Suzanne Jackson, Louise Jefferson, Marie Johnson-Calloway, Lois Mailou Jones, Barbara Jones-Hogu, Edmonia Lewis, Samella Saunders Lewis, Dindga McCannon, Geraldine McCullough, Allie McGhee, Valerie Maynard, Evangeline J. Montgomery, Norma Morgan, Sister Gertrude Morgan, Inez Nathaniel-Walker, Senga Nengudi (Sue Irons), Delilah Pierce, Howardena Pindell, Adrian Piper, Stephanie Pogue, Georgette Powell, Harriet Powers, Nancy Elizabeth Prophet, Faith Ringgold, Malkia (Lucille) Roberts, Nellie Mae Rowe, Alison Saar, Betye Saar, Augusta Savage, Jewel Simon, Ann Tanksley, Alma Thomas, Ruth Waddy, Laura Wheeler Waring. The exhibition includes many of the same artists but also a number of artists not in Igoe's essay or checklist. Exhib. checklist lists the following: Marvette Pratt Aldrich, Brenda Branch, Mable Bullock, Selma Burke, Elizabeth Catlett, Collins, Davis, Minnie Evans, Olivia Gatewood, Gail Hansberry, Lana Thompson Henderson, Hill, Lois Mailou Jones, Eva Hamlin Miller, Norma Morgan, Stephanie Pogue, Mercedes Barnes Thompson. EDMUNDS, ALLAN L. and LOUISE D. STONE. Three Decades of American Printmaking: The Brandywine Workshop Collection. Manchester: Hudson Hills, 2004. 240 pp., 126 color plates, 21 b&w illus., bibliog., index. Texts by Halima Taha, Lois H. Johnson and Patricia Smith, Keith A. Morrison, and Claude Elliott. Among the artists who have had prints made at Brandywine are: Candida Alvarez, Emma Amos, Akili Ron Anderson, Benny Andrews, Roland Ayers, Belkis Ayon, Romare Bearden, Ron Bechet, John T. Biggers, Camille Billops, Willie Birch, Terry Boddie, Berrisford Boothe, James Brantley, Moe Brooker, Marvin P. Brown, Samuel J. Brown, Weldon Butler, Selma Burke, Nanette Carter, Elizabeth Catlett, Ed Clark, Kevin E. Cole, William Cordova, Adger Cowans, Alonzo Davis, Louis Delsarte, John E. Dowell, David Driskell, James Dupree, Walter Edmonds, Allen Edmunds, Melvin Edwards, Rodney Ewing, Agbo Folarin, Reginald Gammon, Sam Gilliam, Simon Gouverneur, Leamon Green, Eugene Grigsby, Maren Hassinger, Barkley L. Hendricks, Leon Hicks, Vandorn Hinnant, Margo Humphrey, Curlee Raven Holton, Richard Hunt, Bill Hutson, Martha Jackson-Jarvis, Wadsworth Jarrell, Paul F. Keene, Jr., Lois Mailou Jones, Napoleon Jones-Henderson, Souleymane Keita, Gwendolyn Knight, Jacob Lawrence, Hughie Lee-Smith, Samella Lewis, Arturo Lindsay, Alvin Loving, Deryl Mackie, Jimmy Mance, Percy Martin, Valerie Maynard, Donna Meeks, Charles Mills, Ibrahim Miranda, Quentin Morris, Keith Morrison, Evangeline Montgomery, Quentin Morris, Abdouleye Ndoye, Floyd Newsum, Magdalene Odundo, Ademola Olugebefola, Mary Lovelace O'Neal, Laurie Ourlicht, Joe Overstreet, William Pajaud, Howardena Pindell, James Phillips, Michael Platt, Eric Pryor, Leo Robinson, Alison Saar, Betye Saar, Juan Sanchez, John T. Scott, Charles Searles, AJ Smith, Frank Smith, George Smith, Vincent Smith, Sylvia Snowden, Edgar Sorrells-Adewale, David Stephens, Hubert Taylor, Evelyn Terry, Phyllis Thompson, Kaylynn Sullivan Twotrees, Larry Walker, John Wade, Richard Watson, James Lesesne Wells, Stanley Whitney, Carl Joe Williams, Michael Kelly Williams, Pat Ward Williams, Gilberto Wilson, Clarence Wood, Shirley Woodson, and Barbara Chase-Riboud. [Also issued in a limited numbered edition of 396 copies, including three offset lithographs by Sam Gilliam, each signed and numbered in pencil, bound in red cloth, in matching cloth covered slipcase.] 4to (12.4 x 9.2 in.), cloth, d.j. First ed. ESTELL, KENNETH. African America: Portrait of a People. Detroit: Visible Ink, 1994. Section on Fine and Applied Arts pp. 593-655 mentions a sizeable number of artists (with many misspellings): Scipio Moorhead, Eugene Warburg, Bill Day [presumably Thomas Day], Charles Alston, Benny Andrews, Henry Bannarn, Edward M. Bannister, Richmond Barthé (photo), Jean-Michel Basquiat, Romare Bearden, John Biggers, Camille Billops, Robert Blackburn, curator Horace Brockington, Elmer Brown, Eugene Brown, Kay Brown, Linda Bryant, Selma Burke, Margaret Burroughs, E. Simms Campbell, Elizabeth Catlett, Cathy Chance, Dana Chandler, Gylbert Coker, Robert Colescott, Houston Conwill, Michael Cummings, Ernest Crichlow, Emilio Cruz, Roy DeCarava (with photo), Beauford Delaney, Aaron Douglas, David Driskell, Robert Duncanson, William Edmondson, Elton Fax, (with photo), Meta Warrick Fuller, Sam Gilliam, David Hammons, Philip Hampton, Florence Harding (as Harney), Palmer Hayden, James V. Herring, George Hulsinger, Richard Hunt, Clementine Hunter, Zell Ingram, Venola Jennings, Larry Johnson, Lester L. Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Joshua Johnston, Ben Jones, Emeline King, Jacob Lawrence (with photo); Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Samella Lewis, Ionis Bracy Martin, Cheryl McClenny, Geraldine McCullough, Evangeline J. Montgomery, Jimmy Mosely, Juanita Moulon, Archibald Motley (with photo), Otto Neals, Senga Nengudi, Ademola Olugebefola, Hayward Oubré, John Outterbridge, Gordon Parks, Marion Perkins, Delilah Pierce, Howardena Pindell, Jerry Pinkney, Horace Pippin, James Porter, Florence Purviance, Martin Puryear, Faith Ringgold, Betye Saar, Charles Sallee, Augusta Savage, William E. Scott, Charles Searles, Lorna Simpson, Willi Smith (with photo), William E. Smith, Edward Spriggs, F. [Doc] Spellmon, Nelson Stevens, Henry Ossawa Tanner, Jean Taylor, Alma Thomas, Bob Thompson, Dox Thrash, James VanDerZee, Laura Waring, Faith Weaver, Edward T. P. Welburn, Charles White, Randy Williams, William T. Williams (with photo), John Wilson, Hale Woodruff, Dolores Wright, Richard Yarde, and George Washington Carver. Also mentions fashion designers Stephen Burrows (photo), Gordon Henderson, Willi Smith. 4to, cloth. FALK, PETER HASTINGS, ed. Who Was Who in American Art, 1564-1975. Madison, CT: Sound View Press, 1999. 3 Vols. 3724 pp. The 1985 publication is a summary compiled from the original 34 volumes of American Art Annual: Who's Who in Art, no new entries. It is in some ways an account of the spotty knowledge that the white art world had acquired about black artists during the decades after WWII. Many glaring omissions. The 1999 edition seems to have substantial additions. Included: Alonzo Aden, Frank Herman Alston, Jr., Frederick Cornelius Alston, Dorothy Austin, Henry Avery, Henry Bannarn, Edward Bannister, Richmond Barthé, John Biggers, James Bland, Leslie Bolling, William E. Braxton, Wendell T. Brooks, Elmer William Brown, Eugene J. Brown, Samuel Joseph Brown, Selma Burke, Calvin Burnett, Margaret Taylor Goss Burroughs, Elmer Simms Campbell, John Carlis, Jr., William S. Carter, Dana C. Chandler, Jr., Samuel O. Collins, Eldzier Cortor, Norma Criss, Allan Crite, Charles C. Dawson, Beauford Delaney, Joseph Delaney, Arthur Diggs, Frank J. Dillon, Aaron Douglas, Charles Early, Walter W. Ellison, Annette Ensley, William M. Farrow, Allan Freelon, Meta Fuller, Robert Gates, Rex Goreleigh, Donald O. Greene, Samuel P. Greene, Charles E. Haines, John Wesley Hardrick, William A. Harper, John Taylor Harris, Palmer Hayden, Dion Henderson, James V. Herring, Clifton Thompson Hill, Hector Hill, Raymond Howell, Bill Hutson, May Howard Jackson, Oliver Jackson, Wilmer Jennings, George H. Benjamin Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Frederick D. Jones, Jr., Henry B. Jones, Lois Mailou Jones, Joseph Kersey, Vivian Schuyler Key, Jacob Lawrence, Bertina B. Lee, Hughie Lee-Smith, Edmonia Lewis, Elba Lightfoot, Ed Loper, John Lutz, William McBride, Sr., Archibald J. Motley, Jr., Robert L. Neal, John B. Payne, Horace Pippin, James A. Porter, Nancy Prophet, Oliver Richard Reid, Earl Richardson, Marion Sampler, Augusta Savage, William E. Scott, Charles Sebree, Albert Alexander Smith, Teressa Staats, Thelma J. Streat, Henry O. Tanner, Dox Thrash, Laura Waring, James Lesesne Wells, Charles White, Benjamin L. Wigfall, Ellis Wilson, John W. Wilson, Hale Woodruff, Terrance Yancey. 4to, cloth. FARRINGTON, LISA E. Creating Their Own Image: The History of African-American Women Artists. New York: Oxford University Press, 2005. 354 pp., 150 color plates, 100 b&w illus. A history of African American women artists, from slavery to the present day. Draws on numerous interviews with contemporary artists. The following are included with illustration(s): Laylah Ali, Emma Amos, Xenobia Bailey, Camille Billops, Betty Blayton, Chakaia Booker, Kay Brown, Vivian E. Browne, Beverly Buchanan, Selma Burke, Carole Byard, Carol Ann Carter, Nanette Carter, Elizabeth Catlett, Yvonne Parks Catchings, Barbara Chase-Riboud, Luiza Francis Combs, Josie Covington, Renée Cox, Sarah Mapps Douglass, Sharon Dunn, Gaye Ellington, Minnie Evans, Meta Warrick Fuller, Ellen Gallagher, Deborah Grant, Alyne Harris, Bessie Harvey, Robin Holder, Margo Humphrey, Clementine Hunter, May Howard Jackson, Martha Jackson-Jarvis, Marie Johnson-Calloway, Lois Mailou Jones, Barbara Jones-Hogu, Elizabeth Keckly, Pamela Jennings, Jean Lacy, Ruth Lampkins, Edmonia Lewis, Samella Lewis, Valerie Maynard, Dindga McCannon, Geraldine McCullough, Vicki Meek, Sister Gertrude Morgan, Lorraine O'Grady, Mary Lovelace O'Neal, Winnie Owens-Hart, Howardena Pindell, Adrian Piper, Stephanie Pogue, Georgette Seabrooke Powell, Harriet Powers, Debra Priestly, Nancy Elizabeth Prophet, Helen Evans Ramsaran, Nellie Mae Rowe, Betye Saar, Gail Shaw-Clemons, Mary T. Smith, Faith Ringgold, Alison Saar, Betye Saar, Joyce J. Scott, Lorna Simpson, Sylvia Snowden, Renée Stout, Freida High W. Tesfagiogis, Alma Thomas, Annie E. Anderson Walker, Kara Walker, Adell Westbrook, Laura Wheeler Waring, Carrie Mae Weems, Joyce Wellman, Philemona Williamson, Deborah Willis, Beulah Ecton Woodard. Others such as Margaret Burroughs, Catti, Tana Hargest, Kira Lynn Harris, Cynthia Hawkins, Jennie C. Jones, Adia Millett, Julie Mehretu, Camille Norment, Aminah Robinson, Nadine Robinson, Gilda Snowden, Ann Tanksley, Shirley Woodson, are briefly mentioned in passing. [Review: April F. Masten, Illuminating the Color Line Artist by Artist," Reviews in American History Vol. 35, No. 2 (June 2007):265-272; Renée Ater, "Creating Their Own Image: The History of African-American Women Artists," NWSA Journal Vol. 19, No. 1 (Spring 2007):211-217.] 4to (11 x 8 in.), cloth, d.j. First ed. FARRIS, PHOEBE, ed. Women Artists of Color: A Bio-Critical Sourcebook to Twentieth Century Artists in the Americas. Westport (CT): Greenwood, 1999. xx, 496 pp., afterword, notes, cultural resource list, index. Includes 25 African American women artists; biographical essay, exhibs. artist's statement and bibliog. for each artist. The choices are fairly predictable, with only a few surprise additions such as installation artist Marie T. Cochran and ceramicist Sana Musasama. However, the essays are substantial and the reference material is useful. 8vo, cloth, no d.j. (as issued). First ed. FRANKLIN, JOHN HOPE. From Slavery to Freedom: A History of Negro Americans. New York: Knopf. 1967. From the point of view of research in the visual arts, this third edition is preferable to the earlier editions, containing mention of many more artists including spinners, weavers, jewelers, printers and engravers, architects, cabinetmakers. Individual artists receive 5 pp. and include: Charles Alston, Richmond Barthé, Romare Bearden, Selma Burke, Simms Campbell, Ernest Crichlow, Aaron Douglas, Meta Fuller, Edwin Harleston, Sargent Johnson, Lois Mailou Jones, James Porter, Elizabeth Prophet, Augusta Savage, Henry Ossawa Tanner, Laura Wheeler Waring, Hale Woodruff. GATES, HENRY LOUIS and EVELYN BROOKS HIGGINBOTHAM, eds. African American National Biography. 2009. Originally published in 8 volumes, the set has grown to 12 vollumes with the addition of 1000 new entries. Also available as online database of biographies, accessible only to paid subscribers (well-endowed institutions and research libraries.) As per update of February 2, 2009, the following artists were included in the 8-volume set, plus addenda. A very poor showing for such an important reference work. Hopefully there are many more artists in the new entries: Jesse Aaron, Julien Abele (architect), John H. Adams, Jr., Ron Adams, Salimah Ali, James Latimer Allen, Charles H. Alston, Amalia Amaki, Emma Amos, Benny Andrews, William E. Artis, Herman "Kofi" Bailey, Walter T. Bailey (architect), James Presley Ball, Edward M. Bannister, Anthony Barboza, Ernie Barnes, Richmond Barthé, Jean-Michel Basquiat, Cornelius Marion Battey, Romare Bearden, Phoebe Beasley, Arthur Bedou, Mary A. Bell, Cuesta Ray Benberry, John Biggers, Camille Billops, Howard Bingham, Alpha Blackburn, Robert H. Blackburn, Walter Scott Blackburn, Melvin R. Bolden, David Bustill Bowser, Wallace Branch, Barbara Brandon, Grafton Tyler Brown, Richard Lonsdale Brown, Barbara Bullock, Selma Hortense Burke, Calvin Burnett, Margaret Taylor Goss Burroughs, John Bush, Elmer Simms Campbell, Elizabeth Catlett, David C. Chandler, Jr., Raven Chanticleer, Ed Clark, Allen Eugene Cole, Robert H. Colescott, Eldzier Cortor, Ernest T. Crichlow, Michael Cummings, Dave the Potter [David Drake], Griffith J. Davis, Thomas Day, Beauford Delaney, Joseph Delaney, Thornton Dial, Sr., Joseph Eldridge Dodd, Jeff Donaldson, Aaron Douglas, Sam Doyle, David Clyde Driskell, Robert S. Duncanson, Ed Dwight (listed as military, not as artist); Mel Edwards, Minnie Jones Evans, William McNight Farrow, Elton Fax, Daniel Freeman, Meta Warrick Fuller, Reginald Gammon, King Daniel Ganaway, the Goodridge Brothers, Rex Goreleigh, Tyree Guyton, James Hampton, Della Brown Taylor (Hardman), Edwin Augustus Harleston, Charles "Teenie" Harris, Lyle Ashton Harris, Bessie Harvey, Isaac Scott Hathaway, Palmer Hayden, Nestor Hernandez, George Joseph Herriman, Varnette Honeywood, Walter Hood, Richard L. Hunster, Richard Hunt, Clementine Hunter, Bill Hutson, Joshua Johnson, Sargent Claude Johnson, William H. Johnson, Lois Mailou Jones, Ann Keesee, Gwendolyn Knight, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Samella Lewis, Glenn Ligon, Jules Lion, Edward Love, Estella Conwill Majozo, Ellen Littlejohn, Kerry James Marshall, Lynn Marshall-Linnemeier, Richard Mayhew, Carolyn Mazloomi, Aaron Vincent McGruder, Robert H. McNeill, Scipio Moorhead, Archibald H. Motley, Jr., Jeanne Moutoussamy-Ashe, Mr. Imagination (Gregory Warmack), Lorraine O'Grady, Jackie Ormes, Joe Overstreet, Carl Owens, Gordon Parks, Sr., Gordon Parks, Jr., C. Edgar Patience, Howardena Pindell, Adrian Margaret Smith Piper, Rose Piper, Horace Pippin, William Sidney Pittman, Stephanie Pogue, Prentiss Herman Polk (as Prentice), James Amos Porter, Harriet Powers, Elizabeth Prophet, Martin Puryear, Patrick Henry Reason, Michael Richards, Arthur Rose, Alison Saar, Betye Saar, Raymond Saunders, Augusta Savage, Joyce J. Scott, Addison Scurlock, George Scurlock, Willie Brown Seals, Charles Sebree, Joe Selby, Lorna Simpson, Norma Merrick Sklarek, Clarissa Sligh, Albert Alexander Smith, Damballah Smith, Marvin and Morgan Smith, Maurice B. Sorrell, Simon Sparrow, Rozzell Sykes, Henry Ossawa Tanner, Alma Thomas, J.J. Thomas, Robert Louis (Bob) Thompson, Mildred Jean Thompson, Dox Thrash, William Tolliver, Bill Traylor, Leo F. Twiggs, James Augustus Joseph Vanderzee, Kara Walker, William Onikwa Wallace, Laura Wheeler Waring, Augustus Washington, James W. Washington, Jr., Carrie Mae Weems, James Lesesne Wells, Charles White, John H. White, Jack Whitten, Carla Williams, Daniel S. Williams, Paul Revere Williams (architect), Deborah Willis, Ed Wilson, Ellis Wilson, Fred Wilson, John Woodrow Wilson, Ernest C. Withers, Beulah Ecton Woodard, Hale Aspacio Woodruff. GREEN, ADAM. Selling the Race: Culture, Community, and Black Chicago, 1940-1955. University of Chicago Press, 2006. 322 pp., 31 b&w illus. Includes reinterpretations of such events as the 1940 American Negro Exposition, the rise of black music and the culture industry that emerged around it, the development of the Associated Negro Press and the founding of Johnson Publishing, and the outcry over the 1955 lynching of Emmett Till. 8vo (9 x 6 in.), cloth, d.j. GREENVILLE (SC). Alpha Kappa Alpha Sorority. Beta lota Omega Chapter. Afro-American Women in Art: their achievements in sculpture and painting. Greenville: Negro Heritage Committee, 1969. 32 pp., illus., bibliog. Introduction by Leroy F. Holmes, Jr. Artists included and mentioned: Emma Amos, Betty Blayton, Mildred A. Braxton, Selma Burke, Margaret Burroughs, Elizabeth Catlett, Yvonne Catchings, Barbara Chase-Riboud, Ladybird Cleveland, Virginia Cox, Eugenia V. Christian Dunn, Edmonia Lewis, Meta Vaux Warrick Fuller, Ethel Guest, Esther Hill, May Howard Jackson, Lois Mailou Jones, Eva Hamlin Miller, Geraldine Hamilton McCullough, Norma Morgan, Nancy Elizabeth Prophet, Augusta Savage, Laura Wheeler Waring, et al. 4to, wraps. First ed. GRIGSBY, J. EUGENE. Art and Ethnics: Background for Teaching Youth in a Pluralistic Society. Dubuque (IA): Wm. C. Brown Company, 1977. 147 pp., illus. Includes: Charles Alston, Emma Amos, Benny Andrews, William Artis, Malcolm Bailey, Mike Bannarn, Edward M. Bannister, Richmond Barthé, Romare Bearden, John Biggers, Bob Blackburn, Betty Blayton, Selma Burke, George Washington Carver, Elizabeth Catlett, Dana Chandler, Barbara Chase-Riboud, Dan R. Concholar, Eldzier Cortor, Ernest Crichlow, Dale Brockman Davis, Beauford Delaney, James T. Diggs, Jeff Donaldson, Aaron Douglas, Robert S. Duncanson, William M. Farrow, Perry Ferguson, Elton Fax, Doyle Foreman, Meta Vaux Fuller, Reginald Gammon, Sam Gilliam, Joseph W. Gilliard, Manuel Gomez, Rex Goreleigh, Ethel Guest, Edwin A Harleston, Palmer Hayden, Esther P. Hill, Felrath Hines, Alvin C. Hollingsworth, Richard, Hunt, Bob Jefferson, Joshua Johnson, Sargent Johnson, Lois Mailou Jones, Cliff Joseph, Edward Judie, Jacob Lawrence, Edmonia Lewis, Norman Lewis, Samella Lewis, Tom Lloyd, Hughie Lee-Smith, William Majors, Richard Mayhew, Earl B. Miller, E.J. Montgomery, Scipio Moorhead, Archibald J. Motley, Robert L. Neal, John Outterbridge, Joe Overstreet, Horace Pippin, James A. Porter, Patrick Reason, Gary Rickson, Augusta Savage, Merton D. Simpson, Albert A. Smith, Vincent D. Smith, Henry Ossawa Tanner, Alma Thomas, Neptune Thurston, Ruth Waddy, Laura Wheeler Waring, James Lesesne Wells, Charles White, John Wilson, Hale Woodruff, Rip Woods, Hartwell Yeargans. HAJOSY, DOLORES. Gallery 62: An Outlet . . . A Bridge. 1985. In: Black American Literature Forum 19, No. 1 (Spring 1985):22-23. Mentions artists in 1978 inaugural exhibition at Gallery 62: Charles Alston, Richmond Barthé, Romare Bearden, William Braxton, Selma Burke, Aaron Douglas, Palmer Hayden, Jacob Lawrence, Archibald Motley, Augusta Savage, William E. Scott, Albert A. Smith, Henry O. Tanner, Charles White, Hale Woodruff. Mentions the many other artists subsequently shown in Gallery 62 exhibitions: Jules Allen, Emma Amos, Toyce Anderson, Aleta Bass, Carole Byard, Adger Cowans, Virginia Cox, Nicholas Davis, Avel DeKnight, Nadine DeLawrence-Maine, Louis Delsarte, James Denmark, Tom Feelings, Manuel Hughes, Bill Hutson, Oliver Johnson, Ben Jones, Richard Leonard, James Little, Fern Logan, Jacqueline Patten, John Pinderhughes, John Rhoden, Faith Ringgold, Arthur Robinson (presumably Leo A. Robinson?), Betye Saar, Sidney Schenck, Coreen Simpson, Beauford Smith, George Smith, John Spaulding, Charles Stewart, Frank Stewart, Sharon Sutton, Jon Thomas, Leon Waller, Joyce Wellman, George Wilson, Maryam Zafar. HARLEY, RALPH L., JR. Checklist of Afro-American Art and Artists. Kent State University Libraries, 1970. In: Serif 7 (December 1970):3-63. What could have been the solid foundation of future scholarship is unfortunately marred by errors of all kinds and the inclusion of numerous white artists. All Black artists are cross-referenced. HELLER, JULES and NANCY G. HELLER, eds. North American Women Artists of the Twentieth Century: A Biographical Dictionary. New York: Garland, 1995. 612 pp., 100 b&w illus., 1500 aritsts' biogs. Includes approx. 49 African American artists: Emma Amos, Ellen Banks, Erlena Bland, Betty Blayton-Taylor, Vivian Browne, Beverly Buchanan, Selma Burke, Margaret Burroughs, Lilian Thomas Burwell, Yvonne Pickering Carter, Elizabeth Catlett, Barbara Dewayne Chase-Riboud, Barbara Chavous, Minnie Jones Evans, Meta Warrick Fuller, Maren Hassinger, Margo Humphrey, Clementine Hunter, May Howard Jackson, Suzanne Fitzallen Jackson, Vera Jackson, Marie E. Johnson-Calloway, Lois Mailou Jones, Viola Burley Leak, Edmonia Lewis, Samella Sanders Lewis, Louise Martin, Geraldine McCullough, Evangeline J. Montgomery, Winnie Owens-Hart, Louise Parks, Howardena Pindell, Adrian Piper, Stephanie Elaine Pogue, Nancy Elizabeth Prophet, Faith Ringgold, Malkia Roberts, Alison Saar, Betye Saar, Augusta Christine Savage, Georgette Seabrooke, Jewel Woodard Simon, Clarissa Sligh, Sylvia Snowden, Renée Stout, Alma Thomas, Denise Ward-Brown, Laura Wheeler Waring, Adell Westbrook. Stout 4to, cloth. HILDEBRANDT, LORRAINE and RICHARD S. AIKEN, eds. A Bibliography of Afro-American Print and Non-Print Resources in Libraries of Pierce County, Washington. Tacoma Community College Library, 1969. Artists include: Charles Alston, William Artis, Henry Avery, Henry Bannarn, Edward Bannister, Richmond Barthé, Carter Bazile, Romare Bearden, Rigaud Bénoit, Charles Bible, John Biggers, Wilson Bigaud, Eloise Bishop, Robert Blackburn, Ramos Blanco (Uruguayan), James Bland, Leslie Bolling, Seymour Bottex, Elmer Brown, Fred Brown, Samuel Brown, Selma Burke, Calvin Burnett, E. Simms Campbell, William Carter, Elizabeth Catlett, Barbara Chase, Ernest Crichlow, Claude Clark, William Arthur Cooper, Eldzier Cortor, Ernest Crichlow, Allan Crite, Harvey Cropper, Charles Dawson, Joseph Delaney, Richard Dempsey, Lillian A. Dorsey, Aaron Douglas, Glanton Dowdell, Robert S. Duncanson, William Edmondson, William Farrow, Elton Fax, Fred Flemister, Allan Freelon, Meta Fuller, Rex Goreleigh [as Gorleigh], Bernard Goss, Eugene Grigsby, John Hardrick, Edwin Harleston, William Harper, Isaac Hathaway, Palmer Hayden, William Hayden, Vertis Hayes, Geoffrey Holder, Al Hollingsworth, Humbert Howard, Richard Hunt, May Jackson, Daniel Larue Johnson, Malvin Gray Johnson, Sargent C. Johnson, William H. Johnson, Joshua Johnston, Henry B. Jones, Lois Jones, Ronald Joseph, Paul Keene, Joseph Kersey, Oliver LaGrone, Jacob Lawrence, Clarence Lawson, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Edward Loper, John C. Lutz, Geraldine McCullough, Charles McGee, Lloyd McNeil, William Majors, Sam Middleton, Ronald C. Moody, Scipio Moorhead, Norma Morgan, Archibald Motley, Robert L. Neal, Hayward L. Oubré, Joe Overstreet, Pastor Argudin y Pedroso [as Argudin (Pastor) Pedrosa], Marion Perkins, Harper Phillips, Delilah Pierce, Horace Pippin, Robert Pious, James Porter, Elizabeth Prophet, Florence Purviance, John Robinson, Leo Robinson, Augusta Savage, William Edouard Scott, Georgette Seabrooke, Charles Sebree, Merton Simpson, William H. Simpson, Albert Alexander Smith, Marvin Smith, Thelma Johnson Streat, Henry O. Tanner, Bob Thompson, Dox Thrash [as Thrasher], Laura Waring, James Washington, James Wells [see also Lesesne Wells], Charles White, Jack Whitten, Walter Williams, Ellis Wilson, John Wilson, Hale Woodruff. HINE, DARLENE CLARK and KATHLEEN THOMPSON. A Shining Thread of Hope: The History of Black Women in America. New York: Broadway Books, 1998. 368 pp. Only passing notice of visual artists with brief mention of Selma Burke, May Howard Jackson, Edmonia Lewis, Georgette Powell, Harriet Powers, Elizabeth Prophet, Augusta Savage, Faith Ringgold, and others. 8vo, cloth, d.j. HOLMES, OAKLEY N., JR. Black artists in America. Part three [Film]. (1973), 1991. Artists in this segment include: Romare Bearden, Selma Burke, Elton Fax, Palmer Hayden, Richard Mayhew, Thomas Sills, Charles White, with shots of Charles Alston, Hughie Lee-Smith, Ernest Crichlow, Norman Lewis, Sam, Gilliam Jr., Ed Taylor. Re-release on video (transfer from original 16mm. film.) VHS-NTSC: Sd., col. 34 min. HOLMES, OAKLEY N., JR. The Complete Annotated Resource Guide to Black American art: Books, doctoral dissertations, exhibition catalogs, periodicals, films, slides, large prints, speakers, filmstrips, video tapes, Black museums, art galleries, and much more. Spring Valley, NY: Black Artists in America, 1978. iii, 275 pp. A bibliographical reference superceded by Igoe who incorporated all of this information. AAVAD has not yet consulted or copied this information into the database, except where the reference appeared through other sources. Note: numerous misspellings of artists' names. 8vo (23 cm.), glossy printed wraps; text mimeographed. First ed. IGOE, LYNN. Artis, Bearden & Burke: A Bibliography & Illustrations List. Durham: Museum of Art, North Carolina Central University, 1977. 49 pp. Groundbreaking bibliographic work on black artists. Covers William Artis, Romare Bearden, and Selma Burke. Accompanied the exhibition Heralds of Life: Artis, Bearden, and Burke, Central University Museum of Art, Durham, NC. 4to, stapled red wraps. Ivoryton (CT). ART Gallery Magazine. The ART Gallery Magazine [Vol. 13, no. 7, April 1970]. 1970. Special Afro-American issue, 2nd Double number. A16, 104 pp., b&w and color illus. Contains interviews with and statements by: John T. Biggers, Bernie Casey, Alvin Hollingsworth, Alma Thomas, Thomas Sills, Also included: Charles Alston, Emma Amos, Benny Andrews, Ralph M. Arnold, William E. Artis, Malcolm Bailey, Edward M. Bannister, Richmond Barthé, John T. Biggers, Betty Blayton, Selma Burke, Elizabeth Catlett, Dana Chandler, Barbara Chase-Riboud, Eldzier Cortor, Ernest Crichlow, Emilio Cruz, Avel DeKnight, Aaron Douglas, John E. Dowell, Robert S. Duncanson, Eugene Eda, William Edmondson, Minnie Evans, James Gadson, Reginald Gammon, Sam Gilliam, James Herring, Felrath Hines, Richard Hunt, William H. Johnson, Lois Mailou Jones, Paul Keene, Jacob Lawrence, Edmonia Lewis, Norman Lewis, Tom Lloyd, William Majors, Richard Mayhew, Archibald J. Motley, Donald McIlvaine, Lloyd McNeill, Jr., Ademola Olugebefola, Joe Overstreet, Horace Pippin, Patrick Henry Reason, John W. Rhoden, Thomas A. Sills, William H. Simpson, Alvin Smith, John Stevens, Henry Ossawa Tanner, Alma Thomas, Russell Thompson, Eugene Warburg, Charles White, Ellis Wilson, John W. Wilson, Hale A. Woodruff, and many more. 8vo (24 cm.; 9 x 6 in.), wraps. KING-HAMMOND, LESLIE and bell hooks. Gumbo Ya Ya: An Anthology of Contemporary African American Women Artists. New York: Midmarch Arts Press, 1995. 351 pp., over 300 illus. (11 in color), photo and /or illus., biogs., exhibs., and brief critical text for each artist, index. Intro. by Leslie King-Hammond. Essential reference listing of 152 women artists with brief entries by African American scholars and curators; more than a dozen others are mentioned in passing (see below primary list.) It should be mentioned that most performance artists, filmmakers, video artists, folk artists, quilters, most photographers, illustrators, and other categories such as the entire new generation of artists established in the decade preceding publication are omitted. Artists included in the primary listings: Emma Amos, Rose Auld, Xenobia Bailey, Mildred Baldwin, Ellen Banks, Trena Banks, Phoebe Beasley, Camille Billops, Betty Blayton, Lula Mae Blocton, Kabuya P. Bowens, Brenda Branch, Kay Brown, Vivian E. Browne, Beverly Buchanan, Selma Burke, Millie Burns, Margaret Burroughs, Carole Byard, Carol Ann Carter, Nanette Carter, Yvonne Pickering Carter, Yvonne Catchings, Elizabeth Catlett, Catti, Robin Chandler, Barbara Chase-Riboud, Marie Cochran, Virginia Cox, Pat Cummings, Mary Reed Daniel, Juette Day, Nadine DeLawrence, Julee Dickerson-Thompson, Marita Dingus, Yanla Dozier, Tina Dunkley, Malaika Favorite, Violet Fields, Ibibio Fundi, Olivia Gatewood, Jan Spivey Gilchrist, Michele Godwin, Gladys Barker Grauer, Renée Green, Ethel Guest, Cheryl Hanna, Inge Hardison, Bessie Harvey, Maren Hassinger, Cynthia Hawkins, Janet Henry, Candace Hill-Montgomery, Adrienne Hoard, Robin Holder, Jenelsie Holloway, Jacqui Holmes, Varnette Honeywood, Mildred Howard, Margo Humphrey, Irmagean, Suzanne Jackson, Martha Jackson-Jarvis, Marie Johnson-Calloway, Marva Lee Pitchford Jolly, Lois Mailou Jones, Barbara Jones-Hogu, Kai Kambel, Margaret Slade Kelly, Gwendolyn Knight, Ruth Lampkins, Artis Lane, Viola Leak, Dori Lemeh, Mary Le Ravin, Rosalind Letcher, Edmonia Lewis, Samella Lewis, Marcia Lloyd, Fern Logan, Lynn Marshall-Linnemeier, Valerie Maynard, Dindga McCannon, Geraldine McCullough, Vivian McDuffie, Joanne McFarland, Vicki Meek, Yvonne Meo, Eva Hamlin Miller, Corinne Howard Mitchell, Evangeline Montgomery, Norma Morgan, Lillian Morgan-Lewis, Jeanne Moutoussamy-Ashe, Deborah Muirhead, Sana Musasama, Marilyn Nance, Senga Nengudi, Lorraine O'Grady, Mary Lovelace O'Neal, Winifred Owens-Hart, Sandra Payne, Janet Taylor Pickett, Delilah Williams Pierce, Howardena Pindell, Adrian Piper, Rose Piper, Stephanie Pogue, Georgette Seabrooke Powell, Debra Priestly, Mavis Pusey, Helen Ramsaran, Patricia Ravarra, Faith Ringgold, Malkia Roberts, Aminah Robinson, Sandra Rowe, Alison Saar, Betye Saar, Eve Sandler, Joanne Scott, Joyce J. Scott, Cheryl Shackleton, Yolanda Sharpe, Gail Shaw-Clemons, Jewel Simon, Coreen Simpson, Lorna Simpson, Clarissa Sligh, Gilda Snowden, Sylvia Snowden, Shirley Stark, Janet Stewart, Renée Stout, Elisabeth Sunday, Ann Tanksley, Vivian Tanner, Anna Tate, Evelyn Terry, Freida High Tesfagiorgis, Alma Thomas, Barbara Thomas, Mildred Thompson, Renée Townsend, Yvonne Tucker, Ruth Waddy, Denise Ward-Brown, Fan Warren, Bisa Washington, Mary Washington, Joyce Wellman, Adell Westbrook, Linda Whitaker, Pat Ward Williams, Philemona Williamson, Deborah Willis, Shirley Woodson, [OTHERS mentioned in passing or in footnotes include the following: May Howard Jackson, Meta Warrick Fuller, Nancy Elizabeth Prophet, Annie Walker, Laura Waring, Irene Clark, Clementine Hunter, Harriet Powers, Gladys-Marie Fry, Cuesta Benberry, Rosalind Jeffries [as Roslind], Sister Gertrude Morgan, Inez Nathaniel-Walker, Nellie Mae Rowe, Mary T. Smith, Grannie Dear Williams. Mentions artists the editors hoped to include, but who weren't for various reasons: Amalia Amaki, Jacqueline Bontemps, Ora Williams Carter, Marva Cremer, Pat Davis, Kira Harris, Ruth Beckman Holloman, May Howard, Dolores Johnson, Jean Lacy, Toni Lane, Laurie Ourlicht, Virginia Smit, Ming Smith, Phyllis Thompson, Deborah Wilkins, and Viola M. Wood.] 4to (11 x 8.5 in ), wraps. First ed. LEWIS, SAMELLA. African American Art & Artists. Berkeley: University of California Press, 1990. 302 pp., 204 illus., many in color, substantial bibliog. A history of African American art from the seventeenth-century to the '90s. Revised and updated from Lewis's original publication Art: African American (1978). [See also entry on expanded edition, 2003]. Foreword by Floyd Coleman. Artists include: the slaves of Thomas Fleet, Boston,.Scipio Moorhead, Neptune Thurston, G.W.Hobbs (white artist), Joshua Johnston, Julien Hudson, Robert M. Douglass, Jr., Patrick Henry Reason, David Bustill Bowser, William Simpson, Robert S. Duncanson, Eugene Warburg, Edward Mitchell Bannister, Grafton Tyler Brown, Nelson A. Primus, Charles Ethan Porter, (Mary) Edmonia Lewis, Henry Ossawa Tanner, Meta Vaux Warrick (Fuller), William Edouard Scott, Laura Wheeler Waring, Aaron Douglas, Hale Woodruff, Palmer Hayden, Archibald Motley, Jr., Malvin Gray Johnson, Ellis Wilson, Sargent Claude Johnson, Augusta Savage, Richmond Barthé, William H. Johnson, James Lesesne Wells, Beauford Delaney, Selma Burke, Lois Mailou Jones, Alma Thomas, James A. Porter, William E. Artis, William Edmondson, Horace Pippin, Clementine Hunter, David Butler, Charles Alston, Norman Lewis, Romare Bearden, Hughie Lee-Smith, Eldzier Cortor, Jacob Lawrence, Charles White, Elizabeth Catlett, John Wilson, John Biggers, Ademola Olugebefola, Herman Kofi Bailey, Raymond Saunders, Lucille Malkia Roberts, David Driskell, Floyd Coleman, Paul Keene, Arthur Carraway, Mikelle Fletcher, Varnette Honeywood, Phoebe Beasley, Benny Andrews, Reginald Gammon, Faith Ringgold, Cliff Joseph, David Bradford, Bertrand Phillips, Manuel Hughes, Phillip Lindsay Mason, Dana Chandler, Malaika Favorite, Bob Thompson, Emilio Cruz, Leslie Price, Irene Clark, Al Hollingsworth, William Pajaud, Richard Mayhew, Bernie Casey, Floyd Newsum, Frank Williams, Louis Delsarte, William Henderson, Daniel LaRue Johnson, Joe Overstreet, Adrienne W. Hoard, Sam Gilliam, Mahler Ryder, Oliver Jackson, Eugene Coles, Vincent Smith, Calvin Jones, Pheoris West, Noah Purifoy, Ed Bereal, Betye Saar, Ron Griffin, John Outterbridge, Marie Johnson, Ibibio Fundi, John Stevens, Juan Logan, John Riddle, Richard Hunt, Mel Edwards, Allie Anderson, Ed Love, Plla Mills, Doyle Foreman, Barbara Chase-Riboud, Artis Lane, John Scott, William Anderson, Martin Puryear, Thomas Miller, Fred Eversley, Larry Urbina, Ben Hazard, Sargent Johnson, Doyle Lane, Willis (Bing) Davis, Curtis Tucker, Yvonne Tucker, Bill Maxwell, Camille Billops, James Tatum, Douglas Phillips, Art Smith, Bob Jefferson, Evangeline Montgomery, Manuel Gomez, Joanna Lee, Allen Fannin, Leo Twiggs, James Tanner, Therman Statom, Marion Sampler, Arthur Monroe, James Lawrence, Marvin Harden, Raymond Lark, Murray DePillars, Donald Coles, Joseph Geran, Ron Adams, Kenneth Falana, Ruth Waddy, Van Slater, Joyce Wellman, William E. Smith, Leon Hicks, Marion Epting, Russell Gordon, Stephanie Pogue, Devoice Berry, Margo Humphrey, Howard Smith, Jeff Donaldson, Lev Mills, Carol Ward, David Hammons, Michael Kelly Williams, Laurie Ourlicht, Gary Bibbs, Houston Conwill, Mildred Howard, Martha Jackson-Jarvis, Alison Saar, Lorenzo Pace. 4to (28 cm.), wraps. 2nd edition (Revised). Reprinted 1994. LEWIS, SAMELLA. Art: African American. Los Angeles: Hancraft, 1990. x (ii), 298 pp., 294 illus. (104 in color), bibliog. Excellent survey of African American art as of the mid-70s, with a discriminating selection of plates. Unfortunately very poor quality reproductions. [All 169 artists are cross-referenced, although not separately listed here.) 4to, wraps. Second revised ed. 1990 LOGAN, FERN, MARGARET R. VENDRYES and DEBORAH WILLIS. The Artist Portrait Series: Images of Contemporary African American Artists. Carbondale: Southern Illinois University Press, 2001. xviii, 122 pp., 61 b&w illus., index. Foreword by Margaret Rose Vendryes; intro. by Deborah Willis. Portrait images by photographer Fern Logan. Subjects include: Candida Alvarez, Emma Amos, Benny Andrews, Ellsworth Ausby, Romare Bearden, Dawoud Bey Camille Billops, Bob Blackburn, Vivian Browne, Selma Burke, Nanette Carter, Elizabeth Catlett, Ed Clark, Eldzier Cortor, Adger Cowans, Ernest Crichlow, Roy DeCarava, Louis Delsarte, Joseph Delaney, Melvin Edwards, Herbert Gentry, Rosa Guy, Manuel Hughes, Richard Hunt, Bill Hutson, Lois Mailou Jones, Gwendolyn Knight (as Gwendolyn Lawrence), Jacob Lawrence, Samella Lewis, James Little, Al Loving, Fern Logan, Andrew Lyght, Richard Mayhew, Arthur Mitchell, Tyrone Mitchell, Jeanne Moutoussamy-Ashe, Gordon Parks, Howardena Pindell, John Pinderhughes, Faith Ringgold, Betye Saar, Coreen Simpson, Merton Simpson, Charles Smalls, Vincent Smith, Frank Stewart, Raymond Bo Walker, Jack Whitten, William T. Williams, Mel Wright, and others. 4to (27 cm.; 10 x 8 in.), cloth, d.j. First ed. LONG, RICHARD, et al. African American Works on Paper from the Cochran Collection. Lagrange, 1991. 74 pp., 47 full-page illus. (6 in color), biogs. of 64 artists in this substantial collection. Intro. by Richard Long; texts by Judith Wilson, Camille Billops, Robert Blackburn. Includes 66 major 20th-century artists (including 16 women artists and a few less well-known artists): Charles Alston, Emma Amos, Benny Andrews, Trena Banks, Romare Bearden, John Biggers, Camille Billops, Betty Blayton, Moe Brooker, Vivian Browne, Beverly Buchanan, Selma Burke, Nanette Carter, Elizabeth Catlett, Ed Clark, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, John Dowell, Allan Edmunds, Melvin Edwards, Elton Fax, Herbert Gentry, Sam Gilliam, Maren Hassinger, Manuel Hughes, Richard Hunt, Wilmer Jennings, Lois Mailou Jones, Mohammad Khalil, Ronald Joseph, Jacob Lawrence, Norman Lewis, James Little, Whitfield Lovell, Al Loving, Richard Mayhew, Norma Morgan, Frank Neal, Mary Lovelace O'Neal, Joe Overstreet, Howardena Pindell, Stephanie Pogue, Richard Powell, Mavis Pusey, Faith Ringgold, Aminah Robinson, Betye Saar, Al Smith, Walter Agustus Simon, Morgan Smith, Marvin Smith, Vincent Smith, Luther Stovall, Alma Thomas, Mildred Thompson, James Lesesne Wells, Charles White, Jack Whitten, Walter Williams, William T. Williams, John Wilson, Hale Woodruff, Hartwell Yeargans. [16+ venue touring exhibition beginning at: Lamar Dodd Art Center, LaGrange College, La Grange, GA, March 3-31, 1991; Columbia Museum of Art, Columbia, SC; Lauren Rogers Museum, Laurel, MI; Hickory Museum of Art, Hickory, NC; Museum of the South, Mobile, AL; Museum of Arts and Sciences, Macon, GA; Greenville Museum of Art, Greenville, SC; Danville Museum of Fine Arts and History, Danville, VA; Gadsden Museum of Art, Gadsden, AL; Polk Museum of Art, Lakeland, FL; Gibbes Museum of Art, Charleston, SC; Cleveland Institute of Art, Cleveland, OH; York County Museum of Art, Rock Hill, SC; Pensacola Museum of Art, Pensacola, FL; Marietta-Cobb Museum of Art, Marietta, GA; Indiana State University, Terre Haute, IN; Miami Univeristy Museum of Art, Oxford, OH; Washington and Lee University, Lexington, VA; Jacksonville Museum of Art, Jacksonville, FL; William and Mary College, Williamsburg, VA; Northwest Visual Arts Center, Panama City, FL; Gertrude Herbert Institute, Augusta, GA; Springfield Art Museum, Springfield, MO; Beach Museum of Art, Manhattan, KS; Montgomery Museum of Art, Montgomery, AL; New Visions Gallery, Atlanta, GA.] 4to (28 x 22 cm.), wraps. First ed. LOS ANGELES (CA). California African American Museum. Three Generations of African American Women Sculptors: A Study in Paradox. September 5-November 16, 1997. Group exhibition. Co-curated by Tritobia Hayes Benjamin. Seventy-four sculptures from the following artists: Mary Edmonia Lewis, Meta Warrick Fuller, May Howard Jackson, Augusta Savage, Nancy Elizabeth Prophet, Beulah Woodard, Selma Hortense Burke, Elizabeth Catlett, Geraldine McCullough and Barbara Chase-Riboud. [Traveled to: The Equitable Gallery, NY; Telfair Museum of Art, Savannah, December 9, 1997-February 15, 1998; Smithsonian, Washington, DC.] LOS ANGELES (CA). Los Angeles County Museum of Art (LACMA). The Figure in American Sculpture: A Question of Modernity. February 26-April 30, 1995. Exhib. cat., checklist, biogs. of all artists. Texts by Ilene Susan Fort, Mary L. Lenihan, Marlene Park, Susan Rather, Roberta K. Tarbell. Artists include: William Artis, Richmond Barthé, Leslie Bolling, Selma Burke, William Edmondson, Meta Vaux Warrick Fuller, May Howard Jackson, Malvin Gray Johnson, Sargent Johnson, Samella Lewis, James Porter, Elizabeth Prophet, Augusta Savage, Henry Ossawa Tanner. [Exhibition traveled to Montgomery Museum of Fine Arts, AL, June 22-Sept. 10; Wichita Art Museum, KS, Oct. 22, 1995-Jan. 7, 1996; National Academy of Design, Feb. 15-May 5, 1996.] MORRISON, ALLAN. Women in the Arts. 1966. In: Ebony 21, no. 10 (August, 1966):90-94. Includes 16 artists with photos of five: Augusta Savage, Selma Burke, Barbara Chase-Riboud, Geraldine McCullough, Laura Wheeler Waring; mentions Meta Warrick Fuller, Edmonia Lewis. Elizabeth Catlett, May Howard Johnson, Georgette Seabrook, Betty Blayton, Vivian Browne, Norma Morgan, performers such as Josephine Baker, dancers and others. 4to, wraps. MOSS, CARLTON [Dir. and prod.]. Portraits in Black: Paul Lawrence Dunbar; Two Centuries of Black American Art; Gift of the Black Folk (Video). Pyramid Film & Video, 1987. Three separate films on one video. 1. Paul Laurence Dunbar (1978). Produced and directed by William Hurtz and Carlton Moss. Readings and dramatizations from the poetry and other writings of Paul Laurence Dunbar. 2. Two Centuries of Black American Art (1976). Presents many of the works shown in the exhibition Two centuries of Black American art, with brief biographical sketches of some of the artists included [segments by artists Aaron Douglas, Selma Burke, Romare Bearden, Alma Thomas, John Rhoden, Lois M. Jones, Jacob Lawrence, Richmond Barthé and Charles White.] 3. Portrays the lives and accomplishments of Frederick Douglass, Harriet Tubman and Denmark Vesey in their fight against slavery. VHS-NTSC: color; sd; 60 min. Previously released individually as 16 mm. motion pictures, 1976-1978. MYERS, CAROL L., compiled and ed. Black Power in the Arts. Flint (MI): Flint Board of Education, 1970. ix, 105 pp., illus. 8vo (21 cm.), wraps. NEW ORLEANS (LA). Amistad Research Center and the New Orleans Museum of Art. Beyond the Blues: Reflections of Africa America in the Fine Arts Collection of the Amistad Research Center. April 11-July 11, 2010. 188 pp., 316 illus. (302 in color). This publication serves both as a catalogue of the exhibition and also as documentation of the majority of works in the Amistad's collection. Foreword by David C. Driskell; texts by curator Margaret Rose Vendryes, Lowery Stokes Sims, Michael D. Harris, and Renee Ater. See exhibition checklist: http://www.amistadresearchcenter.org/beyond_the_blues/works.html. 4to, boards. Ed. of 1000. NEW YORK (NY).. The New York Public Library African American Desk Reference. Wiley, 1999. Includes a short and dated list of the usual 110+ artists, with a considerable New York bias, and a random handful of Haitian artists, reflecting the collection at the Schomburg: architect Julian Francis Abele. Josephine Baker, Edward M. Bannister, Amiri Baraka, Richmond Barthé, Jean-Michel Basquiat, Romare Bearden, John T. Biggers, Camille Billops, Bob Blackburn, Betty Blayton, Frank Bowling, Grafton Tyler Brown, Selma Burke, Margaret Burroughs, David Butler, Elizabeth Catlett, Barbara Chase-Riboud, Edward Clark, Robert Colescott, Ernest Crichlow, Emilio Cruz, William Dawson, Roy DeCarava, Beauford Delaney, Joseph Delaney, Aaron Douglas, John Dowell, Robert S. Duncanson, John Dunkley, William Edmondson, Melvin Edwards, Minnie Evans, Meta Vaux Warrick Fuller, Sam Gilliam, Henry Gudgell, David Hammons, James Hampton, William A. Harper, Bessie Harvey, Isaac Hathaway, Albert Huie, Eugene Hyde, Jean-Baptiste Jean, Florian Jenkins, Sargent Johnson, William H. Johnson, Joshua Johnston, Lois Mailou Jones, Lou Jones, Napoleon Jones-Henderson, Ronald Joseph, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Georges Liautaud, Seresier Louisjuste, Richard Mayhew, Jean Metellus, Oscar Micheaux, David Miller, Scipio Moorhead, Archibald J. Motley, Abdias do Nascimento, Philomé Obin, Joe Overstreet, Gordon Parks, David Philpot, Elijah Pierce, Howardena Pindell, Horace Pippin, James A. Porter, David Pottinger, Harriet Powers, Martin Puryear, Gregory D. Ridley, Faith Ringgold, Sultan Rogers, Leon Rucker, Alison Saar, Betye Saar, Raymond Saunders, Augusta Savage, William Edouard Scott, Senegalese filmmaker Ousmane Sembene, Ntozake Shange, Philip Simmons, Lorna Simpson, Moneta J. Sleet, Vincent D. Smith, Micius Stéphane, Renée Stout, SUN RA, Alma Thomas, Neptune Thurston, Mose Tolliver (as Moses), Bill Traylor, Gerard Valcin, James Vanderzee, Melvin Van Peebles. Derek Walcott, Kara Walker, Eugene Warburg, Laura Wheeler Waring, James W. Washington, Barrington Watson, Carrie Mae Weems, James Lesesne Wells, Charles White, Jack Whitten, Lester Willis, William T. Williams, John Wilson, Hale Woodruff, Richard Yarde. 8vo (9.1 x 7.5 in.), cloth, d.j. NEW YORK (NY). City College, CUNY. The Evolution of Afro-American Artists; 1800-1950. 1967. 70 pp., 47 full-page b&w illus., biogs. and checklist of works exhibited. Co-curated by Romare Bearden and Carroll Greene, Jr. Includes: 6 works of African heritage art and 54 artists: Joshua Johnson (as Johnston), Edward M. Bannister, Edmonia Lewis, Robert S. Duncanson, William Simpson, Henry Ossawa Tanner, Meta Warrick Fuller, Aaron Douglas, Richmond Barthé, Palmer Hayden, Hale Woodruff, Archibald Motley, Augusta Savage, William E. Scott, Albert Smith, James A. Porter, Allan Rohan Crite, Malvin Gray Johnson, William H. Johnson, O. Richard Reid, Laura Waring, William E. Braxton, James L. Wells, Edwin A. Harleston, Lois Mailou Jones, Hughie Lee-Smith, Fred Flemister, John T. Biggers, Jacob Lawrence, Romare Bearden, Charles Alston, Charles White, John Wilson, Elizabeth Catlett, William Artis, William Edmondson (as Edmonson), Horace Pippin, Earle Richardson (as Earl), Claude Clark, Ernest Crichlow, Ellis Wilson, Robert Blackburn, Robert S. Pious, Norman Lewis, Beauford Delaney, Joseph Delaney, Selma Burke, Eldzier Cortor, Ronald Joseph, Humbert Howard, Heywood Rivers, Richard Mayhew, Merton D. Simpson, and John Farrar. NEW YORK (NY). Clocktower Gallery, P.S.1. Progressions: A Cultural Legacy. February 13-March 15, 1986. 20 pp. exhib. cat. Sponsored by Women's Caucus for Art. A tribute to black women pioneers in the visual arts and their many talented descendants. 5 b&w illus., checklist of 31 works by 31 different artists. Curated by Julia Hotten, Vivian Browne, Emma Amos. An exhibition sponsored by the WCA to celebrate the centennial anniversary of the Statue of Liberty and Black History Month. Groundbreaking exhibition of work by black women artists. Included: Emma Amos, Selma Burke, Vivian Browne, Nanette Carter, Maren Hassinger, Cynthia Hawkins, Janet Henry, Robin Holder, Lois Mailou Jones, Fern Logan, Sandra Payne, Janet Taylor Pickett, Howardena Pindell, Faith Ringgold, et al. 12mo, stapled wraps. First ed. NEW YORK (NY). Downtown Gallery. American Negro Art, 19th and 20th Centuries. December 9, 1941-January 3, 1942. Exhib. cat. The first show of African American art held at a mainstream commercial gallery, the exhibition, curated by gallery owner Edith Halpert, was sponsored by a committee of prominent white patrons including Mayor Fiorello La Guardia, Archibald MacLeish, A. Philip Randolph, and Eleanor Roosevelt. Among its aims were to raise money for the Negro Art Fund, to promote museum acquisitions of work by Black artists, and to encourage galleries to represent the living participants. In addition to providing its facilities, the Downtown Gallery donated all sales commissions to the Negro Art Fund and added Jacob Lawrence to its roster of artists at this time. Artists included: 19th century: Edward Bannister, Robert Duncanson, Edwin Harleston, William H. Simpson, Henry O. Tanner; 20th century: Charles Alston, Henry Avery, Romare Bearden, Samuel J. Brown, William S. Carter, Elizabeth Catlett, Felton Coleman, Eldzier Cortor, Cleo Crawford, Ernest Crichlow, Allan Crite, Charles Davis, Beauford Delaney, Joseph Delaney, Palmer Hayden, Malvin Gray Johnson, William H. Johnson, Ron Joseph, Paul Keene, Joseph Kersey, Jacob Lawrence, Norman Lewis, Elba Lightfoot, Archibald Motley, Frederick Perry, Horace Pippin, Charles Sebree, George N. Victory, Charles White, Ellis Wilson, Hale Woodruff. Printmakers: Robert Blackburn, John Borican, Claude Clarke, Wilmer Jennings, Bryant Pringle, Raymond Steth, Dox Thrash, James L. Wells. Sculptors: William Artis, Richmond Barthé, Selma Burke, William Edmondson, Sargent Johnson, Martha Manning, Augusta Savage, John Henry Smith. [See copy of catalogue in National Museum of American Art, Smithsonian, vertical files.] [Listed in Magazine of Art 34 (Nov. 1941):497 with incorrect dates. Review in Art Digest, December 15, 1941, praises the show, but in exceedingly demeaning racist language: "The American Negro has at last spoken in art -- firmly and distinctively, his voice having as definite an intonation with colors as his soul has in singing and dancing. His choice of dazzling colors is just as typical as his exaggerated sense of humor, his strut and guffaw; his concern with the burdened just as characteristic as his pleading songs to his Maker." NEW YORK (NY). Ebony Editors. Ebony Handbook. Chicago: Johnson Publisnt Company Pub., 1974. Of historical interest only. Includes over 150 artists, more than double the number who were included in Ebony's Negro Handbook of 1966. Nonetheless, this represents a very limited selection compared with the St. Louis Index (1972) and Cederholm (1973) which had been published in the two years immediately preceeding this revision. Includes: Charles Alston, Eileen Anderson, Ralph Arnold, William E. Artis, Kwasi Asante, Richmond Barthé, Romare Bearden, Sherman Beck, Ben Bey, Michelle C. Bey, John T. Biggers, Gloria Bohanon, Lorraine Bolton, Shirley Bolton, Elmer Brown, Samuel J. Brown, Herbert Bruce, Joan Bryant, Selma Burke, Calvin Burnett, Margaret Burroughs, Nathaniel Bustion, William S. Carter, Elizabeth Catlett, Barbara Chase-Riboud, Benjamin Clark, Claude Clark, Irene V. Clark, Floyd Coleman, Eldzier Cortor, Samuel Countee, G. C. Coxe, Ernest Crichlow, Allan Rohan Crite, Alonzo J. Davis, Charles C. Dawson, Richard Dempsey, J. Brooks Dendy, Jeff Donaldson, Harold S. Dorsey, Aaron Douglas, Annette Ensley, Marion Epting, P. Fernand (listed only in this publication), Frederick C. Flemister, Ausbra Ford, Leroy Foster, Meta Vaux Fuller, Rex Goreleigh, Joseph E. Grey, J. Eugene Grigsby, John W. Hardrick, Oliver Harrington, Frank Hayden, Palmer Hayden, Vertis C. Hayes, Eselean Henderson, Alvin C. Hollingsworth, Humbert Howard, Kenneth Howard (in this publication only), Richard Hughes, Richard Hunt, J.D. Jackson, Wilmer Jennings, Lester L. Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Ben Jones, Lawrence Jones, Lois Maillou Jones, Mark Jones, Charles Keck, James E. Kennedy, Joseph Kersey, Henri Umbaji King, Omar Lama, Jacob Lawrence, Clifford Lee, Hughie Lee-Smith, Leon Leonard, Edmonia Lewis, Norman Lewis, Edward L. Loper, Anderson Macklin, William Majors, Stephen Mayo, Geraldine McCullough, Eva Hamlin Miller, Rosetta Dotson Minner, Corinne Mitchell, James Mitchell, Norma Morgan, Jimmie Mosely, Archibald J. Motley, Dindga McCannon, David Normand, Hayward Oubre, Sandra Peck, Marion Perkins, Alvin Phillips, Delilah Pierce, Horace Pippin, James A. Porter, Georgette Seabrooke Powell, Leo Twiggs, Al Tyler, Anna Tyler, Steve Walker, John Wilson, Hale Woodruff, Kenneth V. Young, et al. NEW YORK (NY). Gallery 62, National Urban League. Golden Opportunity. September 18-November 30, 1978. Unpag. (6 pp.) exhibition brochure, 1 b&w front panel illus. (Motley, The Jockey Club, Paris, c.1929), checklist of 26 works by 15 artists (loaned from the Schomburg Center, Terry Dintenfass Gallery, Merton D. Simpson Gallery, and Just Above Midtown Gallery). Includes: Charles Alston (1 work), Richmond Barthé (2 works), Romare Bearden (1 work), William Braxton (1 work), Selma Burke (1 work), Aaron Douglas (Cathedral, Port au Prince, 1938; Coll. Mr. & Mrs. Henry Lee Moon), Palmer Hayden (2 works), Jacob Lawrence (2 works), Archibald Motley (1 work), Augusta Savage (3 works), William E. Scott (1 work), Albert A. Smith (4 works), Henry O. Tanner (4 works), Charles White (1 work), Hale Woodruff (The Card Players, 1978; Coll. artist). A show of artists whose work appeared in the pages of Opportunity: Journal of Negro Life from 1923-1949. The inaugural exhibition of this important midtown venue for Black art during the 1970s and 1980s. Single bi-fold sheet (8.5 x 24 in.), printed on both sides. NEW YORK (NY). Kenkeleba House. Unbroken Circle: Exhibition of African American Artists of the 1930's and 1940's. 1986. 36 pp., 55 b&w illus., checklist of work by 56 artists (including 10 women artists). Intro. Corinne Jennings; text by David C. Driskell, and beautiful memoir by curator / artist Vincent D. Smith. Well-chosen examples of each artist's work. Includes: Charles Alston, Richmond Barthé, Romare Bearden, John Biggers, Robert Blackburn, William Braxton, Selma Burke, Samuel J. Brown, Elizabeth Catlett, Claude Clark, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Beauford Delaney, Joseph Delaney, Richard Dempsey, Reba Dickerson-Hill, Aaron Douglas, Elton Fax, Charlotte White Franklin, Meta Fuller, Herbert Gentry, Rex Goreleigh, Palmer Hayden, Humbert L. Howard, May Howard Jackson, Wilmer A. Jennings, Malvin G. Johnson, William H. Johnson, Lois Mailou Jones, Paul Keene, Jacob Lawrence, Hughie Lee-Smith, James Lewis, Norman Lewis, Joan Maynard, Archibald Motley, Delilah Pierce, Robert Pious, Georgette Powell, Daniel Pressley, Donald Reid, John Rhoden, Charles Sebree, Thomas Sills, Alma Thomas, Dox Thrash, Masood A. Warren, James Wells, Charles White, Walter Williams, Ed Wilson, Ellis Wilson, John Wilson, Hale Woodruff. Text includes discussion of some additional artists: Robert Duncanson, Edmonia Lewis, Henry Tanner, Valerie Maynard, James Porter. 4to, stapled wraps. First ed. NEW YORK (NY). Lever House. Sculpture '81. February 18-March 16, 1981. Exhib. cat., illus., biogs. Intro. by Doris McKelvy and Jack E. Jordan. Group exhibition curated by Bertina Hunter. Included: Richmond Barthé, Camille Billops (photo), Selma Burke, Betty Blayton, Elizabeth Catlett, James Denmark, Mel Edwards, Inge Hardison, Richard Hunt, Myra Ivory, Jack Jordan, Robert W. Kelly, Jerome B. Meadows, Arnold Prince, Tyrone Mitchell, John Rhoden, Lloyd Toone, Bo Walker, Masood Ali Warren, Frank Wimberley, Estella V. Wright. NEW YORK (NY). McMillen Inc. Negro Art: Contemporary. October 16-November 7, 1941. 4 pp. exhib. cat., checklist of 50 paintings and 6 sculptures. Includes three works by Selma Burke, and more than one work by each of the following: Joseph Delaney, Lorraine Williams, Ramon Gabriel, Beauford Delaney, William Carter, Romare Bearden, Eldzier Cortor, William H. Johnson, Norman Lewis, Joseph Artur Kersey, Charles Sebree, along with numerous others such as John Carlis, Ernest Crichlow, Charles T. Haig, Ronald Joseph. [Review: James W. Lane, "Afro-American Art on Both Continents: The Great Contribution of the Artistic Negro," Art News 40 (October 15, 1941):25.] 8vo, blue paper wraps. First ed. NEW YORK (NY). Michael Rosenfeld Gallery. African American Art, 20th century Masterworks, VI. January 14-March 6, 1999. 60 pp., 41 color plates, 36 b&w illus. Foreword by Michael Rosenfeld. Artists include: Charles Alston, Benny Andrews, Richmond Barthé, Romare Bearden, Selma Burke, Elizabeth Catlett, Eldzier Cortor, Harold Cousins, Allan Rohan Crite, Beauford Delaney, Sam Gilliam, Palmer Hayden, Richard Hunt, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Betye Saar, William Edouard Scott, Henry Ossawa Tanner, Bob Thompson, Bill Traylor, James VanDerZee, Charles White and Hale Woodruff. [Traveled to Flint Institute of Art, Flint, MI.] 8vo (23 cm.; 8.5 x 6 in.), pictorial stiff wraps. First ed. NEW YORK (NY). Michael Rosenfeld Gallery. African-American Art: 20th Century Masterworks, VII. Educating our children. January 13-March 4, 2000. 70 pp., color illus., bibliog. Charles Alston, Benny Andrews, William E. Artis, Richmond Barthé, Romare Bearden, John Biggers, Selma Burke, Elizabeth Catlett, Eldzier Cortor, Harold Cousins, Beauford Delaney, Joseph Delaney, Palmer Hayden, Sargent Johnson, William H. Johnson, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Edward Loper, Marion Perkins, Horace Pippin, Betye Saar, Albert Alexander Smith, Henry Ossawa Tanner, Alma Thomas, Bob Thompson, Bill Traylor, James VanDerZee, Laura Wheeler Waring, Charles White, Ellis Wilson, Hale Woodruff. [Traveled to Appleton Museum, Florida State University, Ocala, FL.] 8vo (23 cm., 8.5 x 6 in.), pictorial stiff wraps. First ed. NEW YORK (NY). Schomburg Center for Research in Black Culture. Augusta Savage and the Art Schools of Harlem. October 9, 1988-January 28, 1989. 27 pp. exhib. cat., 19 b&w illus. (including cover photo of artist at work), notes, exhib. checklist of 76 works by Savage and her students, plus 20 photographs and artifacts. Curated by Dierdre L. Bibby; texts by Bibby, Juanita Marie Holland (detailed chronology of the artist's art and life (1892-1962). Her students and close colleagues include: Charles Alston, William Artis, Henry Bannarn, Romare Bearden, Selma Burke, Edward Christmas, Ernest Crichlow, Elton Fax, Ronald Joseph, Gwendolyn Knight, Jacob Lawrence, Norman Lewis, Francisco P. Lord, George J. A. Murray, Robert Pious, Georgette Seabrooke Powell, Marvin Smith, Morgan Smith, James Lesesne Wells, Ellis Wilson. An accomplished sculptor in her own right, Savage was considered the most influential artist in Harlem during the 1930s. Her art classes, Federal Art Project work, directorship of the Harlem Contemporary Art Center and the Salon of American Negro Art, and many more activities contributed immeasurably to the advance of African American art in this century. 4to, wraps. First ed. NEW YORK (NY). Schomburg Center for Research in Black Culture. Black New York Artists of the 20th Century: Selections from the Schomburg Center Collections. November 19, 1998-March 31, 1999. 96 pp. exhib. cat., 127 illus. (36 in color), bibliog. Ed. and text by curator Victor N. Smythe. Includes 125 artists: Tina Allen, Charles Alston, Emma Amos, Benny Andrews, Ellsworth Ausby, Abdullah Aziz, Xenobia Bailey, Ellen Banks, Richmond Barthé, Romare Bearden, Camille Billops, Bob Blackburn, Kabuya Bowens, William E. Braxton, Kay Brown, Selma Burke, Carole Byard, Elmer Simms Campbell, Nanette Carter, Elizabeth Catlett, Violet Chandler, Colin Chase, Schroeder Cherry, Ed Clark, Houston Conwill, Eldzier Cortor, Ernest Crichlow, Emilio Cruz, Michael Cummings, Diane Davis, Lisa Corinne Davis, Francks Francois Deceus, Avel C. DeKnight, Beauford Delaney, Joseph Delaney, Louis Delsarte, James Denmark, Aaron Douglas, Taiwo Duvall, Melvin Edwards, Elton Fax, Tom Feelings, Robert T. Freeman, Herbert Gentry, Rex Goreleigh, Theodore Gunn, Inge Hardison, Oliver Harrington, Verna Hart, Palmer Hayden, Carl E. Hazlewood, Alvin C. Hollingsworth, Manuel Hughes, Bill Hutson, Harlan Jackson, Laura James, Wadsworth Jarrell, Jamillah Jennings, M.L.J. Johnson, Malvin Gray Johnson, Oliver Johnson, Gwen Knight, Jacob Lawrence, Cecil Lee, Hughie Lee-Smith, Richard Leonard, Norman Lewis, Bell Earl Looney, Valerie Maynard, Dindga McCannon, Sam Middleton, Onaway K. Millar, Louis E. Mimms, Tyrone Mitchell, Mark Keith Morse, George J.A. Murray, Sr., Sana Musasama, Otto Neals, Jide Ojo, Ademola Olugebefola, James Phillips, Anderson Pigatt, Robert S. Pious, Rose Piper, Georgette Seabrooke Powell, Debra Priestly, Ronald Okoe Pyatt, Abdur-Rahman, Patrick Reason, Donald A. Reid, Earle Richardson, Faith Ringgold, Winfred J. Russell, Alison Saar, Augusta Savage, Charles Searles, Charles Sebree, James Sepyo, Milton Sherrill, Danny Simmons, Deborah Singletary, Albert Alexander Smith, Mei Tei Sing-Smith, Vincent Smith, Tesfaye Tessema, Dox Thrash, Haileyesus Tilahun, Bo Walker, Arlington Weithers, James Lesesne Wells, Charles White, Emmett Wigglesworth, Billy Doe Williams, Grace Williams, Michael Kelly Williams, Walter H. Williams, William T. Williams, Ellis Wilison, George Wilson, Ron and Addelle Witherspoon, Hale Woodruff. as well as work by members of the collectives Spiral and Weusi and the early '70s exhibit by black women artists called Where We At, and dozens more. 4to (28 x 22 cm.), pictorial wraps. First ed. NEW YORK (NY). Studio Museum in Harlem. Challenge of the Modern: African American Artists, 1925-1946. January 23-March 30, 2003. 125 pp., illus. (many in color), bibliog. Texts by Lowery Stokes Sims, Rocio Aranda-Alvarado, Leronn Brooks, Leslie King-Hammond and Helen Shannon. Artists include: James Latimer Allen, Charles Alston, William Artis, Richmond Barthé, Romare Bearden, Robert Blackburn, Samuel Joseph Brown, Jr., Selma Burke, Albert I. Cassell, Elizabeth Catlett, Eldzier Cortor, Stuart Davis, Beauford Delaney, Aaron Douglas, William Edmondson, Louis Fry, Palmer Hayden, Clementine Hunter, Sargent Johnson, William H. Johnson, Lois Mailou Jones, Anna Russell Jones, Wifredo Lam, Jacob Lawrence, Norman Lewis, Howard Mackey, Edna Manley, Robert McNeil, Archibald Motley, Bruce Nugent, Philomé Obin, Hayward Oubré, Horace Pippin, Elizabeth Prophet, Winnold Reiss (white), Hilyard Robinson, Charles Sebree, Morgan and Marvin Smith, James Vanderzee, Carl Van Vechten (white), James Lesesne Wells, Charles White, Ellis Wilson, Clarence "Cap" Wigington, Hale Woodruff. 4to (11 x 8.5 in.; 30 cm.), wraps. First ed. NEWARK (DE). University Gallery, University of Delaware. Uncommon Bonds: Expressing African American Identity. January 15-March 7, 1999. 17 artists including 7 African American artists: James VanderZee, Romare Bearden, Selma Burke, Allan Rohan Crite, Lonnie Holley, Adrian Piper, Lorna Simpson. Exhibition mounted in conjunction with a six-hour public television series entitled, "I'll Make Me a World," produced by Blackside, Inc. NEWARK (DE). University Museum, University of Delaware. A Century of African American Art: The Paul R. Jones Collection. New Brunswick: Rutgers University Press, 2004. 259 pp., mostly color plates throughout, artists' biogs., bibliog., notes on contributors, index. Ed. by Amalia Amaki, curator of the collection, with additional texts by Sharon Pruitt, Ann E. Gibson, Ikem Stanley Okoye, Marcia R. Cohen and Diana McClintock, Carla Williams, Winston Kennedy. Artists include: Jim Alexander, William J. Anderson, Benny Andrews, Heman Kofi Bailey, Romare Bearden, Camille Billops, Frank Bowling, Benjamin Britt, Selma Burke, Margaret Burroughs, Doughba H. Caranda-Martin, Nanette Carter, Elizabeth Catlett, David Driskell, Michael Ellison, John W. Feagin, Reginald Gammon, Samuel Guilford, Earl J. Hooks, Margo Humphrey, Bill Hutson, Amos "Ashanti" Johnson, P.R. Jones, Jacob Lawrence, Samella Lewis, James Little, Lionel Lofton, Edward Loper, Aimee Miller, Jimmie Lee Mosely, Ming Smith Murray, Ayokunle Odeleye, Harper T. Phillips, Howardena Pindell, Prentice H. Polk, Alvin Smith, Cedric Smith, Henry Ossawa Tanner, Leo Twiggs, James Vanderzee, Carrie Mae Weems, Charles White, John Wilson, Hale Woodruff, et al. [Traveled to numerous venues including: Spelman College Museum of Art, Atlanta, GA, September 8-December 10, 2005; Hilliard University Art Museum, Lafayette, LA, September 7-December 29, 2007.] 4to (29 cm.), cloth, d.j. First ed. NEWARK (DE). University of Delaware. African American Art: The Paul R. Jones Collection. February 11-April 4, 1993. 24 pp., 20 b&w illus., 4 color plates, biogs., bibliog., notes, checklist of 74 items by 53 artists, mostly prints, drawings, and photographs. Text by William I. Homer. Artists include: Amalia Amaki, William Anderson, Benny Andrews, Trena Banks, Romare Bearden, Camille Billops, Frank Bowling, Beverly Buchanan, Selma Burke, Margaret T. Burroughs, Nanette Carter, William Carter, Elizabeth Catlett, Roy DeCarava, Edwin Augustus Harleston, Wadsworth Jarrell, Jacob Lawrence, James Little, Lev Mills, Evelyn Mitchell, Sister Gertrude Morgan, Heyward Oubré, Howardena Pindell, P. H. Polk, John Riddle, Betye Saar, Addison Scurlock, Jewel Simon, Freddie L. Styles, Henry Ossawa Tanner, Leo Twiggs, Charles White, Jack Whitten, Hale Woodruff. 4to, stapled wraps. First ed. NORFOLK (VA). Norfolk Museum of Arts and Sciences. Contemporary Sculpture: 16 Americans: Exhibition. International Business Machines Corporation, 1949. [8] pp. exhib. cat. 16 works exhibited, artists' biogs. Exhibition drawn from the IBM Collection. Half of the artists are African American: Charles Alston, William E. Artis, Henry W. Bannarn, Richmond Barthé, Selma Burke, Sargent Johnson, Clarence Lawson, Marion Perkins. 8vo, wraps. OAKLAND (CA). Ebony Museum of Art. In Celebration of the African-American Artist, Expo 1989. 1989. Unpag. (52 pp.), illus. Includes: Betye Saar, Selma Burke, Richmond Barthé, Jacob Lawrence, Alma Thomas, and dozens of others. Sq. 8vo (21 cm.; 7.75 x 7.75 in.), wraps. OPITZ, GLENN B. ed. Dictionary of American Sculptors: 18th Century to the Present. Poughkeepsie: Apollo, 1984. 656 pp. Includes: Charles Alston, William Artis, Annabelle Baker, Richmond Barthé, Edward Bereal, John Biggers, Leslie Bolling, Selma Burke, Elizabeth Catlett, Barbara Chase-Riboud, Harold Cousins, Frederick Eversley, Florville Foy, Charlotte White Franklin, James Hampton, Richard Hunt, May Howard Jackson, Daniel LaRue Johnson, Lester Johnson, Sargent Johnson, Edmonia Lewis, Juan Logan, Lester Nathan Matthews, Valerie Maynard, Ned [Brown], Daniel G. Olney, Hayward Oubré, Curtis Patterson, Elliott Pinkney, Nancy Elizabeth Prophet, Martin Puryear, John Rhoden, Faith Ringgold, Betye Saar, Jewel Woodard Simon, Robert J. Stull, Bill Taylor (William Badley Taylor], Rod Allen Taylor, Dox Thrash, Eugene Warburg, Meta Vaux Warrick [Fuller], James W. Washington, Jr., and Todd Williams. OTFINOSKI, STEVEN. African Americans in the Visual Arts. New York: Facts on File, 2003. x, 262 pp., 50 b&w photos of some artists, brief 2-page bibliog., index. Part of the A to Z of African Americans series. Lists over 170 visual artists (including 18 photographers) and 22 filmmakers with brief biographies and token bibliog. for each. An erratic selection, far less complete than the St. James Guide to Black Artists, and inexplicably leaving out over 250 artists of obvious historic importance (for ex.: Edwin A. Harleston, Grafton Tyler Brown, Charles Ethan Porter, Wadsworth Jarrell, John Outterbridge, Noah Purifoy, William Majors, Camille Billops, Whitfield Lovell, Al Loving, Ed Clark, John T. Scott, Maren Hassinger, Lorraine O'Grady, Winnie Owens-Hart, Adrienne Hoard, Oliver Jackson, Frederick Eversley, Glenn Ligon, Sam Middleton, Ed Hamilton, Pat Ward Williams, etc. and omitting a generation of well-established contemporary artists who emerged during the late 70s-90s. [Note: a newly revised edition of 2012 (ten pages longer) has not rendered it a worthy reference work on this topic.] 8vo (25 com), laminated papered boards. PARIS (France). Presence Africaine. Présence Africaine n.s. 26 (juin/juillet, 1959). 1959. Includes: Elton Fax, "Puissance inouie du peintre et du sculpteur":268-74. In French. Includes: Charles Alston, Edward M. Bannister, John T. Biggers, Selma Burke, Elizabeth Catlett, Ernest Crichlow, Robert S. Duncanson, Joshua Johnson, Jacob Lawrence, Horace Pippin, Henry Ossawa Tanner, Charles White, John Wilson, Hale Woodruff. PHILADELPHIA (PA). African American Museum in Philadelphia. 3 Generations of African American Women Sculptors: a study in paradox. March-September, 1996. 70 pp., checklist of 74 works by 10 artists, all illus. (including 10 large color plates), chronol., bibliog. Curated by Leslie King-Hammond and Tritobia Hayes Benjamin. Includes: May Howard Jackson, Edmonia Lewis, Meta Warrick Fuller, Augusta Savage, Nancy Prophet, Selma Burke, Elizabeth Catlett, Geraldine McCullough, Beulah Woodard, Barbara Chase-Riboud. A beautiful production. [Traveled to Equitable Gallery, NY, November 21, 1996-January 11, 1997; Center for the Study of African American Life and Culture, Smithsonian Institution, Washington, DC, March-August 1998; and other venues.] Large sq. 4to (31 x 31 cm.), wraps. First ed. PHILADELPHIA (PA). African American Museum in Philadelphia. Beyond the Lines: Prints From the Collection. 2003-April 24, 2004. Group exhibition. features serigraphs, silkscreens, woodcuts, linocuts, lithographs, etchings and carborundum prints by Benny Andrews, Romare Bearden, John Biggers, Selma Burke, Elizabeth Catlett, Kerry Coppin, Allan Rohan Crite, John E. Dowell, Jr., James Dupree, Allan Freelon, Rex Goreleigh, Curlee Raven Holton, Hughie Lee-Smith, Nefertiti, John Rozelle, Dox Thrash, Ellen Powell Tiberino, Andrew Turner, James Lesesne Wells, Gilberto Wilson, and Hale Woodruff. PHILADELPHIA (PA). Black History Museum. 9 to the Universe: Black Artists. 1983. 89 pp. text including 24 symposium papers, tributes, and a few poems by artists and critics, a few b&w illus., bibliog. An important publication. Contributors include: Elton Fax, Ansel Adams, Beuford Smith, Betty J. Curtis, Leandra Jackson, James G. Spady, Floyd J. Coleman, Freida Jones, et al. Cover design by Isaac Foy. Includes: Selma Burke, Roy DeCarava, Elton Fax, Tom Feelings, Isaac Foy, Milton S. James, Charles S. Johnson, Virginia J. Kiah, Laura Wheeler Waring. 4to, stapled wraps. Original cover drawing design by Isaac Foy. PHILADELPHIA (PA). School District and Museum of the Philadelphia Civic Center. Afro-American Artists, 1800-1969. December 5-29, 1969. 40 pp., list of over 100 artists. Important exhibition juried by Al Hollingsworth, Reginald Gammon and Louis Sloan. Intro. by curator Randall J. Craig mentions many artists not in the exhibition. Exhibition includes: Emma Amos, Benny Andrews, Ralph Arnold, James Ayers, Frederick Bacon, Joseph C. Bailey, Janette Banks, Edward M. Bannister, Richmond Barthé, Harry W. Bayton, Romare Bearden, Betty Blayton, James Brantley, Arthur Britt, Charles E. Brown, Samuel J. Brown, Reginald Bryant, Barbara Bullock, Selma Burke, Calvin Burnett, Margaret Burroughs, Frederick Campbell, Barbara Chase-Riboud, LeRoy Clarke, Louise Clement, Eldzier Cortor, R. J. Craig, Nicholas Davis, William Day, Avel DeKnight, J. Brooks Dendy, James Denmark, Reba Dickerson (a.k.a. Reba Dickerson-Hill), Thomas Dickerson Jr., Robert Duncanson, Walter Edmonds, Cliff Eubanks Jr., Charlotte White Franklin, Allan Freelon, Reginald Gammon, Charles W. Gavin, Ranson Z. Gaymon, Walter S. Gilliam, Marvin Hardin, Bernard Harmon, Palmer Hayden, Barkley Hendricks, Alvin Hollingsworth, Humbert Howard, Alfonzo Hudson, Leroy Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Joshua Johnson, Lois M. Jones, Cliff Joseph, Paul Keene, Columbus P. Knox, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, James Lewis, Norman Lewis, Tom Lloyd, Geraldine McCullough, Charles McGee, Thomas A. McKinney, Lloyd McNeill, Juanita Miller, Robert C. Moore, Jimmie Mosely, Horace Pippin, James Porter, Simon D. Prioleau, Nancy Elizabeth Prophet, Ed J. Purnell, Percy Ricks, Anita B. Riley, Faith Ringgold, Raymond Saunders, Charles Searles, Michael Shelton, Thomas Sills, John Simpson, Merton Simpson, Louis Sloan, Carl R. Smith, Dolphus Smith, Philippe Smith, Frank Stephens, Mary L. Stuckey, Eldridge Suggs III, Henry Ossawa Tanner, Mary Alice Taylor, Russ Thompson, Dox Thrash, Ellen Powell Tiberino, Lloyd Toone, John Wade, Cranston Oliver Walker, Laura Wheeler Waring, Howard Watson, John Brantley Wilder, Earl A. Wilkie, Ed Wilson, Hale Woodruff, Charles E. Yates, Hartwell Yeargans. 4to (26 cm.), wraps. First ed. PHILADELPHIA (PA). Woodmere Art Museum. In Search of Missing Masters: The Lewis Tanner Moore Collection of African American Art. September 28, 2008-February 22, 2009. 119 pp. exhib. cat., 133 color plates (most full-page) and several b&w illus., checklist of 135 paintings, sculptures, and works on paper by 92 artists. Texts by Lewis Tanner Moore, Curlee Raven Holton, Margaret Rose Vendryes; brief biogs. by W. Douglas, Paschall. Includes: Henry Ossawa Tanner, Amelia Amaki, Emma Amos, James Atkins, Edward M. Bannister, Richmond Barthé, Romare Bearden, Cleveland Bellow, Bob Blackburn, Berrisford Boothe, James Brantley, Benjamin Britt, Moe Brooker, Samuel Joseph Brown, Barbara Bullock, Selma urke, Calvin Burnett, Margaret Burroughs, Charles Burwell, Donald Camp, James Camp, William S. Carter, Elizabeth Catlett, Barbara Chase-Riboud, Claude Clark, Irene V. Clark, Nanette Clark, Kevin Cole, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Roy Crosse, Joseph Delaney, Marita Dingus, David C. Driskell, James Dupree, Walter Edmonds, Allan Edmunds, James Edwards, Melvin Edwards, Allan Freelon, Reginald Gammon, Herbert Gentry, Sam Gilliam, Rex Goreleigh, Barkley Hendricks, Curley Holton, Humbert Howard, Edward Ellis Hughes, Bill Hutson, Leroy Johnson, Martina Joshnson-Allen, Lois Mailou Jones, Ron H. Jones, Paul Keene, Glenn F. Kellum, Columbus Knox, Jacob Lawrence, Hughie Lee-Smith, Ed Loper, Al Loving, Deryl Daniel Mackie, Ulysses Marshall, Richard Mayhew, John McDaniel, Thaddeus G. Mosley, Frank Neal, George Neal, Hayward Oubre, Carlton Parker, Janet Taylor Pickett, Howardena Pindell, Charles Pridgen, Faith Ringgold, Leo Robinson, Qaaim Salik, Raymond Saunders, Charles Searles, Charles Sebree, Sterling Shaw, Louis Sloan, Raymond Steth, Phil Sumpter, Dox Thrash, Ellen Powell Tiberino, Andrew Turner, Howard Watson, Richard Watson, James Lesesne Wells, William T. Williams, Ellis Wilson, John Wilson, and Hale Woodruff. 4to, self-wraps. First ed. PLOSKI, HARRY A. and ERNEST KAISER, eds. AFRO USA: A Reference Wok on the Black Experience. New York: Bellwether Co., 1971. [x], 1110 pp., 14 b&w illus. of art and visual artists, bibliog., index. Massive encyclopedic reference work with small section (pp. 702-723) devoted to visual art. Includes entries on Charles Alston, Robert Bannister, Richmond Barthe, Romare Bearden, John Biggers, William Carter, Dana Chandler, Ernest Crichlow, Aaron Douglas, Robert Duncanson, Meta Vaux Warrick Fuller, Alice Gafford, Sam Gilliam, Rose Green, David Hammons, William Harper, Isaac Hathaway, Hector Hill, Richard Hunt, May Howard Jackson, Jack Jordan, Jacob Lawrence, Hughie Lee Smith, Edmonia Lewis, Geraldine McCullough, Earl Miller, P'lla Mills, Joseph Overstreet, Horace Pippin, Augusta Savage, Vincent Smith, Henry Ossawa Tanner, Bob Thompson, Laura Wheeler Waring, Charles White, Jack Whitten, Beulah Woodard, and Hale Woodruff. The list of "Other Noted Negro Painters and Sculptors" includes: Benny Andrews, William E. Artis, Henry W. Bannarn, Eloise Bishop, Betty Blayton, Selma H. Burke, E. Simms Campbell, Elizabeth Catlett, Eldzier Cortor, Charles C. Dawson, Avel DeKnight, Joseph Delaney, William McKnight Farrow, Fred C. Flemister, Allan R. Freelon, Reginald Gammon, William Giles (?), Rex Gorleigh, Stephen Greene (white artist?), Edward A. Harleston, Palmer Hayden, Felrath Hines, Al Hollingsworth, Sargent C. Johnson, William H. Johnson, Ben Jones, Henry B. Jones, Lois Mailou Jones, Larry Lewis, Norman Lewis, Tom Lloyd, Edward L. Loper, Leon Meeks, Archibald Motley, Marion Perkins, James A. Porter, Elizabeth Prophet, William Edouard Scott, Charles Sebree, Thelma Johnson Streat, James L. Wells, Jack White and John Wilson. Scipio Moorhead and Malcolm Bailey mentioned in passing. Large stout 4to, cloth. (First revised enlarged edition. (Previously pub. as Negro Almanac). PORTER, JAMES A. Modern Negro Art. New York: Dryden Press, 1943. 200 pp. text and indices, bibliog, index of names, plus 76 pp. illus. (4 colorplates.) Foundation reference work from which many others still take their information. Includes: John Henry Adams, Jr., Charles Alston, William E. Artis, Henry A. Avery, Henry (Mike) Bannarn, Edward Mitchell Bannister, Richmond Barthé, Romare Bearden, Gwendolyn Bennett, Edmund Bereal, Bob Blackburn, Leslie G. Bolling, David Bustill Bowser, William Ernest Braxton, Elmer Brown, Hilda Brown (also listed as Hilda Wilkerson), Richard L. Brown, Samuel J. Brown, Selma Burke, John P. Burr, E. Simms Campbell, John Carlis, Jr., Fred Carlo, William S. Carter, Elizabeth Catlett, John G. Chaplin, Samuel O. Collins, William Arthur Cooper, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Robert Crump, Charles Davis, Thomas Day, Charles C. Davis, Beauford Delaney, Joseph Delaney, Elba Lightfoot DeReyes, Joseph C. DeVillis, Frank J. Dillon, Aaron Douglas, Robert S. Duncanson, William Edmondson, William M. Farrow, Slave of Thomas Fleet, Frederick C. Flemister, B.E. Fountaine (as Fontaine), Allan Freelon, Meta Vaux Warrick Fuller, John W. Gore, Rex Goreleigh, Bernard Goss, Henry Gudgell, John Hailstalk, Clark Hampton, John W. Hardrick, John T. Hailstalk, Edwin A. Harleston, William A. Harper, Oliver Harrington (as Henry), Marcellus Hawkins, Palmer Hayden, Vertis Hayes, James V. Herring, G. W. Hobbs (now known to have been a white artist), Charles F. Holland, Fred Hollingsworth, Julien Hudson, George Hulsinger, Thomas W. Hunster, Sterling V. Hykes, Zell Ingram, John Spencer Jackson, May Howard Jackson, Wilmer Jennings, Everett Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Joshua Johnston, Allen Jones, Henry B. Jones, Lois Mailou Jones, Ronald Joseph, Joseph Kersey, Jacob Lawrence, Clarence Lawson, Bertina Lee, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Robert H. Lewis, Gerrit Loguen, Edward Loper, Scipio Moorhead, Lenwood Morris, Lottie E. Moss, Archibald J. Motley, Jr., George E. Neal, Robert L. Neal, Alexandre Pickhil, Horace Pippin, Georgette Seabrooke Powell, Pauline Powell, Nelson A. Primus, Elizabeth Prophet, Patrick Reason, Earle W. Richardson, William Ross, Winfred Russell, Charles L. Sallee, Augusta Savage, William E. Scott, Charles Sebree, William Simpson, Albert A. Smith, William E. Smith, Ella Spencer, Teresa Staats, Edward Stidum, Curtis E. Tann, Henry Ossawa Tanner, Dox Thrash, W.O. Thompson, Neptune Thurston, Thurmond Townsend, Vidal, Earl Walker, Daniel Warburg, Eugene Warburg, Laura Wheeler Waring, James Lesesne Wells, Aedina White, Charles White, James Williams, A.B. Wilson, Hale Woodruff. [Reprinted in 1969 with a new preface by Porter; and in 1992 in an important scholarly edition by Howard University Press with new introduction by David Driskell, a James A. Porter chronology by Constance Porter Uzelac, and including the prefaces to all prior editions.] 8vo, wraps. Reprint ed. READING, LEE and GRETCHEN O'REILLY (producers). African-American Art: Past and Present (Video). Wilton (CT): Reading and O'Reilly, 1992. Survey of African American art. Over 65 artists represented. The program is divided into three sections: African Art, 18th and 19th Century Fine Art Survey, and 20th Century Fine Art Survey: In the Artist's Words. Part 1: The heritage of African Art, the Decorative Arts of Seagrass Basketry, Pottery, Quiltmaking, Shotgun Houses, Ironwork and the 18th and 19th Century Fine Art Survey with artists Joshua Johnson, Robert S. Duncanson, Edmonia Lewis, Edward Bannister and Henry Ossawa Tanner. Part 2: The 20th Century Fine Art Survey. Some of the painters, sculptors and photographers included are: Malvin Gray Johnson, Aaron Douglas, Hale Woodruff, William Henry Johnson, Archibald Motley Jr., Palmer Hayden, Sargent Johnson, Horace Pippin, Lois Mailou Jones, Jacob Lawrence, Selma Burke, Romare Bearden, Alma Thomas, Gordon Parks, Elizabeth Catlett, Faith Ringgold, Howardena Pindell, John Biggers, Bob Thompson, Jean Michel Basquiat, Sam Gilliam, Richard Hunt, Alison Saar, Beverly Buchanan, and David Hammons. Part 3: A continuation of the 20th Century Fine Art Survey plus In the Artists Words - ten artists and educators talk about their lives, philosophy and art. VHS-NTSC: color; sd; 90 min. (3 videocassettes) RIGGS, THOMAS, ed. St. James Guide to Black Artists. Detroit: St. James Press, 1997. xxiv, 625 pp., illus. A highly selective reference work listing only approximately 400 artists of African descent worldwide (including around 300 African American artists, approximately 20% women artists.) Illus. of work or photos of many artists, brief descriptive texts by well-known scholars, with selected list of exhibitions for each, plus many artists' statements. A noticeable absence of many artists under 45, most photographers, and many women artists. Far fewer artists listed here than in Igoe, Cederholm, or other sources. Stout 4to (29 cm.), laminated yellow papered boards. First ed. SALZMAN, JACK, CORNEL WEST and DAVID LIONEL SMITH, eds. Encyclopedia of African American Culture and History. University of Michigan, 1996. 3203 pp. SMITH, JESSIE CARNEY, ed. Notable Black American Women Books I and II. Detroit: Gale Research, 1992; 1995. Book I: 1333 pp.; Book II: 775 pp., illus., indices. Artists who receive individual biographies in Book I: Phoebe Beasley, Camille Billops, Selma Burke, Margaret Burroughs, Elizabeth Catlett, Barbara Chase-Riboud, Charlotte White Franklin, Meta Warrick Fuller, Clementine Hunter, May Howard Jackson, Lois Mailou Jones, Elizabeth Keckly, Edmonia Lewis, Samella Lewis, Effie Lee Newsome, Elizabeth Prophet, Betye Saar, Augusta Savage, Alma Thomas, Laura Wheeler Waring. Many other artists mentioned in passing. Book II includes: Minnie Evans, Louise E. Jefferson, and Jeanne Moutoussamy-Ashe. Stout 4to (11.4 x 8.7 in.), cloth. SPRADLING, MARY MACE. In Black and White: Afro-Americans in Print. Kalamazoo: Kalamazoo Public Library, 1980. 2 vols. 1089 pp. Includes: John H. Adams, Ron Adams, Alonzo Aden, Muhammad Ali, Baba Alabi Alinya, Charles Alston, Charlotte Amevor, Benny Andrews, Ralph Arnold, William Artis, Ellsworth Ausby, Jacqueline Ayer, Calvin Bailey, Jene Ballentine, Casper Banjo, Henry Bannarn, Edward Bannister, Dutreuil Barjon, Ernie Barnes, Carolyn Plaskett Barrow, Richmond Barthé, Beatrice Bassette, Ad Bates, Romare Bearden, Phoebe Beasley, Roberta Bell, Cleveland Bellow, Ed Bereal, Arthur Berry, DeVoice Berry, Cynthia Bethune, Charles Bible, John Biggers, Camille Billops, Bob Blackburn, Irving Blaney, Bessie Blount, Gloria Bohanon, Leslie Bolling, Shirley Bolton, Charles Bonner, Michael Borders, John Borican, Earl Bostic, Augustus Bowen, David Bowser, David Bradford, Edward Brandford, Brumsic Brandon, William Braxton, Arthur Britt Sr., Benjamin Britt, Sylvester Britton, Elmer Brown, Fred Brown, Kay Brown, Margery Brown, Richard L. Brown, Samuel Brown, Vivian E. Browne, Henry Brownlee, Linda Bryant, Starmanda Bullock, Juana Burke, Selma Burke, Eugene Burkes, Viola Burley, Calvin Burnett, John Burr, Margaret Burroughs, Nathaniel Bustion, Sheryle Butler, Elmer Simms Campbell, Thomas Cannon, Nick Canyon, Edward Carr, Art Carraway, Ted Carroll, Joseph S. Carter, William Carter, Catti, George Washington Carver, Yvonne Catchings, Elizabeth Catlett, Mitchell Caton, Dana Chandler, Kitty Chavis, George Clack, Claude Clark, Ed Clark, J. Henrik Clarke, Leroy Clarke, Ladybird Cleveland, Floyd Coleman, Donald Coles, Margaret Collins, Paul Collins, Sam Collins, Dan Concholar, Arthur Coppedge, Wallace X. Conway, Leonard Cooper, William A. Cooper, Art Coppedge, Eldzier Cortor, Samuel Countee, Harold Cousins, William Craft, Cleo Crawford, Marva Cremer, Ernest Crichlow, Allan Crite, Jerrolyn Crooks, Harvey Cropper, Doris Crudup, Robert Crump, Dewey Crumpler, Frank E. Cummings, William Curtis, Mary Reed Daniel, Alonzo Davis, Charles Davis, Willis "Bing" Davis, Dale Davis, Charles C. Dawson, Juette Day, Thomas Day, Roy DeCarava, Paul DeCroom, Avel DeKnight, Beauford Delaney, Joseph Delaney, Richard Dempsey, Murry DePillars, Robert D'Hue, Kenneth Dickerson, Leo Dillon, Raymond Dobard, Vernon Dobard, Jeff Donaldson, Aaron Douglas, Emory Douglas, Robert Douglass, Glanton Dowdell, David Driskell, Yolande Du Bois, Robert Duncanson, Eugenia Dunn, John Dunn, Adolphus Ealey, Eugene Eda, Melvin Edwards, Gaye Elliington, Annette Ensley, Marion Epting, Minnie Evans, Frederick Eversley, James Fairfax, Kenneth Falana, Allen Fannin, John Farrar, William Farrow, Elton Fax, Muriel Feelings, Tom Feelings, Frederick Flemister, Mikelle Fletcher, Curt Flood, Thomas Floyd, Doyle Foreman, Mozelle Forte (costume and fabric designer), Amos Fortune, Mrs. C.R. Foster, Inez Fourcard (as Fourchard), John Francis, Miriam Francis, Allan Freelon, Meta Warrick Fuller, Stephany Fuller, Gale Fulton-Ross, Ibibio Fundi, Alice Gafford, Otis Galbreath, West Gale, Reginald Gammon, Jim Gary, Herbert Gentry, Joseph Geran, Jimmy Gibbez, Sam Gilliam, Robert Glover, Manuel Gomez, Russell Gordon, Rex Goreleigh, Bernard Goss, Samuel Green, William Green, Donald Greene, Joseph Grey, Ron Griffin, Eugene Grigsby, Henry Gudgell, Charles Haines, Clifford Hall, Horathel Hall, Wesley Hall, David Hammons, James Hampton, Phillip Hampton, Lorraine Hansberry, Marvin Harden, Arthur Hardie, Inge Hardison, John Hardrick, Edwin Harleston, William A. Harper, Gilbert Harris, John Harris, Maren Hassinger, Isaac Hathaway, Frank Hayden, Kitty Hayden, Palmer Hayden, Vertis Hayes, Wilbur Haynie, Dion Henderson, Ernest Herbert, Leon Hicks, Hector Hill, Tony Hill, Geoffrey Holder, Al Hollingsworth, Varnette Honeywood, Earl Hooks, Humbert Howard, James Howard, Raymond Howell, Julien Hudson, Manuel Hughes, Margo Humphrey, Thomas Hunster, Richard Hunt, Clementine Hunter, Norman Hunter, Orville Hurt, Bill Hutson, Nell Ingram, Tanya Izanhour, Ambrose Jackson, Earl Jackson, May Jackson, Nigel Jackson, Suzanne Jackson, Walter Jackson, Louise Jefferson, Ted Joans, Daniel Johnson, Lester L. Johnson, Jr., Malvin Gray Johnson, Marie Johnson, Sargent Johnson, William H. Johnson, Joshua Johnston, Barbara Jones, Ben Jones, Calvin Jones, Frederick D. Jones Jr., James Arlington Jones, Lawrence Jones, Lois Mailou Jones, Eddie Jack Jordan, Ronald Joseph, Lemuel Joyner, Paul Keene, Elyse J. Kennart, Joseph Kersey, Gwendolyn Knight, Lawrence Compton Kolawole, Oliver LaGrone, Artis Lane, Doyle Lane, Raymond Lark, Lewis H. Latimer, Jacob Lawrence, Clarence Lawson, Bertina Lee, Joanna Lee, Peter Lee, Hughie Lee-Smith, Leon Leonard, Curtis Lewis, Edmonia Lewis, James Edward Lewis, Norman Lewis, Samella Lewis, Charles Lilly, Henri Linton, Jules Lion, Romeyn Lippman, Tom Lloyd, Jon Lockard, Juan Logan, Willie Longshore, Ed Loper, Ed Love, Al Loving, Geraldine McCullough, Lawrence McGaugh, Charles McGee, Donald McIlvaine, James McMillan, William McNeil, Lloyd McNeill, David Mann, William Marshall, Helen Mason, Philip Mason, Winifred Mason, Calvin Massey, Lester (Nathan) Mathews, William Maxwell, Richard Mayhew, Valerie Maynard, Yvonne Meo, Sam Middleton, Onnie Millar, Aaron Miller, Eva Miller, Lev Mills, P'lla Mills, Evangeline J. Montgomery, Arthur Monroe, Frank Moore, Ron Moore, Scipio Moorhead, Norma Morgan, Ken Morris, Calvin Morrison, Jimmie Mosely, Leo Moss, Lottie Moss, Archibald Motley, Hugh Mulzac, Frank Neal, George Neal, Otto Neals, Shirley Nero, Effie Newsome, Nommo, George Norman, Georg Olden, Ademola Olugebefola, Conora O'Neal (fashion designer), Cora O'Neal, Lula O'Neal, Pearl O'Neal, Ron O'Neal, Hayward Oubré, John Outterbridge, Carl Owens, Lorenzo Pace, Alvin Paige, Robert Paige, William Pajaud, Denise Palm, Norman Parish, Jules Parker, James Parks, Edgar Patience, Angela Perkins, Marion Perkins, Michael Perry, Jacqueline Peters, Douglas Phillips, Harper Phillips, Delilah Pierce, Howardena Pindell, Horace Pippin, Julie Ponceau, James Porter, Leslie Price, Ramon Price, Nelson Primus, Nancy Prophet, Noah Purifoy, Teodoro Ramos Blanco y Penita, Otis Rathel, Patrick Reason, William Reid, John Rhoden, Barbara Chase-Riboud, William Richmond, Percy Ricks, Gary Rickson, John Riddle, Gregory Ridley, Faith Ringgold, Malkia Roberts, Brenda Rogers, Charles Rogers, George Rogers, Arthur Rose, Nancy Rowland, Winfred Russell, Mahler Ryder, Betye Saar, Charles Sallee, Marion Sampler, John Sanders, Walter Sanford, Raymond Saunders, Augusta Savage, William E. Scott, Charles Sebree, Thomas Sills, Carroll Simms, Jewel Simon, Walter Simon, Merton Simpson, William H. Simpson, Louis Slaughter, Gwen Small, Albert A. Smith, Alvin Smith, Hughie Lee-Smith, John Henry Smith, Jacob Lawrence, John Steptoe, Nelson Stevens, Edward Stidum, Elmer C. Stoner, Lou Stovall, Henry O. Tanner, Ralph Tate, Betty Blayton Taylor, Della Taylor, Bernita Temple, Herbert Temple, Alma Thomas, Elaine Thomas, Larry Thomas, Carolyn Thompson, Lovett Thompson, Mildred Thompson, Mozelle Thompson, Robert (Bob) Thompson, Dox Thrash, Neptune Thurston, John Torres, Nat Turner, Leo Twiggs, Bernard Upshur, Royce Vaughn, Ruth Waddy, Anthony Walker, Earl Walker, Larry Walker, William Walker, Daniel Warburg, Eugene Warburg, Carole Ward, Laura Waring, Mary P. Washington, James Watkins, Lawrence Watson, Edward Webster, Allen A. Weeks, Robert Weil, James Wells, Pheoris West, Sarah West, John Weston, Delores Wharton, Amos White, Charles White, Garrett Whyte, Alfredus Williams, Chester Williams, Douglas R. Williams, Laura Williams, Matthew Williams, Morris Williams, Peter Williams, Rosetta Williams (as Rosita), Walter Williams, William T. Williams, Ed Wilson, Ellis Wilson, Fred Wilson, John Wilson, Stanley Wilson, Vincent Wilson, Hale Woodruff, Bernard Wright, Charles Young, Kenneth Young, Milton Young. [Note the 3rd edition consists of two volumes published by Gale Research in 1980, with a third supplemental volume issued in 1985.] Large stout 4tos, red cloth. 3rd revised expanded edition. ST LOUIS (MO). St. Louis Public Library. An index to Black American artists. St. Louis: St. Louis Public Library, 1972. 50 pp. Also includes art historians such as Henri Ghent. In this database, only artists are cross-referenced. 4to (28 cm.) TAHA, HALIMA. Collecting African American Art: Works on Paper and Canvas. New York: Crown, 1998. xvi, 270 pp., approx. 150 color plates, brief bibliog., index, appendices of art and photo dealers, museums and other resources. Intro. by Ntozake Shange. Forewords by Dierdre Bibby and Samella Lewis. Text consists of a few sentences at best on most of the hundreds of listed artists. Numerous typos and other errors and misinformation throughout. 4to (29 cm.), laminated papered boards, d.j. THOMISON, DENNIS. The Black Artist in America: An Index to Reproductions. Metuchen: Scarecrow Press, 1991. Includes: index to Black artists, bibliography (including doctoral dissertations and audiovisual materials.) Many of the dozens of spelling errors and incomplete names have been corrected in this entry and names of known white artists omitted from our entry, but errors may still exist in this entry, so beware: Jesse Aaron, Charles Abramson, Maria Adair, Lauren Adam, Ovid P. Adams, Ron Adams, Terry Adkins, (Jonathan) Ta Coumba T. Aiken, Jacques Akins, Lawrence E. Alexander, Tina Allen, Pauline Alley-Barnes, Charles Alston, Frank Alston, Charlotte Amevor, Emma Amos (Levine), Allie Anderson, Benny Andrews, Edmund Minor Archer, Pastor Argudin y Pedroso [as Y. Pedroso Argudin], Anna Arnold, Ralph Arnold, William Artis, Kwasi Seitu Asante [as Kwai Seitu Asantey], Steve Ashby, Rose Auld, Ellsworth Ausby, Henry Avery, Charles Axt, Roland Ayers, Annabelle Bacot, Calvin Bailey, Herman Kofi Bailey, Malcolm Bailey, Annabelle Baker, E. Loretta Ballard, Jene Ballentine, Casper Banjo, Bill Banks, Ellen Banks, John W. Banks, Henry Bannarn, Edward Bannister, Curtis R. Barnes, Ernie Barnes, James MacDonald Barnsley, Richmond Barthé, Jean-Michel Basquiat, Daniel Carter Beard, Romare Bearden, Phoebe Beasley, Falcon Beazer, Arthello Beck, Sherman Beck, Cleveland Bellow, Gwendolyn Bennett, Herbert Bennett, Ed Bereal, Arthur Berry, Devoice Berry, Ben Bey, John Biggers, Camille Billops, Willie Birch, Eloise Bishop, Robert Blackburn, Tarleton Blackwell, Lamont K. Bland, Betty Blayton, Gloria Bohanon, Hawkins Bolden, Leslie Bolling, Shirley Bolton, Higgins Bond, Erma Booker, Michael Borders, Ronald Boutte, Siras Bowens, Lynn Bowers, Frank Bowling, David Bustill Bowser, David Patterson Boyd, David Bradford, Harold Bradford, Peter Bradley, Fred Bragg, Winston Branch, Brumsic Brandon, James Brantley, William Braxton, Bruce Brice, Arthur Britt, James Britton, Sylvester Britton, Moe Brooker, Bernard Brooks, Mable Brooks, Oraston Brooks-el, David Scott Brown, Elmer Brown, Fred Brown, Frederick Brown, Grafton Brown, James Andrew Brown, Joshua Brown, Kay Brown, Marvin Brown, Richard Brown, Samuel Brown, Vivian Browne, Henry Brownlee, Beverly Buchanan, Selma Burke, Arlene Burke-Morgan, Calvin Burnett, Margaret Burroughs, Cecil Burton, Charles Burwell, Nathaniel Bustion, David Butler, Carole Byard, Albert Byrd, Walter Cade, Joyce Cadoo, Bernard Cameron, Simms Campbell, Frederick Campbell, Thomas Cannon (as Canon), Nicholas Canyon, John Carlis, Arthur Carraway, Albert Carter, Allen Carter, George Carter, Grant Carter, Ivy Carter, Keithen Carter, Robert Carter, William Carter, Yvonne Carter, George Washington Carver, Bernard Casey, Yvonne Catchings, Elizabeth Catlett, Frances Catlett, Mitchell Caton, Catti, Charlotte Chambless, Dana Chandler, John Chandler, Robin Chandler, Barbara Chase-Riboud, Kitty Chavis, Edward Christmas, Petra Cintron, George Clack, Claude Clark Sr., Claude Lockhart Clark, Edward Clark, Irene Clark, LeRoy Clarke, Pauline Clay, Denise Cobb, Gylbert Coker, Marion Elizabeth Cole, Archie Coleman, Floyd Coleman, Donald Coles, Robert Colescott, Carolyn Collins, Paul Collins, Richard Collins, Samuel Collins, Don Concholar, Wallace Conway, Houston Conwill, William A. Cooper, Arthur Coppedge, Jean Cornwell, Eldzier Cortor, Samuel Countee, Harold Cousins, Cleo Crawford, Marva Cremer, Ernest Crichlow, Norma Criss, Allan Rohan Crite, Harvey Cropper, Geraldine Crossland, Rushie Croxton, Doris Crudup, Dewey Crumpler, Emilio Cruz, Charles Cullen (White artist), Vince Cullers, Michael Cummings, Urania Cummings, DeVon Cunningham, Samuel Curtis, William Curtis, Artis Dameron, Mary Reed Daniel, Aaron Darling, Alonzo Davis, Bing Davis, Charles Davis, Dale Davis, Rachel Davis, Theresa Davis, Ulysses Davis, Walter Lewis Davis, Charles C. Davis, William Dawson, Juette Day, Roy DeCarava, Avel DeKnight, Beauford Delaney, Joseph Delaney, Nadine Delawrence, Louis Delsarte, Richard Dempsey, J. Brooks Dendy, III (as Brooks Dendy), James Denmark, Murry DePillars, Joseph DeVillis, Robert D'Hue, Kenneth Dickerson, Voris Dickerson, Charles Dickson, Frank Dillon, Leo Dillon, Robert Dilworth, James Donaldson, Jeff Donaldson, Lillian Dorsey, William Dorsey, Aaron Douglas, Emory Douglas, Calvin Douglass, Glanton Dowdell, John Dowell, Sam Doyle, David Driskell, Ulric S. Dunbar, Robert Duncanson, Eugenia Dunn, John Morris Dunn, Edward Dwight, Adolphus Ealey, Lawrence Edelin, William Edmondson, Anthony Edwards, Melvin Edwards, Eugene Eda [as Edy], John Elder, Maurice Ellison, Walter Ellison, Mae Engron, Annette Easley, Marion Epting, Melvyn Ettrick (as Melvin), Clifford Eubanks, Minnie Evans, Darrell Evers, Frederick Eversley, Cyril Fabio, James Fairfax, Kenneth Falana, Josephus Farmer, John Farrar, William Farrow, Malaika Favorite, Elton Fax, Tom Feelings, Claude Ferguson, Violet Fields, Lawrence Fisher, Thomas Flanagan, Walter Flax, Frederick Flemister, Mikelle Fletcher, Curt Flood, Batunde Folayemi, George Ford, Doyle Foreman, Leroy Foster, Walker Foster, John Francis, Richard Franklin, Ernest Frazier, Allan Freelon, Gloria Freeman, Pam Friday, John Fudge, Meta Fuller, Ibibio Fundi, Ramon Gabriel, Alice Gafford, West Gale, George Gamble, Reginald Gammon, Christine Gant, Jim Gary, Adolphus Garrett, Leroy Gaskin, Lamerol A. Gatewood, Herbert Gentry, Joseph Geran, Ezekiel Gibbs, William Giles, Sam Gilliam, Robert Glover, William Golding, Paul Goodnight, Erma Gordon, L. T. Gordon, Robert Gordon, Russell Gordon, Rex Goreleigh, Bernard Goss, Joe Grant, Oscar Graves, Todd Gray, Annabelle Green, James Green, Jonathan Green, Robert Green, Donald Greene, Michael Greene, Joseph Grey, Charles Ron Griffin, Eugene Grigsby, Raymond Grist, Michael Gude, Ethel Guest, John Hailstalk, Charles Haines, Horathel Hall, Karl Hall, Wesley Hall, Edward Hamilton, Eva Hamlin-Miller, David Hammons, James Hampton, Phillip Hampton, Marvin Harden, Inge Hardison, John Hardrick, Edwin Harleston, William Harper, Hugh Harrell, Oliver Harrington, Gilbert Harris, Hollon Harris, John Harris, Scotland J. B. Harris, Warren Harris, Bessie Harvey, Maren Hassinger, Cynthia Hawkins (as Thelma), William Hawkins, Frank Hayden, Kitty Hayden, Palmer Hayden, William Hayden, Vertis Hayes, Anthony Haynes, Wilbur Haynie, Benjamin Hazard, June Hector, Dion Henderson, Napoleon Jones-Henderson, William Henderson, Barkley Hendricks, Gregory A. Henry, Robert Henry, Ernest Herbert, James Herring, Mark Hewitt, Leon Hicks, Renalda Higgins, Hector Hill, Felrath Hines, Alfred Hinton, Tim Hinton, Adrienne Hoard, Irwin Hoffman, Raymond Holbert, Geoffrey Holder, Robin Holder, Lonnie Holley, Alvin Hollingsworth, Eddie Holmes, Varnette Honeywood, Earl J. Hooks, Ray Horner, Paul Houzell, Helena Howard, Humbert Howard, John Howard, Mildred Howard, Raymond Howell, William Howell, Calvin Hubbard, Henry Hudson, Julien Hudson, James Huff, Manuel Hughes, Margo Humphrey, Raymond Hunt, Richard Hunt, Clementine Hunter, Elliott Hunter, Arnold Hurley, Bill Hutson, Zell Ingram, Sue Irons, A. B. Jackson, Gerald Jackson, Harlan Jackson, Hiram Jackson, May Jackson, Oliver Jackson, Robert Jackson, Suzanne Jackson, Walter Jackson, Martha Jackson-Jarvis, Bob James, Wadsworth Jarrell, Jasmin Joseph [as Joseph Jasmin], Archie Jefferson, Rosalind Jeffries, Noah Jemison, Barbara Fudge Jenkins, Florian Jenkins, Chester Jennings, Venola Jennings, Wilmer Jennings, Georgia Jessup, Johana, Daniel Johnson, Edith Johnson, Harvey Johnson, Herbert Johnson, Jeanne Johnson, Malvin Gray Johnson, Marie Johnson-Calloway, Milton Derr (as Milton Johnson), Sargent Johnson, William H. Johnson, Joshua Johnston, Ben Jones, Calvin Jones, Dorcas Jones, Frank A. Jones, Frederick D. Jones, Jr. (as Frederic Jones), Henry B. Jones, Johnny Jones, Lawrence Arthur Jones, Leon Jones, Lois Mailou Jones, Nathan Jones, Tonnie Jones, Napoleon Jones-Henderson, Barbara Jones-Hogu, Jack Jordan, Cliff Joseph, Ronald Joseph, Lemuel Joyner, Edward Judie, Michael Kabu, Arthur Kaufman, Charles Keck, Paul Keene, John Kendrick, Harriet Kennedy, Leon Kennedy, Joseph Kersey; Virginia Kiah, Henri King, James King, Gwendolyn Knight, Robert Knight, Lawrence Kolawole, Brenda Lacy, (Laura) Jean Lacy, Roy LaGrone, Artis Lane, Doyle Lane, Raymond Lark, Carolyn Lawrence, Jacob Lawrence, James Lawrence, Clarence Lawson, Louis LeBlanc, James Lee, Hughie Lee-Smith, Lizetta LeFalle-Collins, Leon Leonard, Bruce LeVert, Edmonia Lewis, Edwin E. Lewis, Flora Lewis, James E. Lewis, Norman Lewis, Roy Lewis, Samella Lewis, Elba Lightfoot, Charles Lilly [as Lily], Arturo Lindsay, Henry Linton, Jules Lion, James Little, Marcia Lloyd, Tom Lloyd, Jon Lockard, Donald Locke, Lionel Lofton, Juan Logan, Bert Long, Willie Longshore, Edward Loper, Francisco Lord, Jesse Lott, Edward Love, Nina Lovelace, Whitfield Lovell, Alvin Loving, Ramon Loy, William Luckett, John Lutz, Don McAllister, Theadius McCall, Dindga McCannon, Edward McCluney, Jesse McCowan, Sam McCrary, Geraldine McCullough, Lawrence McGaugh, Charles McGee, Donald McIlvaine, Karl McIntosh, Joseph Mack, Edward McKay, Thomas McKinney, Alexander McMath, Robert McMillon, William McNeil, Lloyd McNeill, Clarence Major, William Majors, David Mann, Ulysses Marshall, Phillip Lindsay Mason, Lester Mathews, Sharon Matthews, William (Bill) Maxwell, Gordon Mayes, Marietta Mayes, Richard Mayhew, Valerie Maynard, Victoria Meek, Leon Meeks, Yvonne Meo, Helga Meyer, Gaston Micheaux, Charles Mickens, Samuel Middleton, Onnie Millar, Aaron Miller, Algernon Miller, Don Miller, Earl Miller, Eva Hamlin Miller, Guy Miller, Julia Miller, Charles Milles, Armsted Mills, Edward Mills, Lev Mills, Priscilla Mills (P'lla), Carol Mitchell, Corinne Mitchell, Tyrone Mitchell, Arthur Monroe, Elizabeth Montgomery, Ronald Moody, Ted Moody, Frank Moore, Ron Moore, Sabra Moore, Theophilus Moore, William Moore, Leedell Moorehead, Scipio Moorhead, Clarence Morgan, Norma Morgan, Sister Gertrude Morgan, Patricia Morris, Keith Morrison, Lee Jack Morton, Jimmie Mosely, David Mosley, Lottie Moss, Archibald Motley, Hugh Mulzac, Betty Murchison, J. B. Murry, Teixera Nash, Inez Nathaniel, Frank Neal, George Neal, Jerome Neal, Robert Neal, Otto Neals, Robert Newsome, James Newton, Rochelle Nicholas, John Nichols, Isaac Nommo, Oliver Nowlin, Trudell Obey, Constance Okwumabua, Osira Olatunde, Kermit Oliver, Yaounde Olu, Ademola Olugebefola, Mary O'Neal, Haywood Oubré, Simon Outlaw, John Outterbridge, Joseph Overstreet, Carl Owens, Winnie Owens-Hart, Lorenzo Pace, William Pajaud, Denise Palm, James Pappas, Christopher Parks, James Parks, Louise Parks, Vera Parks, Oliver Parson, James Pate, Edgar Patience, John Payne, Leslie Payne, Sandra Peck, Alberto Pena, Angela Perkins, Marion Perkins, Michael Perry, Bertrand Phillips, Charles James Phillips, Harper Phillips, Ted Phillips, Delilah Pierce, Elijah Pierce, Harold Pierce, Anderson Pigatt, Stanley Pinckney, Howardena Pindell, Elliott Pinkney, Jerry Pinkney, Robert Pious, Adrian Piper, Horace Pippin, Betty Pitts, Stephanie Pogue, Naomi Polk, Charles Porter, James Porter, Georgette Powell, Judson Powell, Richard Powell, Daniel Pressley, Leslie Price, Ramon Price, Nelson Primus, Arnold Prince, E. (Evelyn?) Proctor, Nancy Prophet, Ronnie Prosser, William Pryor, Noah Purifoy, Florence Purviance, Martin Puryear, Mavis Pusey, Teodoro Ramos Blanco y Penita, Helen Ramsaran, Joseph Randolph; Thomas Range, Frank Rawlings, Jennifer Ray, Maxine Raysor, Patrick Reason, Roscoe Reddix, Junius Redwood, James Reed, Jerry Reed, Donald Reid, O. Richard Reid, Robert Reid, Leon Renfro, John Rhoden, Ben Richardson, Earle Richardson, Enid Richardson, Gary Rickson, John Riddle, Gregory Ridley, Faith Ringgold, Haywood Rivers, Arthur Roach, Malkia Roberts, Royal Robertson, Aminah Robinson, Charles Robinson, John N. Robinson, Peter L. Robinson, Brenda Rogers, Charles Rogers, Herbert Rogers, Juanita Rogers, Sultan Rogers, Bernard Rollins, Henry Rollins, Arthur Rose, Charles Ross, James Ross, Nellie Mae Rowe, Sandra Rowe, Nancy Rowland, Winfred Russsell, Mahler Ryder, Alison Saar, Betye Saar, Charles Sallee, JoeSam., Marion Sampler, Bert Samples, Juan Sanchez, Eve Sandler, Walter Sanford, Floyd Sapp, Raymond Saunders, Augusta Savage, Ann Sawyer, Sydney Schenck, Vivian Schuyler Key, John Scott (Johnny) , John Tarrell Scott, Joyce Scott, William Scott, Charles Searles, Charles Sebree, Bernard Sepyo, Bennie Settles, Franklin Shands, Frank Sharpe, Christopher Shelton, Milton Sherrill, Thomas Sills, Gloria Simmons, Carroll Simms, Jewell Simon, Walter Simon, Coreen Simpson, Ken Simpson, Merton Simpson, William Simpson, Michael Singletary (as Singletry), Nathaniel Sirles, Margaret Slade (Kelley), Van Slater, Louis Sloan, Albert A. Smith, Alfred J. Smith, Alvin Smith, Arenzo Smith, Damballah Dolphus Smith, Floyd Smith, Frank Smith, George Smith, Howard Smith, John Henry Smith, Marvin Smith, Mary T. Smith, Sue Jane Smith, Vincent Smith, William Smith, Zenobia Smith, Rufus Snoddy, Sylvia Snowden, Carroll Sockwell, Ben Solowey, Edgar Sorrells, Georgia Speller, Henry Speller, Shirley Stark, David Stephens, Lewis Stephens, Walter Stephens, Erik Stephenson, Nelson Stevens, Mary Stewart, Renée Stout, Edith Strange, Thelma Streat, Richard Stroud, Dennis Stroy, Charles Suggs, Sharon Sulton, Johnnie Swearingen, Earle Sweeting, Roderick Sykes, Clarence Talley, Ann Tanksley, Henry O. Tanner, James Tanner, Ralph Tate, Carlton Taylor, Cecil Taylor, Janet Taylor Pickett, Lawrence Taylor, William (Bill) Taylor, Herbert Temple, Emerson Terry, Evelyn Terry, Freida Tesfagiorgis, Alma Thomas, Charles Thomas, James "Son Ford" Thomas, Larry Erskine Thomas, Matthew Thomas, Roy Thomas, William Thomas (a.k.a. Juba Solo), Conrad Thompson, Lovett Thompson, Mildred Thompson, Phyllis Thompson, Bob Thompson, Russ Thompson, Dox Thrash, Mose Tolliver, William Tolliver, Lloyd Toone, John Torres, Elaine Towns, Bill Traylor, Charles Tucker, Clive Tucker, Yvonne Edwards Tucker, Charlene Tull, Donald Turner, Leo Twiggs, Alfred Tyler, Anna Tyler, Barbara Tyson Mosley, Bernard Upshur, Jon Urquhart, Florestee Vance, Ernest Varner, Royce Vaughn, George Victory, Harry Vital, Ruth Waddy, Annie Walker, Charles Walker, Clinton Walker, Earl Walker, Lawrence Walker, Raymond Walker [a.k.a. Bo Walker], William Walker, Bobby Walls, Daniel Warburg, Eugene Warburg, Denise Ward-Brown, Evelyn Ware, Laura Waring, Masood Ali Warren, Horace Washington, James Washington, Mary Washington, Timothy Washington, Richard Waters, James Watkins, Curtis Watson, Howard Watson, Willard Watson, Richard Waytt, Claude Weaver, Stephanie Weaver, Clifton Webb, Derek Webster, Edward Webster, Albert Wells, James Wells, Roland Welton, Barbara Wesson, Pheoris West, Lamonte Westmoreland, Charles White, Cynthia White, Franklin White, George White, J. Philip White, Jack White (sculptor), Jack White (painter), John Whitmore, Jack Whitten, Garrett Whyte, Benjamin Wigfall, Bertie Wiggs, Deborah Wilkins, Timothy Wilkins, Billy Dee Williams, Chester Williams, Douglas Williams, Frank Williams, George Williams, Gerald Williams, Jerome Williams, Jose Williams, Laura Williams, Matthew Williams, Michael K. Williams, Pat Ward Williams, Randy Williams, Roy Lee Williams, Todd Williams, Walter Williams, William T. Williams, Yvonne Williams, Philemona Williamson, Stan Williamson, Luster Willis, A. B. Wilson, Edward Wilson, Ellis Wilson, Fred Wilson, George Wilson, Henry Wilson, John Wilson, Stanley C. Wilson, Linda Windle, Eugene Winslow, Vernon Winslow, Cedric Winters, Viola Wood, Hale Woodruff, Roosevelt Woods, Shirley Woodson, Beulah Woodard, Bernard Wright, Dmitri Wright, Estella Viola Wright, George Wright, Richard Wyatt, Frank Wyley, Richard Yarde, James Yeargans, Joseph Yoakum, Bernard Young, Charles Young, Clarence Young, Kenneth Young, Milton Young. TRENTON (NJ). New Jersey State Museum. Selected Works: Art by African Americans in the Museum's Collection. September 22, 2007-March 20, 2008. Group exhibition. Among the works included in this exhibition are paintings by Frank Bowling, Alma Thomas, Hale Woodruff, Benny Andrews, Rex Goreleigh and Hughie Lee-Smith; prints by Jacob Lawrence and Emma Amos; collages by Romare Bearden; photographs by Gordon Parks, Milton J. Hinton and Chuck Stewart; and sculpture by Mel Edwards and Selma Hortense Burke. WASHINGTON (DC). Archives of American Art, Smithsonian Institution. Federal Art Project. Photographic Division Collection 1935-1942. 1930s. Among the papers are photographs taken by the Federal Art Project Photographic Division, primarily in New York City, to document activities of artists working on the Federal Art Project under the Work Projects Administration's Federal Project No 1. The papers include photographs of artists Charles Alston, Henry W. Bannarn, Richmond Barthé, Selma Burke, John S. Glenn, Oliver LaGrone, Jacob Lawrence, Francisco P. Lord, Augusta Savage, and Georgette Seabrook, as well as photographs of art exhibits by black artists (Microfilm reel 1177). Microfilm, WASHINGTON (DC). Barnett Aden Gallery. Exhibition of Religious Paintings and Prints by James L. Wells & Sculpture by Selma Burke. 1959. Exhib. cat. Foreword by Foreword by Jacob Kainen and Alonzo Aden. WASHINGTON (DC). Galerie Myrtis. Inaugural Exhibition. October, 2006. The gallery's first show, a group exhibition featuring works by African American and African artists including: Selma Burke, Ed Love, Folusho Akomlede, Sylvester Mubayi, Joseph Holston, William Tolliver, Edward Chiwawa, Velphia Mzimba, Lois Mailou Jones, Danny Simmons, Ben Macala, Hargreaves Ntukwana, Viola Burley Leak, Charles Sebree, Thokozani Mathobela, Winston Saoli, Samella Lewis, Ellen Powell Tibernio, and David Mbele. WASHINGTON (DC). Howard University Gallery of Art. American Art from the Howard University Collection. Howard University, 2000. Narration by Tritobia Benjamin. A selection from the collection at Howard University of over 4500 works. Includes primarily 19th and 20th-century (pre-1950) African American art. The works selected address one or more of the following themes: Forever Free: Emancipation Visualized, The First Americans, Training the Head, Hand and the Heart, The American Portrait Gallery, American Expressionism, and Modern Lives, Modern Impulses. A production on CD-ROM by Howard University Television (WHUT-TV), Howard University Radio (WHUR-FM) and Information Systems and Services. Black artists include: William Artis, Edward M. Bannister, Richmond Barthé, Romare Bearden, Skunder Boghossian, Hilda Wilkinson Brown, Samuel J. Brown, Selma Burke, Elizabeth Catlett, Eldzier Cortor, Allan Rohan Crite, Charles C. Davis, Aaron Douglas, David Driskell, Robert Duncanson, Sam Gilliam, Isaac Hathaway, May Howard Jackson, Malvin Johnson, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Archibald J. Motley, Lenwood Morris, Horace Pippin, James Porter, Faith Ringgold, John Robinson, Charles Sallee, Augusta Savage, Charles Sebree, William H. Simpson, Albert A. Smith, William E. Smith, Henry Ossawa Tanner, Dox Thrash, Laura Wheeler Waring, James Weeks, James Lesesne Wells, Charles White, Franklin White, Walter J. Williams, George L. Wilson, Hale Woodruff. CD-ROM WASHINGTON (DC). Howard University Gallery of Art. New Vistas in American Art. March-April, 1961. 24 pp., 25 b&w plates, 3 photos (of the prize-winning artists Selma Burke, Meta Fuller, John Rhoden), cover illus., checklist of 117 works. Text by James A. Porter. Jury includes Hughie Lee-Smith and James Lesesne Wells. Painters in exhibition include: Frank Allison, Margaret Burroughs, Ernest Crichlow, Richard Dempsey, David Driskell, Eugenia Dunn, Rex Goreleigh, Phillip J. Hampton, Humbert Howard, Harlan Jackson, Lois Mailou Jones, Alan Junier, Paul Keene, Hughie Lee-Smith, Edward Loper, Charles McGee, Jimmie Mosely, J. Dallas Parks, Delilah Pierce, Harper Phillips, James Porter, Percy Ricks, Jewel Simon, Alma Thomas, Mildred Thompson, James Watkins, James Wells, Ellis Wilson, William White; sculptors include: William Artis, Elizabeth Catlett, Earl Hooks, Sargent Johnson, Jack Jordan, James E. Lewis, Marion Perkins, Gregory Ridley, Charles Stallings, William (Bill) Taylor. Graphic artists included A. B. Jackson, James E. Lewis, Norma Morgan, Harper T. Phillips, Charles Stallings, James Lesesne Wells, Charles White. 8vo, stapled pictorial wraps. WELD, ALISON, ed. Art by African Americans in the Collection of the New Jersey State Museum. Trenton: The New Jersey State Museum, 1998. 159 pp., b&w and color illus., chronology of Black America (by Larry Greene), selected general bibliog., checklist of 170 works. Foreword by David C. Driskell; individual biographical texts (some with footnotes) and full-page color plate for each of the 60 artists by Alison Weld (curator), Sharon Patton, Margaret Rose Vendryes, Tritobia H. Benjamin, James Smalls, Carl E. Hazlewood, Calvin Reid, and Ronne Hartfield. Artists included in this selection: Uthman Ibn Abdur-Rahmen, Terry Adkins, Emma Amos, Benny Andrews, Edward Mitchell Bannister, Anthony Barboza, Romare Bearden, Frank Bowling, Wendell T. Brooks, James Andrew Brown, Selma Burke, Willie Cole, Allan Rohan Crite, Victor Davson, Roy DeCarava, Nadine DeLawrence, Thornton Dial, Sr., Robert S. Duncanson, William Edmondson, Melvin Edwards, Minnie Evans, Sam Gilliam, Rex Goreleigh, Gladys Grauer, Renée Green, Larry Hilton, Milton Hinton, Lonnie Holley, Diane Horn, Manuel Hughes, Richard Hunt, Joshua Johnson, Ben Jones, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, James Little, Tom Lloyd, Al Loving, Thomas Malloy, John Moore, Sister Gertrude Morgan, Joe Overstreet, Lorenzo Pace, Gordon Parks, Janet T. Pickett, Horace Pippin, P.H. Polk, Alison Saar, Betye Saar, Mei Tei-Sing Smith, Chuck Stewart, Alma Thomas, Bob Thompson, Dox Thrash, Bill Traylor, James VanDerZee, Shawn Walker, Charles White, and Hale Woodruff. An exhibition of the same name (September 19-December 31, 1998) was organized to accompany publication of the catalogue. 4to (28 cm.), wraps. First ed. WEST NYACK (NY). Rockland Center for the Arts. African-American Printmaking, 1838 to the Present. October 8-November 19, 1995. 26 pp. exhib. cat., 9 b&w illus., brief but substantial biogs. of each artist, full exhib. checklist. Text by Harry Henderson. Group exhibition. Co-curated by Cynthia Hawkins and Lena Hyun. Included 74 works by 46 artists: Benny Andrews, Romare Bearden, John T. Biggers, Camille Billops, Bob Blackburn, Marvin Brown, Vivian E. Browne, Selma Burke, Margaret Burroughs, Nanette Carter, Elizabeth Catlett, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Melvin Edwards, Elton Fax, Allan R. Freelon, Robin Holder, Margo Humphrey, Wilmer Jennings, Sargent Johnson, William H. Johnson, Ronald Joseph, Mohammad Omer Khalil, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Alvin D. Loving, William Majors, Richard Mayhew, Stephanie Pogue, Patrick Reason, Faith Ringgold, Aminah Brenda L. Robinson, Albert A. Smith, Vincent D. Smith, Raymond Steth, Henry Ossawa Tanner, Mildred Thompson, Dox Thrash, James Lesesne Wells, Charles White, Michael Kelly Williams, William T. Williams, John Wilson, and Hale Woodruff. Oblong 8vo, stapled pictorial wraps. First ed. WINSTON-SALEM (NC). Benton Convention Center. Reflections: the Afro-American artist: an exhibit of paintings, sculpture, and graphics. October 8-15, 1972. Unpag. (14 pp.) exhib. cat., illus. Group exhibition. Presented by the Winston-Salem Alumnae Chapter, Delta Sigma Theta, Inc. Included: Charles Alston, William E. Artis, Edward Bannister, Richmond Barthé, Romare Bearden, John T. Biggers, Ann Brewer, Francis H. Brown, Samuel J. Brown, Selma Burke, Elizabeth Catlett, Claude Clark, Sr., Eldzier Cortor, Barbara Collins-Eure, James Diggs, Aaron Douglas, David Driskell, Robert S. Duncanson, Adolphus Ealey, John Farrar, Elton Fax, Frederick C. Flemister, James Everette Funches, Jefferson Grigsby, Ethel D. Guest, Edwin A. Harleston, William A. Harper, Janie R. Harrington, Palmer C. Hayden, Esther Page Hill, Earl J. Hooks, Rennick C. Hoyle, Richard Hunt, Joshua Johnson, Lemuel L. Johnson, Malvin Gray Johnson, Robert H. Johnson, William H. Johnson, Lemuel L. Johnson, Lois Mailou Jones, Joseph Kersey, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Sam Middleton, Eva Hamlin Miller, Scipio Moorhead, Archibald J. Motley, Hayward Oubre, Delilah Pierce, Stephanie Pogue, James A. Porter, John Rhoden, Gregory D. Ridley, Irvin Riley, Charles D. Rogers, Arthur Rose, Augusta Savage, William E. Scott, Charles Sebree, Thomas Sills, Henry Ossawa Tanner, Alma Thomas, Mercedes Thompson, Leo Twiggs, Laura Wheeler Waring, Roland S. Watts, James Lesesne Wells, Glenda Wharton-Little, Charles White, Walter H. Williams, Ellis Wilson, John Wilson, Hale Woodruff, Alpha Worthy, Gilbert E. Young. 4to (11 x 8 in.), wraps. WINSTON-SALEM (NC). Diggs Gallery, Winston-Salem State University. Ascension: Works by African American Artists of North Carolina. June 19, 2004-April 2, 2005. Group exhibition. Included: Charles H. Alston, William E. Artis, Ernie E. Barnes, Jr., Romare Bearden, John Biggers, James Converse Biggers, Samuel Joseph Brown, Francis "Sonny" Brown, Beverly Buchanan, Selma Hortense Burke, William Arthur Cooper, Chandra Cox, Michael Cunningham, David Driskell, James D. Diggs, Barbara Eure, Minnie Evans, J. Eugene Grigsby, Jr., Michael D. Harris, Vandorn Hinnant, Malvin Gray Johnson (perhaps not in the exhibition), Lois Mailou Jones, Norman Lewis, Willie Little, Juan Logan, Vester Amos Lowe, Beverly McIver, Hayward Oubré, Stephanie Pogue, Haywood Bill Rivers, Ce Scott, Thomas Sills, Michelle Tejoula Turner, William T. Williams, Melvin Leon Woods. WINSTON-SALEM (NC). Diggs Gallery, Winston-Salem State University. WSSU: A Legacy in Fine Art. Thru March 31, 2001. Group exhibition of alumni and current and former faculty of Winston-Salem State University. African American artists included: Marvette Aldrich, Selma Burke, James T. Diggs, Eva Miller, Michael Cunningham, Arcenia Davis, Jerry Lee Hanes, Ricardo Lewis, Vandorn Hinnant, James Huff, Jim McMillan, Henry Sumpter, Lloyd Bennett, Roland Watts. [Hayward Oubré who is listed in advance publicity declined to participate.] The Farm Security Administration (FSA) was a New Deal agency created in 1937 to combat rural poverty during the Great Depression in the United States. It succeeded the Resettlement Administration (1935–1937).[1] The FSA is famous for its small but highly influential photography program, 1935–44, that portrayed the challenges of rural poverty. The photographs in the FSA/Office of War Information Photograph Collection form an extensive pictorial record of American life between 1935 and 1944. This U.S. government photography project was headed for most of its existence by Roy Stryker, who guided the effort in a succession of government agencies: the Resettlement Administration (1935–1937), the Farm Security Administration (1937–1942), and the Office of War Information (1942–1944). The collection also includes photographs acquired from other governmental and nongovernmental sources, including the News Bureau at the Offices of Emergency Management (OEM), various branches of the military, and industrial corporations.[2] In total, the black-and-white portion of the collection consists of about 175,000 black-and-white film negatives, encompassing both negatives that were printed for FSA-OWI use and those that were not printed at the time. Color transparencies also made by the FSA/OWI are available in a separate section of the catalog: FSA/OWI Color Photographs.[2] The FSA stressed "rural rehabilitation" efforts to improve the lifestyle of very poor landowning farmers, and a program to purchase submarginal land owned by poor farmers and resettle them in group farms on land more suitable for efficient farming. Reactionary critics, including the Farm Bureau, strongly opposed the FSA as an alleged experiment in collectivizing agriculture—that is, in bringing farmers together to work on large government-owned farms using modern techniques under the supervision of experts. After the Conservative coalition took control of Congress, it transformed the FSA into a program to help poor farmers buy land, and that program continues to operate in the 21st century as the Farmers Home Administration. Origins Walker Evans portrait of Allie Mae Burroughs (1936) Arthur Rothstein photograph "Dust Bowl Cimarron County, Oklahoma" of a farmer and two sons during a dust storm in Cimarron County, Oklahoma (1936) Dorothea Lange photograph of an Arkansas squatter of three years near Bakersfield, California (1935) The projects that were combined in 1935 to form the Resettlement Administration (RA) started in 1933 as an assortment of programs tried out by the Federal Emergency Relief Administration. The RA was headed by Rexford Tugwell, an economic advisor to President Franklin D. Roosevelt.[3] However, Tugwell's goal moving 650,000 people into 100,000,000 acres (400,000 km2) of exhausted, worn-out land was unpopular among the majority in Congress.[3] This goal seemed socialistic to some and threatened to deprive powerful farm proprietors of their tenant workforce.[3] The RA was thus left with only enough resources to relocate a few thousand people from 9 million acres (36,000 km2) and build several greenbelt cities,[3] which planners admired as models for a cooperative future that never arrived.[3] The main focus of the RA was to now build relief camps in California for migratory workers, especially refugees from the drought-stricken Dust Bowl of the Southwest.[3] This move was resisted by a large share of Californians, who did not want destitute migrants to settle in their midst.[3] The RA managed to construct 95 camps that gave migrants unaccustomed clean quarters with running water and other amenities,[3] but the 75,000 people who had the benefit of these camps were a small share of those in need and could only stay temporarily.[3] After facing enormous criticism for his poor management of the RA, Tugwell resigned in 1936.[3] On January 1, 1937,[4] with hopes of making the RA more effective, the RA was transferred to the Department of Agriculture through executive order 7530.[4] On July 22, 1937,[5] Congress passed the Bankhead-Jones Farm Tenant Act.[5] This law authorized a modest credit program to assist tenant farmers to purchase land,[5] and it was the culmination of a long effort to secure legislation for their benefit.[5] Following the passage of the act, Congress passed the Farm Security Act into law. The Farm Security Act officially transformed the RA into the Farm Security Administration (FSA).[3] The FSA expanded through funds given by the Bankhead-Jones Farm Tenant Act.[3] Relief work One of the activities performed by the RA and FSA was the buying out of small farms that were not economically viable, and the setting up of 34 subsistence homestead communities, in which groups of farmers lived together under the guidance of government experts and worked a common area. They were not allowed to purchase their farms for fear that they would fall back into inefficient practices not guided by RA and FSA experts.[6] The Dust Bowl in the Great Plains displaced thousands of tenant farmers, sharecroppers, and laborers, many of whom (known as "Okies" or "Arkies") moved on to California. The FSA operated camps for them, such as Weedpatch Camp as depicted in The Grapes of Wrath. The RA and the FSA gave educational aid to 455,000 farm families during the period 1936-1943. In June, 1936, Roosevelt wrote: "You are right about the farmers who suffer through their own fault... I wish you would have a talk with Tugwell about what he is doing to educate this type of farmer to become self-sustaining. During the past year, his organization has made 104,000 farm families practically self-sustaining by supervision and education along practical lines. That is a pretty good record!"[7] The FSA's primary mission was not to aid farm production or prices. Roosevelt's agricultural policy had, in fact, been to try to decrease agricultural production to increase prices. When production was discouraged, though, the tenant farmers and small holders suffered most by not being able to ship enough to market to pay rents. Many renters wanted money to buy farms, but the Agriculture Department realized there already were too many farmers, and did not have a program for farm purchases. Instead, they used education to help the poor stretch their money further. Congress, however, demanded that the FSA help tenant farmers purchase farms, and purchase loans of $191 million were made, which were eventually repaid. A much larger program was $778 million in loans (at effective rates of about 1% interest) to 950,000 tenant farmers. The goal was to make the farmer more efficient so the loans were used for new machinery, trucks, or animals, or to repay old debts. At all times, the borrower was closely advised by a government agent. Family needs were on the agenda, as the FSA set up a health insurance program and taught farm wives how to cook and raise children. Upward of a third of the amount was never repaid, as the tenants moved to much better opportunities in the cities.[8] The FSA was also one of the authorities administering relief efforts in the U.S. Virgin Islands and Puerto Rico during the Great Depression. Between 1938 and 1945, under the Puerto Rico Reconstruction Administration, it oversaw the purchase of 590 farms with the intent of distributing land to working and middle-class Puerto Ricans.[9] Modernization The FSA resettlement communities appear in the literature as efforts to ameliorate the wretched condition of southern sharecroppers and tenants, but those evicted to make way for the new settlers are virtually invisible in the historic record. The resettlement projects were part of larger efforts to modernize rural America. The removal of former tenants and their replacement by FSA clients in the lower Mississippi alluvial plain—the Delta—reveals core elements of New Deal modernizing policies. The key concepts that guided the FSA's tenant removals were: the definition of rural poverty as rooted in the problem of tenancy; the belief that economic success entailed particular cultural practices and social forms; and the commitment by those with political power to gain local support. These assumptions undergirded acceptance of racial segregation and the criteria used to select new settlers. Alternatives could only become visible through political or legal action—capacities sharecroppers seldom had. In succeeding decades, though, these modernizing assumptions created conditions for Delta African Americans on resettlement projects to challenge white supremacy.[10] FSA and its contribution to society The documentary photography genre describes photographs that would work as a time capsule for evidence in the future or a certain method that a person can use for a frame of reference. Facts presented in a photograph can speak for themselves after the viewer gets time to analyze it. The motto of the FSA was simply, as Beaumont Newhall insists, "not to inform us, but to move us."[citation needed] Those photographers wanted the government to move and give a hand to the people, as they were completely neglected and overlooked, thus they decided to start taking photographs in a style that we today call "documentary photography." The FSA photography has been influential due to its realist point of view, and because it works as a frame of reference and an educational tool from which later generations could learn. Society has benefited and will benefit from it for more years to come, as this photography can unveil the ambiguous and question the conditions that are taking place.[11] Photography program The RA and FSA are well known for the influence of their photography program, 1935–1944. Photographers and writers were hired to report and document the plight of poor farmers. The Information Division (ID) of the FSA was responsible for providing educational materials and press information to the public. Under Roy Stryker, the ID of the FSA adopted a goal of "introducing America to Americans." Many of the most famous Depression-era photographers were fostered by the FSA project. Walker Evans, Dorothea Lange, and Gordon Parks were three of the most famous FSA alumni.[12] The FSA was also cited in Gordon Parks' autobiographical novel, A Choice of Weapons. The FSA's photography was one of the first large-scale visual documentations of the lives of African-Americans.[13] These images were widely disseminated through the Twelve Million Black Voices collection, published in October 1941, which combined FSA photographs selected by Edwin Rosskam and text by author and poet Richard Wright. Photographers Fifteen photographers (ordered by year of hire) would produce the bulk of work on this project. Their diverse, visual documentation elevated government's mission from the "relocation" tactics of a Resettlement Administration to strategic solutions which would depend on America recognizing rural and already poor Americans, facing death by depression and dust. FSA photographers: Arthur Rothstein (1935), Theodor Jung (1935), Ben Shahn (1935), Walker Evans (1935), Dorothea Lange (1935), Carl Mydans (1935), Russell Lee (1936), Marion Post Wolcott (1936), John Vachon (1936, photo assignments began in 1938), Jack Delano (1940), John Collier (1941), Marjory Collins (1941), Louise Rosskam (1941), Gordon Parks (1942) and Esther Bubley (1942). With America's entry into World War II, FSA would focus on a different kind of relocation as orders were issued for internment of Japanese Americans. FSA photographers would be transferred to the Office of War Information during the last years of the war and completely disbanded at the war's end. Photographers like Howard R. Hollem, Alfred T. Palmer, Arthur Siegel and OWI's Chief of Photographers John Rous were working in OWI before FSA's reorganization there. As a result of both teams coming under one unit name, these other individuals are sometimes associated with RA-FSA's pre-war images of American life. Though collectively credited with thousands of Library of Congress images, military ordered, positive-spin assignments like these four received starting in 1942, should be separately considered from pre-war, depression triggered imagery. FSA photographers were able to take time to study local circumstances and discuss editorial approaches with each other before capturing that first image. Each one talented in her or his own right, equal credit belongs to Roy Stryker who recognized, hired and empowered that talent. John Collier Jr. John Collier Jr. Jack Delano Jack Delano Walker Evans Walker Evans Dorothea Lange Dorothea Lange Russell Lee Russell Lee Carl Mydans Carl Mydans Gordon Parks Gordon Parks Arthur Rothstein Arthur Rothstein John Vachon John Vachon Marion Post Wolcott Marion Post Wolcott These 15 photographers, some shown above, all played a significant role, not only in producing images for this project, but also in molding the resulting images in the final project through conversations held between the group members. The photographers produced images that breathed a humanistic social visual catalyst of the sort found in novels, theatrical productions, and music of the time. Their images are now regarded as a "national treasure" in the United States, which is why this project is regarded as a work of art.[14] Photograph of Chicago's rail yards by Jack Delano, circa 1943 Together with John Steinbeck's The Grapes of Wrath (not a government project) and documentary prose (for example Walker Evans and James Agee's Let Us Now Praise Famous Men), the FSA photography project is most responsible for creating the image of the Depression in the United States. Many of the images appeared in popular magazines. The photographers were under instruction from Washington, DC, as to what overall impression the New Deal wanted to portray. Stryker's agenda focused on his faith in social engineering, the poor conditions among tenant cotton farmers, and the very poor conditions among migrant farm workers; above all, he was committed to social reform through New Deal intervention in people's lives. Stryker demanded photographs that "related people to the land and vice versa" because these photographs reinforced the RA's position that poverty could be controlled by "changing land practices." Though Stryker did not dictate to his photographers how they should compose the shots, he did send them lists of desirable themes, for example, "church", "court day", and "barns". Stryker sought photographs of migratory workers that would tell a story about how they lived day-to-day. He asked Dorothea Lange to emphasize cooking, sleeping, praying, and socializing.[15] RA-FSA made 250,000 images of rural poverty. Fewer than half of those images survive and are housed in the Prints and Photographs Division of the Library of Congress. The library has placed all 164,000 developed negatives online.[16] From these, some 77,000 different finished photographic prints were originally made for the press, plus 644 color images, from 1600 negatives. Documentary films The RA also funded two documentary films by Pare Lorentz: The Plow That Broke the Plains, about the creation of the Dust Bowl, and The River, about the importance of the Mississippi River. The films were deemed "culturally significant" by the United States Library of Congress and selected for preservation in the National Film Registry. World War II activities During World War II, the FSA was assigned to work under the purview of the Wartime Civil Control Administration, a subagency of the War Relocation Authority. These agencies were responsible for relocating Japanese Americans from their homes on the West Coast to Internment camps. The FSA controlled the agricultural part of the evacuation. Starting in March 1942 they were responsible for transferring the farms owned and operated by Japanese Americans to alternate operators. They were given the dual mandate of ensuring fair compensation for Japanese Americans, and for maintaining correct use of the agricultural land. During this period, Lawrence Hewes Jr was the regional director and in charge of these activities.[17] Reformers ousted; Farmers Home Administration After the war started and millions of factory jobs in the cities were unfilled, no need for FSA remained.[citation needed] In late 1942, Roosevelt moved the housing programs to the National Housing Agency, and in 1943, Congress greatly reduced FSA's activities. The photographic unit was subsumed by the Office of War Information for one year, then disbanded. Finally in 1946, all the social reformers had left and FSA was replaced by a new agency, the Farmers Home Administration, which had the goal of helping finance farm purchases by tenants—and especially by war veterans—with no personal oversight by experts. It became part of Lyndon Johnson's war on poverty in the 1960s, with a greatly expanded budget to facilitate loans to low-income rural families and cooperatives, injecting $4.2 billion into rural America.[18] The Great Depression The Great Depression began in August 1929, when the United States economy first went into an economic recession. Although the country spent two months with declining GDP, the effects of a declining economy were not felt until the Wall Street Crash in October 1929, and a major worldwide economic downturn ensued. Although its causes are still uncertain and controversial, the net effect was a sudden and general loss of confidence in the economic future and a reduction in living standards for most ordinary Americans. The market crash highlighted a decade of high unemployment, poverty, low profits for industrial firms, deflation, plunging farm incomes, and lost opportunities for economic growth.[19]
SELMA BURKE AND PRESIDENT TRUMAN VINTAGE ORIGINAL 7X9 INCH PHOTO FROM 1945 DEPICTING HER DESIGN FOR THE ROOSEVELT DIME 1622 D Associated Press Photo Caution: Use Credit From New York TRUMAN VIEWS New ROOSEVELT PLAQUE The President Truman (left), after viewing A BronzE PLaqUE OF FRAnkLiN D. Roosevelt AT THE Recorder of Deeds building in Washington Sept. 24, meets the sculptress, Selma Burke (second from right), 38, former Brooklyn Navy Yard Truck driver. AT Right is Marshall Shepard, negro recorder of deeds for the district. Associated Press Photo HER-9/ 24-45-12 :55A-WX-STF-JR NY STATE FLS 22 SEP 1945
Harry S. Truman[b] (May 8, 1884 – December 26, 1972) was the 33rd president of the United States, serving from 1945 to 1953. A member of the Democratic Party, he previously served as the 34th vice president from January to April 1945 under Franklin Roosevelt and as a United States Senator from Missouri from 1935 to January 1945. Having assumed the presidency after Roosevelt's death, Truman implemented the Marshall Plan to rebuild the economy of Western Europe and established both the Truman Doctrine and NATO to contain the expansion of communism. He proposed numerous liberal domestic reforms, but few were enacted by the Conservative Coalition which dominated the Congress. Truman grew up in Independence, Missouri, and during the First World War fought in France as a captain in the Field Artillery. Returning home, he opened a haberdashery in Kansas City, Missouri, and was elected as a judge of Jackson County in 1922. Truman was elected to the United States Senate from Missouri in 1934. In 1940–1944 he gained national prominence as chairman of the Truman Committee, which was aimed at reducing waste and inefficiency in wartime contracts. Only after assuming the presidency was he informed about the atomic bomb. Truman authorized the first and only use of nuclear weapons in war against Hiroshima and Nagasaki in Japan. Truman's administration engaged in an internationalist foreign policy by working closely with British Prime Minister Clement Attlee. Truman staunchly denounced isolationism. He energized the New Deal coalition during the 1948 presidential election and won a surprise victory against Republican Thomas E. Dewey that secured his own presidential term. Truman presided over the onset of the Cold War in 1947. He oversaw the Berlin Airlift and Marshall Plan in 1948. With the involvement of the US in the Korean War of 1950–1953, South Korea repelled the invasion by North Korea. Domestically, the postwar economic challenges such as strikes and inflation created a mixed reaction over the effectiveness of his administration. In 1948, he proposed Congress pass comprehensive civil rights legislation. Congress refused, so in 1948 Truman issued Executive Order 9980 and Executive Order 9981 which desegregated the armed forces and federal agencies. Corruption in the Truman administration became a central campaign issue in the 1952 presidential election. He was eligible for reelection in 1952, but with weak polls he decided not to run. Republican Dwight D. Eisenhower attacked Truman's record and won easily. Truman went into a retirement marked by the founding of his presidential library and the publication of his memoirs. It was long thought that his retirement years were financially difficult for Truman, resulting in Congress establishing a pension for former presidents, but evidence eventually emerged that he amassed considerable wealth, some of it while still president. When he left office, Truman's administration was heavily criticized, though critical reassessment of his presidency has improved his reputation among historians and the general population.[7] Contents 1 Early life, family, and education 2 Working career 3 Military service 3.1 National Guard 3.2 World War I 3.3 Officers' Reserve Corps 3.4 Military awards and decorations 4 Politics 4.1 Jackson County judge 4.2 U.S. Senator from Missouri 4.2.1 Truman Committee 5 Vice presidency (1945) 6 Presidency (1945–1953) 6.1 First term (1945–1949) 6.1.1 Assuming office 6.1.2 Dropping atomic bombs on Japan 6.1.3 Labor unions, strikes and economic issues 6.1.4 Approval rating falls; Republicans win Congress in 1946 6.1.5 Proposes "Fair Deal" liberalism 6.1.6 Marshall Plan, Cold War, and China 6.1.7 Berlin airlift 6.1.8 Recognition of Israel 6.1.9 Calls for Civil Rights 6.2 1948 election 6.3 Full elected term (1949–1953) 6.3.1 Hydrogen bomb decision 6.3.2 Korean War 6.3.3 Worldwide defense 6.3.4 Soviet espionage and McCarthyism 6.3.5 Blair House and assassination attempt 6.3.6 Steel and coal strikes 6.3.7 Scandals and controversies 6.4 Civil rights 6.5 Administration and cabinet 6.6 Foreign policy 6.7 1952 election 7 Post-presidency (1953–1972) 7.1 Financial situation 7.2 Truman Library and academic positions 7.3 Politics 7.4 Medicare 8 Death 9 Tributes and legacy 9.1 Legacy 9.2 Sites and honors 10 See also 11 Notes 12 References 13 Bibliography 13.1 Biographies of Truman 13.2 Books 13.3 Primary sources 13.4 Journals 13.4.1 Time 13.4.2 The Washington Post 13.4.3 The New York Times 13.5 Harry S. Truman Library and Museum 13.6 Online sources 14 External links Early life, family, and education Truman at age 13 in 1897 Truman was born in Lamar, Missouri, on May 8, 1884, the oldest child of John Anderson Truman and Martha Ellen Young Truman. He was named for his maternal uncle, Harrison "Harry" Young. His middle initial, "S", is not an abbreviation of one particular name, but rather honors both his grandfathers, Anderson Shipp Truman and Solomon Young, a semi-common practice in the American South.[8][b] A brother, John Vivian, was born soon after Harry, followed by sister Mary Jane.[9] Truman's ancestry is primarily English with some Scots-Irish, German, and French.[10][11] John Truman was a farmer and livestock dealer. The family lived in Lamar until Harry was ten months old, when they moved to a farm near Harrisonville, Missouri. They next moved to Belton and in 1887 to his grandparents' 600-acre (240 ha) farm in Grandview.[12] When Truman was six, his parents moved to Independence, Missouri, so he could attend the Presbyterian Church Sunday School. He did not attend a conventional school until he was eight years old.[13] While living in Independence, he served as a Shabbos goy for Jewish neighbors, doing tasks for them on Shabbat that their religion prevented them from doing on that day.[14][15][16] Truman was interested in music, reading, and history, all encouraged by his mother, with whom he was very close. As president, he solicited political as well as personal advice from her.[17] He rose at five every morning to practice the piano, which he studied more than twice a week until he was fifteen, becoming quite a skilled player.[18] Truman worked as a page at the 1900 Democratic National Convention in Kansas City;[19] his father had many friends active in the Democratic Party who helped young Harry to gain his first political position.[20] After graduating from Independence High School in 1901, Truman took classes at Spalding's Commercial College, a Kansas City business school. He studied bookkeeping, shorthand, and typing but stopped after a year.[21] Working career Truman's home in Independence, Missouri Truman was employed briefly in the mailroom of The Kansas City Star[22] before making use of his business college experience to obtain a job as a timekeeper for construction crews on the Atchison, Topeka & Santa Fe Railway, which required him to sleep in workmen's camps along the rail lines.[23] Truman and his brother Vivian later worked as clerks at the National Bank of Commerce in Kansas City.[24] In 1906, Truman returned to the Grandview farm, where he lived until entering the army in 1917.[25] During this period, he courted Bess Wallace. He proposed in 1911, but she turned him down. Truman later said he intended to propose again, but he wanted to have a better income than that earned by a farmer.[26] To that end, during his years on the farm and immediately after World War I, he became active in several business ventures, including a lead and zinc mine near Commerce, Oklahoma,[27] a company that bought land and leased the oil drilling rights to prospectors,[28] and speculation in Kansas City real estate.[29] Truman occasionally derived some income from these enterprises, but none proved successful in the long term.[30] Truman is the only president since William McKinley (elected in 1896) who did not earn a college degree.[31] In addition to having briefly attended business college, from 1923 to 1925 he took night courses toward an LL.B. at the Kansas City Law School (now the University of Missouri–Kansas City School of Law) but dropped out after losing reelection as county judge.[32] He was informed by attorneys in the Kansas City area that his education and experience were probably sufficient to receive a license to practice law, but did not pursue it because he won election as presiding judge.[33] While serving as president in 1947, Truman applied for a law license.[34] A friend who was an attorney began working out the arrangements, and informed Truman that his application had to be notarized. By the time Truman received this information he had changed his mind, so he never followed up. After the discovery of Truman's application in 1996 the Missouri Supreme Court issued him a posthumous honorary law license.[35] Military service National Guard Because he lacked the funds for college, Truman considered attending the United States Military Academy at West Point, New York, which had no tuition, but he was refused an appointment because of poor eyesight.[32] He enlisted in the Missouri National Guard in 1905 and served until 1911 in the Kansas City-based Battery B, 2nd Missouri Field Artillery Regiment, in which he attained the rank of corporal.[36] At his induction, his eyesight without glasses was unacceptable 20/50 in the right eye and 20/400 in the left (past the standard for legal blindness).[37] The second time he took the test, he passed by secretly memorizing the eye chart.[38] He was described as 5 feet 10 inches tall, gray eyed, dark haired and of light complexion.[39] Truman in military uniform with shoulder and waist belt with helmet Truman in uniform, c. 1918 World War I When the United States entered World War I in 1917, Truman rejoined Battery B, successfully recruiting new soldiers for the expanding unit, for which he was elected as their first lieutenant.[40] Before deployment to France, Truman was sent for training to Camp Doniphan, Fort Sill, near Lawton, Oklahoma when his regiment was federalized as the 129th Field Artillery.[41] The regimental commander during its training was Robert M. Danford, who later served as the Army's Chief of Field Artillery.[42] Truman later said he learned more practical, useful information from Danford in six weeks than from six months of formal Army instruction, and when Truman later served as an artillery instructor, he consciously patterned his approach on Danford's.[42] Truman also ran the camp canteen with Edward Jacobson, a clothing store clerk he knew from Kansas City. Unlike most canteens funded by unit members, which usually lost money, the canteen operated by Truman and Jacobson turned a profit, returning each soldier's initial $2 investment and $10,000 in dividends in six months.[36] At Fort Sill, Truman met Lieutenant James M. Pendergast, nephew of Tom Pendergast, a Kansas City political boss, a connection that had a profound influence on Truman's later life.[43][44] In mid-1918, about one million soldiers of the American Expeditionary Forces were in France.[45] Truman was promoted to captain effective April 23,[46] and in July became commander of the newly arrived Battery D, 129th Field Artillery, 35th Division.[47][48] Battery D was known for its discipline problems, and Truman was initially unpopular because of his efforts to restore order.[36] Despite attempts by the men to intimidate him into quitting, Truman succeeded by making his corporals and sergeants accountable for discipline. He promised to back them up if they performed capably, and reduce them to private if they did not.[49] In an event memorialized in battery lore as "The Battle of Who Run", his soldiers began to flee during a sudden night attack by the Germans in the Vosges Mountains; Truman succeeded at ordering his men to stay and fight, using profanity from his railroad days. The men were so surprised to hear Truman use such language that they immediately obeyed.[36] Truman's unit joined in a massive prearranged assault barrage on September 26, 1918, at the opening of the Meuse-Argonne Offensive.[50] They advanced with difficulty over pitted terrain to follow the infantry, and set up an observation post west of Cheppy.[50] On September 27, Truman saw through his binoculars an enemy artillery battery deploying across a river in a position which would allow them to fire upon the neighboring 28th Division.[50] Truman's orders limited him to targets facing the 35th Division, but he ignored this and patiently waited until the Germans had walked their horses well away from their guns, ensuring they could not relocate out of range of Truman's battery.[50] He then ordered his men to open fire, and their attack destroyed the enemy battery.[50] His actions were credited with saving the lives of 28th Division soldiers who otherwise would have come under fire from the Germans.[51][52] Truman was given a dressing down by his regimental commander, Colonel Karl D. Klemm, who threatened to convene a court-martial, but Klemm never followed through, and Truman was not punished.[50] In other action during the Meuse-Argonne Offensive, Truman's battery provided support for George S. Patton's tank brigade,[53] and fired some of the last shots of the war on November 11, 1918. Battery D did not lose any men while under Truman's command in France. To show their appreciation of his leadership, his men presented him with a large loving cup upon their return to the United States after the war.[36] The war was a transformative experience in which Truman manifested his leadership qualities. He had entered the service in 1917 as a family farmer who had worked in clerical jobs that did not require the ability to motivate and direct others, but during the war, he gained leadership experience and a record of success that greatly enhanced and supported his post-war political career in Missouri.[36] Truman was brought up in the Presbyterian and Baptist churches,[54] but avoided revivals and sometimes ridiculed revivalist preachers.[55] He rarely spoke about religion, which to him, primarily meant ethical behavior along traditional Protestant lines.[56] Truman once wrote in a letter to his future wife, Bess: "You know that I know nothing about Lent and such things..."[57] Most of the soldiers he commanded in the war were Catholics, and one of his close friends was the 129th Field Artillery's chaplain, Monsignor L. Curtis Tiernan.[58] The two remained friends until Tiernan's death in 1960.[59] Developing leadership and interpersonal skills that later made him a successful politician helped Truman get along with his Catholic soldiers, as he did with soldiers of other Christian denominations and the unit's Jewish members.[60][61] Officers' Reserve Corps Truman was honorably discharged from the Army as a captain on May 6, 1919.[62] In 1920, he was appointed a major in the Officers Reserve Corps.[63] He became a lieutenant colonel in 1925 and a colonel in 1932.[64] In the 1920s and 1930s he commanded 1st Battalion, 379th Field Artillery, 102d Infantry Division.[65] After promotion to colonel, Truman advanced to command of the same regiment.[66] After his election to the U.S. Senate, Truman was transferred to the General Assignments Group, a holding unit for less active officers, although he had not been consulted in advance.[67] Truman protested his reassignment, which led to his resumption of regimental command.[67] He remained an active reservist until the early 1940s.[68] Truman volunteered for active military service during World War II, but was not accepted, partly because of age, and partly because President Franklin D. Roosevelt desired senators and congressmen who belonged to the military reserves to support the war effort by remaining in Congress, or by ending their active duty service and resuming their congressional seats.[69] He was an inactive reservist from the early 1940s until retiring as a colonel in the then redesignated U.S. Army Reserve on January 20, 1953.[70] Military awards and decorations Truman was awarded a World War I Victory Medal with two battle clasps (for St. Mihiel and Meuse-Argonne) and a Defensive Sector Clasp. He was also the recipient of two Armed Forces Reserve Medals.[71] Politics Jackson County judge Wedding photo of Truman in gray suit and his wife in hat with white dress holding flowers Harry and Bess Truman on their wedding day, June 28, 1919 After his wartime service, Truman returned to Independence, where he married Bess Wallace on June 28, 1919.[72] The couple had one child, Mary Margaret Truman.[73] Shortly before the wedding, Truman and Jacobson opened a haberdashery together at 104 West 12th Street in downtown Kansas City. After brief initial success, the store went bankrupt during the recession of 1921.[17] Truman did not pay off the last of the debts from that venture until 1935, when he did so with the aid of banker William T. Kemper, who worked behind the scenes to enable Truman's brother Vivian to buy Truman's $5,600 promissory note during the asset sale of a bank that had failed in the Great Depression.[74][75] The note had risen and fallen in value as it was bought and sold, interest accumulated and Truman made payments, so by the time the last bank to hold it failed, it was worth nearly $9,000.[76] Thanks to Kemper's efforts, Vivian Truman was able to buy it for $1,000.[75] Jacobson and Truman remained close friends even after their store failed, and Jacobson's advice to Truman on Zionism later played a role in the U.S. Government's decision to recognize Israel.[77] With the help of the Kansas City Democratic machine led by Tom Pendergast, Truman was elected in 1922 as County Court judge of Jackson County's eastern district—Jackson County's three-judge court included judges from the western district (Kansas City), the eastern district (the county outside Kansas City), and a presiding judge elected countywide. This was an administrative rather than a judicial court, similar to county commissioners in many other jurisdictions. Truman lost his 1924 reelection campaign in a Republican wave led by President Calvin Coolidge's landslide election to a full term. Two years selling automobile club memberships convinced him that a public service career was safer for a family man approaching middle age, and he planned a run for presiding judge in 1926.[78] Truman won the job in 1926 with the support of the Pendergast machine, and he was re-elected in 1930. As presiding judge, Truman helped coordinate the Ten Year Plan, which transformed Jackson County and the Kansas City skyline with new public works projects, including an extensive series of roads and construction of a new Wight and Wight-designed County Court building. Also in 1926, he became president of the National Old Trails Road Association, and during his term he oversaw dedication of 12 Madonna of the Trail monuments to honor pioneer women.[78][79] In 1933, Truman was named Missouri's director for the Federal Re-Employment program (part of the Civil Works Administration) at the request of Postmaster General James Farley. This was payback to Pendergast for delivering the Kansas City vote to Franklin D. Roosevelt in the 1932 presidential election. The appointment confirmed Pendergast's control over federal patronage jobs in Missouri and marked the zenith of his power. It also created a relationship between Truman and Roosevelt's aide Harry Hopkins and assured Truman's avid support for the New Deal.[80] U.S. Senator from Missouri Inside of wooden desk with several names carved into it Drawer from the Senate desk used by Truman After serving as a county judge, Truman wanted to run for governor or Congress,[81][82] but Pendergast rejected these ideas. Truman then thought he might serve out his career in some well-paying county sinecure;[82] circumstances changed when Pendergast reluctantly backed him as the machine's choice in the 1934 Democratic primary election for the U.S. Senate from Missouri, after Pendergast's first four choices had declined to run.[83] In the primary, Truman defeated Congressmen John J. Cochran and Jacob L. Milligan with the solid support of Jackson County, which was crucial to his candidacy. Also critical were the contacts he had made statewide in his capacity as a county official, member of the Freemasons,[c] military reservist,[d] and member of the American Legion.[e][87] In the general election, Truman defeated incumbent Republican Roscoe C. Patterson by nearly 20 percentage points in a continuing wave of pro-New Deal Democrats elected following the Great Depression.[83][88][89] Results of the 1934 U.S. Senate election in Missouri; Truman won the counties in blue Truman assumed office with a reputation as "the Senator from Pendergast". He referred patronage decisions to Pendergast but maintained that he voted with his own conscience. He later defended the patronage decisions by saying that "by offering a little to the machine, [he] saved a lot".[89][90] In his first term, Truman spoke out against corporate greed and the dangers of Wall Street speculators and other moneyed special interests attaining too much influence in national affairs.[91] Though he served on the high-profile Appropriations and Interstate Commerce Committees, he was largely ignored by President Roosevelt and had trouble getting calls returned from the White House.[89][92] During the U.S. Senate election in 1940, U.S. Attorney Maurice Milligan (former opponent Jacob Milligan's brother) and former governor Lloyd Stark both challenged Truman in the Democratic primary. Truman was politically weakened by Pendergast's imprisonment for income tax evasion the previous year; the senator had remained loyal, having claimed that Republican judges (not the Roosevelt administration) were responsible for the boss's downfall.[93] St. Louis party leader Robert E. Hannegan's support of Truman proved crucial; he later brokered the deal that put Truman on the national ticket. In the end, Stark and Milligan split the anti-Pendergast vote in the Senate Democratic primary and Truman won by a total of 8,000 votes. In the November election, Truman defeated Republican Manvel H. Davis by 51–49 percent.[94] As senator, Truman opposed both Nazi Germany and Communist Russia. Two days after Hitler invaded the Soviet Union in June 1941, he said: If we see that Germany is winning we ought to help Russia, and if Russia is winning we ought to help Germany, and that way let them kill as many as possible although I don't want to see Hitler victorious under any circumstances.[95] Truman Committee Further information: Truman Committee In late 1940, Truman traveled to various military bases. The waste and profiteering he saw led him to use his chairmanship of the Committee on Military Affairs Subcommittee on War Mobilization to start investigations into abuses while the nation prepared for war. A new special committee was set up under Truman to conduct a formal investigation; the Roosevelt administration supported this plan rather than weather a more hostile probe by the House of Representatives. The main mission of the committee was to expose and fight waste and corruption in the gigantic government wartime contracts. Truman's initiative convinced Senate leaders of the necessity for the committee, which reflected his demands for honest and efficient administration and his distrust of big business and Wall Street. Truman managed the committee "with extraordinary skill" and usually achieved consensus, generating heavy media publicity that gave him a national reputation.[96][97] Activities of the Truman Committee ranged from criticizing the "dollar-a-year men" hired by the government, many of whom proved ineffective, to investigating a shoddily built New Jersey housing project for war workers.[98][99] In March 1944, Truman attempted to probe the expensive Manhattan Project but was persuaded by Secretary of War Henry L. Stimson to discontinue with the investigation.[100]: 634 The committee reportedly saved as much as $15 billion (equivalent to $220 billion in 2021),[101][102][103][104] and its activities put Truman on the cover of Time magazine.[105] According to the Senate's historical minutes, in leading the committee, "Truman erased his earlier public image as an errand-runner for Kansas City politicos", and "no senator ever gained greater political benefits from chairing a special investigating committee than did Missouri's Harry S. Truman."[106] Vice presidency (1945) See also: 1944 Democratic Party vice presidential candidate selection Truman visits his mother in Grandview, Missouri, after being nominated the Democratic candidate for vice president, July 1944. election poster from 1944 with Roosevelt and Truman Roosevelt–Truman poster from 1944 Roosevelt's advisors knew that Roosevelt might not live out a fourth term and that his vice president would very likely become the next president. Henry Wallace had served as Roosevelt's vice president for four years and was popular among Democratic voters, but he was viewed as too far to the left and too friendly to labor for some of Roosevelt's advisers. The President and several of his confidantes wanted to replace Wallace with someone more acceptable to Democratic Party leaders. Outgoing Democratic National Committee chairman Frank C. Walker, incoming chairman Hannegan, party treasurer Edwin W. Pauley, Bronx party boss Ed Flynn, Chicago Mayor Edward Joseph Kelly, and lobbyist George E. Allen all wanted to keep Wallace off the ticket.[107] Roosevelt told party leaders that he would accept either Truman or Supreme Court Justice William O. Douglas. State and city party leaders strongly preferred Truman, and Roosevelt agreed.[108] Truman had repeatedly said that he was not in the race and that he did not want the vice presidency, and he remained reluctant.[108] One reason was that his wife and sister Mary Jane were both on his Senate staff payroll, and he feared negative publicity.[108] Truman did not campaign for the vice-presidential spot, though he welcomed the attention as evidence that he had become more than the "Senator from Pendergast".[109] Truman's nomination was dubbed the "Second Missouri Compromise" and was well received. The Roosevelt–Truman ticket achieved a 432–99 electoral-vote victory in the election, defeating the Republican ticket of Governor Thomas E. Dewey of New York and running mate Governor John Bricker of Ohio. Truman was sworn in as vice president on January 20, 1945.[110] After the inauguration, Truman called his mother, who instructed him, "Now you behave yourself."[111] Truman's brief vice-presidency was relatively uneventful. On April 10, 1945,[112] Truman cast his only tie-breaking vote as president of the Senate, against a Robert A. Taft amendment that would have blocked the postwar delivery of Lend-Lease Act items contracted for during the war.[113][114] Roosevelt rarely contacted him, even to inform him of major decisions; the president and vice president met alone together only twice during their time in office.[115] In one of his first acts as vice president, Truman created some controversy when he attended the disgraced Pendergast's funeral. He brushed aside the criticism, saying simply, "He was always my friend and I have always been his."[17] He had rarely discussed world affairs or domestic politics with Roosevelt; he was uninformed about major initiatives relating to the war and the top-secret Manhattan Project, which was about to test the world's first atomic bomb.[116] In an event that generated negative publicity for Truman, he was photographed with actress Lauren Bacall sitting atop the piano at the National Press Club as he played for soldiers.[117] Truman had been vice president for 82 days when President Roosevelt died on April 12, 1945.[116] Truman, presiding over the Senate, as usual, had just adjourned the session for the day and was preparing to have a drink in House Speaker Sam Rayburn's office when he received an urgent message to go immediately to the White House, where Eleanor Roosevelt told him that her husband had died after a massive cerebral hemorrhage. Truman asked her if there was anything he could do for her; she replied, "Is there anything we can do for you? For you are the one in trouble now!"[118][119][120] He was sworn in as president at 7:09 pm in the West Wing of the White House, by Chief Justice Harlan F. Stone.[121] Presidency (1945–1953) Main article: Presidency of Harry S. Truman Further information: Foreign policy of the Harry S. Truman administration Truman delegated a great deal of authority to his cabinet officials, only insisting that he give the final formal approval to all decisions. After getting rid of the Roosevelt holdovers, the cabinet members were mostly old confidants. The White House was badly understaffed with no more than a dozen aides; they could barely keep up with the heavy work flow of a greatly expanded executive department. Truman acted as his own chief of staff on a daily basis, as well as his own liaison with Congress—a body he already knew very well. He was not well prepared to deal with the press, and never achieved the jovial familiarity of FDR. Filled with latent anger about all the setbacks in his career, he bitterly mistrusted the journalists. He saw them as enemies lying in wait for his next careless miscue. Truman was a very hard worker, often to the point of exhaustion, which left him testy, easily annoyed, and on the verge of appearing unpresidential or petty. In terms of major issues, he discussed them in depth with top advisors. He mastered the details of the federal budget as well as anyone. Truman was a poor speaker reading a text. However, his visible anger made him an effective stump speaker, denouncing his enemies as his supporters hollered back at him "Give Em Hell, Harry!"[122] Truman surrounded himself with his old friends, and appointed several to high positions that seemed well beyond their competence, including his two secretaries of the treasury, Fred Vinson and John Snyder. His closest friend in the White House was his military aide Harry H. Vaughan, who knew little of military or foreign affairs and was criticized for trading access to the White House for expensive gifts.[123][124] Truman loved to spend as much time as possible playing poker, telling stories and sipping bourbon. Alonzo Hamby notes that: ... to many in the general public, gambling and bourbon swilling, however low-key, were not quite presidential. Neither was the intemperant "give 'em hell" campaign style nor the occasional profane phrase uttered in public. Poker exemplified a larger problem: the tension between his attempts at an image of leadership necessarily a cut above the ordinary and an informality that at times appeared to verge on crudeness.[125][126] First term (1945–1949) Assuming office Further information: Atomic bombings of Hiroshima and Nagasaki Three men in suits standing with several men in the background Joseph Stalin, Harry S. Truman, and Winston Churchill in Potsdam, July 1945 On his first full day, Truman told reporters: "Boys, if you ever pray, pray for me now. I don't know if you fellas ever had a load of hay fall on you, but when they told me what happened yesterday, I felt like the moon, the stars, and all the planets had fallen on me."[127] Truman asked all the members of Roosevelt's cabinet to remain in place, but he soon replaced almost all of them, especially with old friends from his Senate days.[128] Dropping atomic bombs on Japan Truman benefited from a honeymoon period from the success in defeating Nazi Germany in Europe and the nation celebrated V-E Day on May 8, 1945, his 61st birthday.[129] Although Truman was told briefly on the afternoon of April 12 that he had a new, highly destructive weapon, it was not until April 25 that Secretary of War Henry Stimson told him the details. [130] We have discovered the most terrible bomb in the history of the world. It may be the fire destruction prophesied in the Euphrates Valley Era, after Noah and his fabulous Ark. — Harry Truman, writing about the atomic bomb in his diary[131] on July 25, 1945[132] Truman journeyed to Berlin for the Potsdam Conference with Joseph Stalin and the British leader. He was there when he learned the Trinity test—the first atomic bomb—on July 16 had been successful. He hinted to Stalin that he was about to use a new kind of weapon against the Japanese. Though this was the first time the Soviets had been officially given information about the atomic bomb, Stalin was already aware of the bomb project—having learned about it through atomic espionage long before Truman did.[133][134][135] In August, the Japanese government refused surrender demands as specifically outlined in the Potsdam Declaration. With the invasion of Japan imminent, Truman approved the schedule for dropping the two available bombs. Truman always said attacking Japan with atomic bombs saved many lives on both sides; military estimates for the invasion of Japan were that it could take a year and result in 250,000 to 500,000 Allied casualties. Hiroshima was bombed on August 6, and Nagasaki three days later, leaving 105,000 dead.[136] The Soviet Union declared war on Japan on August 9 and invaded Manchuria. Japan agreed to surrender the following day.[137][138] Truman announces Japan's surrender, August 14, 1945. Supporters[f] of Truman's decision argue that, given the tenacious Japanese defense of the outlying islands, the bombings saved hundreds of thousands of lives of Allied prisoners, Japanese civilians, and combatants on both sides that would have been lost in an invasion of Japan. Critics have argued that the use of nuclear weapons was unnecessary, given that conventional attacks or a demonstrative bombing of an uninhabited area might have forced Japan's surrender and therefore assert that the attack constituted a crime of war.[139][140][141] In 1948 Truman defended his decision to use atomic bombs: As President of the United States, I had the fateful responsibility of deciding whether or not to use this weapon for the first time. It was the hardest decision I ever had to make. But the President cannot duck hard problems—he cannot pass the buck. I made the decision after discussions with the ablest men in our Government, and after long and prayerful consideration. I decided that the bomb should be used to end the war quickly and save countless lives—Japanese as well as American.[142] Truman continued to strongly defend himself in his memoirs in 1955–1956, stating many lives could have been lost had the United States invaded mainland Japan without the atomic bombs. In 1963, he stood by his decision, telling a journalist "it was done to save 125,000 youngsters on the U.S. side and 125,000 on the Japanese side from getting killed and that is what it did. It probably also saved a half million youngsters on both sides from being maimed for life."[143] Labor unions, strikes and economic issues See also: Strike wave of 1946 The end of World War II was followed by an uneasy transition from war to a peacetime economy. The costs of the war effort had been enormous, and Truman was intent on diminishing military services as quickly as possible to curtail the government's military expenditures. The effect of demobilization on the economy was unknown, proposals were met with skepticism and resistance, and fears existed that the nation would slide back into depression. In Roosevelt's final years, Congress began to reassert legislative power and Truman faced a congressional body where Republicans and conservative southern Democrats formed a powerful "conservative coalition" voting bloc. The New Deal had greatly strengthened labor unions and they formed a major base of support for Truman's Democratic Party. The Republicans, working with big business, made it their highest priority to weaken those unions.[144] The unions had been promoted by the government during the war and tried to make their gains permanent through large-scale strikes in major industries. Meanwhile, price controls were slowly ending and inflation was soaring.[145] Truman's response to the widespread dissatisfaction was generally seen as ineffective.[145] Truman with Greek-American sponge divers in Florida, 1947 When a national rail strike threatened in May 1946, Truman seized the railroads in an attempt to contain the issue, but two key railway unions struck anyway. The entire national railroad system was shut down, immobilizing 24,000 freight trains and 175,000 passenger trains a day.[146] For two days, public anger mounted. His staff prepared a speech that Truman read to Congress calling for a new law, whereby railroad strikers would be drafted into the army. As he concluded his address, he was handed a note that the strike had been settled on presidential terms; nevertheless, a few hours later, the House voted to draft the strikers. The bill died in the Senate.[147][148] Approval rating falls; Republicans win Congress in 1946 The president's approval rating dropped from 82 percent in the polls in January 1946 to 52 percent by June.[149] This dissatisfaction led to large Democratic losses in the 1946 midterm elections, and Republicans took control of Congress for the first time since 1930. When Truman dropped to 32 percent in the polls, Democratic Arkansas Senator William Fulbright suggested that Truman resign; the president said he did not care what Senator "Halfbright" said.[150][151] Truman cooperated closely with the Republican leaders on foreign policy but fought them bitterly on domestic issues. The power of the labor unions was significantly curtailed by the Taft–Hartley Act which was enacted over Truman's veto. Truman twice vetoed bills to lower income tax rates in 1947. Although the initial vetoes were sustained, Congress overrode his veto of a tax cut bill in 1948. In one notable instance of bipartisanship, Congress passed the Presidential Succession Act of 1947, which replaced the secretary of state with the Speaker of the House and the president pro tempore of the Senate as successor to the president after the vice president.[152] Proposes "Fair Deal" liberalism As he readied for the 1948 election, Truman made clear his identity as a Democrat in the New Deal tradition, advocating for national health insurance,[153] and repeal of the Taft–Hartley Act. He broke with the New Deal by initiating an aggressive civil rights program which he termed a moral priority. His economic and social vision constituted a broad legislative agenda that came to be called the "Fair Deal."[154] Truman's proposals were not well received by Congress, even with renewed Democratic majorities in Congress after 1948. The Solid South rejected civil rights as those states still enforced segregation. Only one of the major Fair Deal bills, the Housing Act of 1949, was ever enacted.[155][156] Many of the New Deal programs that persisted during Truman's presidency have since received minor improvements and extensions.[157] Marshall Plan, Cold War, and China Truman's press secretary was his old friend Charles Griffith Ross. He had great integrity but, says Alonzo L. Hamby, as a senior White House aide he was, "A better newsman than news handler, he never established a policy of coordinating news releases throughout the executive branch, frequently bumbled details, never developed ... a strategy for marketing the president's image and failed to establish a strong press office."[158] As a Wilsonian internationalist, Truman supported Roosevelt's policy in favor of the creation of the United Nations and included Eleanor Roosevelt on the delegation to the first UN General Assembly.[159] With the Soviet Union expanding its sphere of influence through Eastern Europe, Truman and his foreign policy advisors took a hard line against the USSR. In this, he matched U.S. public opinion which quickly came to believe the Soviets were intent upon world domination.[160] Although he had little personal expertise on foreign matters, Truman listened closely to his top advisors, especially George Marshall and Dean Acheson. The Republicans controlled Congress in 1947–1948, so he worked with their leaders, especially Senator Arthur H. Vandenburg, chairman of the powerful Foreign Relations Committee.[161] He won bipartisan support for both the Truman Doctrine, which formalized a policy of Soviet containment, and the Marshall Plan, which aimed to help rebuild postwar Europe.[162][163] To get Congress to spend the vast sums necessary to restart the moribund European economy, Truman used an ideological argument, arguing that communism flourishes in economically deprived areas.[164] As part of the U.S. Cold War strategy, Truman signed the National Security Act of 1947 and reorganized military forces by merging the Department of War and the Department of the Navy into the National Military Establishment (later the Department of Defense) and creating the U.S. Air Force. The act also created the Central Intelligence Agency (CIA) and the National Security Council.[165] In 1952, Truman secretly consolidated and empowered the cryptologic elements of the United States by creating the National Security Agency (NSA). Truman did not know what to do about China, where the Nationalists and Communists were fighting a large-scale civil war. The Nationalists had been major wartime allies and had large-scale popular support in the United States, along with a powerful lobby. General George Marshall spent most of 1946 in China trying to negotiate a compromise, but failed. He convinced Truman the Nationalists would never win on their own and a very large-scale U.S. intervention to stop the Communists would significantly weaken U.S. opposition to the Soviets in Europe. By 1949, the Communists under Mao Zedong had won the civil war, the United States had a new enemy in Asia, and Truman came under fire from conservatives for "losing" China.[166] Berlin airlift Further information: Berlin Blockade On June 24, 1948, the Soviet Union blocked access to the three Western-held sectors of Berlin. The Allies had not negotiated a deal to guarantee supply of the sectors deep within the Soviet-occupied zone. The commander of the U.S. occupation zone in Germany, General Lucius D. Clay, proposed sending a large armored column across the Soviet zone to West Berlin with instructions to defend itself if it were stopped or attacked. Truman believed this would entail an unacceptable risk of war. He approved Ernest Bevin's plan to supply the blockaded city by air. On June 25, the Allies initiated the Berlin Airlift, a campaign to deliver food, coal and other supplies using military aircraft on a massive scale. Nothing like it had ever been attempted before, and no single nation had the capability, either logistically or materially, to accomplish it. The airlift worked; ground access was again granted on May 11, 1949. Nevertheless, the airlift continued for several months after that. The Berlin Airlift was one of Truman's great foreign policy successes; it significantly aided his election campaign in 1948.[167] Recognition of Israel Truman in the Oval Office, receiving a Hanukkah Menorah from the prime minister of Israel, David Ben-Gurion (center). To the right is Abba Eban, ambassador of Israel to the United States. Truman had long taken an interest in the history of the Middle East and was sympathetic to Jews who sought to re-establish their ancient homeland in Mandatory Palestine. As a senator, he announced support for Zionism; in 1943 he called for a homeland for those Jews who survived the Nazi regime. However, State Department officials were reluctant to offend the Arabs, who were opposed to the establishment of a Jewish state in the large region long populated and dominated culturally by Arabs. Secretary of Defense James Forrestal warned Truman of the importance of Saudi Arabian oil in another war; Truman replied he would decide his policy on the basis of justice, not oil.[168] U.S. diplomats with experience in the region were opposed, but Truman told them he had few Arabs among his constituents.[169] Palestine was secondary to the goal of protecting the "Northern Tier" of Greece, Turkey, and Iran from communism, as promised by the Truman Doctrine.[170] Weary of both the convoluted politics of the Middle East and pressure by Jewish leaders, Truman was undecided on his policy and skeptical about how the Jewish "underdogs" would handle power.[171][172] He later cited as decisive in his recognition of the Jewish state the advice of his former business partner, Eddie Jacobson, a non-religious Jew whom Truman absolutely trusted.[169] Truman decided to recognize Israel over the objections of Secretary of State George Marshall, who feared it would hurt relations with the populous Arab states. Marshall believed the paramount threat to the United States was the Soviet Union and feared Arab oil would be lost to the United States in the event of war; he warned Truman the United States was "playing with fire with nothing to put it out".[173] Truman recognized the State of Israel on May 14, 1948, eleven minutes after it declared itself a nation.[174][175] Of his decision to recognize the Israeli state, Truman said in an interview years later: "Hitler had been murdering Jews right and left. I saw it, and I dream about it even to this day. The Jews needed some place where they could go. It is my attitude that the American government couldn't stand idly by while the victims [of] Hitler's madness are not allowed to build new lives."[176] Calls for Civil Rights Under his predecessor, Franklin D. Roosevelt, the Fair Employment Practices Committee was created to address racial discrimination in employment,[177] and in 1946, Truman created the President's Committee on Civil Rights. On June 29, 1947, Truman became the first president to address the National Association for the Advancement of Colored People (NAACP). The speech took place at the Lincoln Memorial during the NAACP convention and was carried nationally on radio. In that speech, Truman laid out the need to end discrimination, which would be advanced by the first comprehensive, presidentially proposed civil rights legislation. Truman on "civil rights and human freedom", declared:[178] It is my deep conviction that we have reached a turning point in the long history of our country's efforts to guarantee freedom and equality to all our citizens … it is more important today than ever before to ensure that all Americans enjoy these rights. … [And] When I say all Americans, I mean all Americans … Our immediate task is to remove the last remnants of the barriers which stand between millions of our citizens and their birthright. There is no justifiable reason for discrimination because of ancestry, or religion, or race, or color. We must not tolerate such limitations on the freedom of any of our people and on their enjoyment of basic rights which every citizen in a truly democratic society must possess. Every man should have the right to a decent home, the right to an education, the right to adequate medical care, the right to a worthwhile job, the right to an equal share in making the public decisions through the ballot, and the right to a fair trial in a fair court. We must ensure that these rights – on equal terms – are enjoyed by every citizen. To these principles I pledge my full and continued support. Many of our people still suffer the indignity of insult, the harrowing fear of intimidation, and, I regret to say, the threat of physical injury and mob violence. Prejudice and intolerance in which these evils are rooted still exist. The conscience of our nation, and the legal machinery which enforces it, have not yet secured to each citizen full freedom from fear. In February 1948, Truman delivered a formal message to Congress requesting adoption of his 10-point program to secure civil rights, including anti-lynching, voter rights, and elimination of segregation. "No political act since the Compromise of 1877," argued biographer Taylor Branch, "so profoundly influenced race relations; in a sense it was a repeal of 1877."[179] 1948 election Main article: Harry S. Truman 1948 presidential campaign Further information: 1948 United States presidential election President Truman (left) with Governor Dewey (right) at dedication of the Idlewild Airport, meeting for the first time since nominated by their respective parties for the Presidency The 1948 presidential election is remembered for Truman's stunning come-from-behind victory.[180] In the spring of 1948, Truman's public approval rating stood at 36 percent,[181] and the president was nearly universally regarded as incapable of winning the general election. At the 1948 Democratic National Convention, Truman attempted to unify the party with a vague civil rights plank in the party platform. His intention was to assuage the internal conflicts between the northern and southern wings of his party. Events overtook his efforts. A sharp address given by Mayor Hubert Humphrey of Minneapolis—as well as the local political interests of a number of urban bosses—convinced the convention to adopt a stronger civil rights plank, which Truman approved wholeheartedly.[182] Truman delivered an aggressive acceptance speech attacking the 80th Congress, which Truman called the "Do Nothing Congress,"[145] and promising to win the election and "make these Republicans like it."[183] Republicans approve of the American farmer, but they are willing to help him go broke. They stand four-square for the American home—but not for housing. They are strong for labor—but they are stronger for restricting labor's rights. They favor minimum wage—the smaller the minimum wage the better. They endorse educational opportunity for all—but they won't spend money for teachers or for schools. They think modern medical care and hospitals are fine—for people who can afford them ... They think American standard of living is a fine thing—so long as it doesn't spread to all the people. And they admire the Government of the United States so much that they would like to buy it. — Harry S. Truman, October 13, 1948, St. Paul, Minnesota, Radio Broadcast[184][185][186][187] Within two weeks of the 1948 convention Truman issued Executive Order 9981, ending racial discrimination in the Armed Services} and Executive Order 9980 to end discrimination in federal agencies.[188][189] Truman took a considerable political risk in backing civil rights, and many seasoned Democrats were concerned the loss of Dixiecrat support might seriously weaken the party. South Carolina Governor Strom Thurmond, a segregationist, declared his candidacy for the presidency on a Dixiecrat ticket and led a full-scale revolt of Southern "states' rights" proponents. This rebellion on the right was matched by one on the left, led by Wallace on the Progressive Party ticket. The Democratic Party was splitting three ways and victory in November seemed unlikely.[190] For his running mate, Truman accepted Kentucky Senator Alben W. Barkley, though he really wanted Justice William O. Douglas, who turned down the nomination.[191] Truman's political advisors described the political scene as "one unholy, confusing cacophony." They told Truman to speak directly to the people, in a personal way.[192] Campaign manager William J. Bray said Truman took this advice, and spoke personally and passionately, sometimes even setting aside his notes to talk to Americans "of everything that is in my heart and soul."[193] The campaign was a 21,928-mile (35,290 km) presidential odyssey.[194] In a personal appeal to the nation, Truman crisscrossed the United States by train; his "whistle stop" speeches from the rear platform of the observation car, Ferdinand Magellan, came to represent his campaign. His combative appearances captured the popular imagination and drew huge crowds. Six stops in Michigan drew a combined half-million people;[195] a full million turned out for a New York City ticker-tape parade.[196] 1948 electoral vote results Truman holding Chicago Tribune that says "Dewey Defeats Truman" Truman was so widely expected to lose the 1948 election that the Chicago Tribune had printed papers with this erroneous headline when few returns were in. The large, mostly spontaneous gatherings at Truman's whistle-stop events were an important sign of a change in momentum in the campaign, but this shift went virtually unnoticed by the national press corps. It continued reporting Republican Thomas Dewey's apparent impending victory as a certainty. The three major polling organizations stopped polling well before the November 2 election date—Roper in September, and Crossley and Gallup in October—thus failing to measure the period when Truman appears to have surged past Dewey.[197][198] In the end, Truman held his progressive Midwestern base, won most of the Southern states despite the civil rights plank, and squeaked through with narrow victories in a few critical states, notably Ohio, California, and Illinois. The final tally showed the president had secured 303 electoral votes, Dewey 189, and Thurmond only 39. Henry Wallace got none. The defining image of the campaign came after Election Day, when an ecstatic Truman held aloft the erroneous front page of the Chicago Tribune with a huge headline proclaiming "Dewey Defeats Truman."[199] Full elected term (1949–1953) Truman's second inauguration was the first ever televised nationally.[200] Hydrogen bomb decision The Soviet Union's atomic bomb project progressed much faster than had been expected,[201] and they detonated their first bomb on August 29, 1949. Over the next several months there was an intense debate that split the U.S. government, military, and scientific communities regarding whether to proceed with the development of the far more powerful hydrogen bomb.[202] The debate touched on matters from technical feasibility to strategic value to the morality of creating a massively destructive weapon.[203][204] On January 31, 1950, Truman made the decision to go forward on the grounds that if the Soviets could make an H-bomb, the United States must do so as well and stay ahead in the nuclear arms race.[205][206] The development achieved fruition with the first U.S. H-bomb test on October 31, 1952, which was officially announced by Truman on January 7, 1953.[207] Korean War Further information: Korean War President Truman signing a proclamation declaring a national emergency and authorizing U.S. entry into the Korean War On June 25, 1950, the North Korean army under Kim Il-sung invaded South Korea, starting the Korean War. In the early weeks of the war, the North Koreans easily pushed back their southern counterparts.[208] Truman called for a naval blockade of Korea, only to learn that due to budget cutbacks, the U.S. Navy could not enforce such a measure.[209] Truman promptly urged the United Nations to intervene; it did, authorizing troops under the UN flag led by U.S. General Douglas MacArthur. Truman decided he did not need formal authorization from Congress, believing that most legislators supported his position; this would come back to haunt him later when the stalemated conflict was dubbed "Mr. Truman's War" by legislators.[208] However, on July 3, 1950, Truman did give Senate Majority Leader Scott W. Lucas a draft resolution titled "Joint Resolution Expressing Approval of the Action Taken in Korea". Lucas stated Congress supported the use of force, the formal resolution would pass but was unnecessary, and the consensus in Congress was to acquiesce. Truman responded he did not want "to appear to be trying to get around Congress and use extra-Constitutional powers," and added that it was "up to Congress whether such a resolution should be introduced."[210] By August 1950, U.S. troops pouring into South Korea under UN auspices were able to stabilize the situation.[211] Responding to criticism over readiness, Truman fired his secretary of defense, Louis A. Johnson, replacing him with the retired General Marshall. With UN approval, Truman decided on a "rollback" policy—conquest of North Korea.[212] UN forces led by General Douglas MacArthur led the counterattack, scoring a stunning surprise victory with an amphibious landing at the Battle of Inchon that nearly trapped the invaders. UN forces marched north, toward the Yalu River boundary with China, with the goal of reuniting Korea under UN auspices.[213] China surprised the UN forces with a large-scale invasion in November. The UN forces were forced back to below the 38th parallel, then recovered.[214] By early 1951 the war became a fierce stalemate at about the 38th parallel where it had begun. Truman rejected MacArthur's request to attack Chinese supply bases north of the Yalu, but MacArthur promoted his plan to Republican House leader Joseph Martin, who leaked it to the press. Truman was gravely concerned further escalation of the war might lead to open conflict with the Soviet Union, which was already supplying weapons and providing warplanes (with Korean markings and Soviet aircrew). Therefore, on April 11, 1951, Truman fired MacArthur from his commands.[215] I fired him [MacArthur] because he wouldn't respect the authority of the President ... I didn't fire him because he was a dumb son of a bitch, although he was, but that's not against the law for generals. If it was, half to three-quarters of them would be in jail.[216] —Truman to biographer Merle Miller, 1972, posthumously quoted in Time magazine, 1973 The dismissal of General Douglas MacArthur was among the least politically popular decisions in presidential history. Truman's approval ratings plummeted, and he faced calls for his impeachment from, among others, Senator Robert A. Taft.[217] Fierce criticism from virtually all quarters accused Truman of refusing to shoulder the blame for a war gone sour and blaming his generals instead. Others, including Eleanor Roosevelt and all of the Joint Chiefs of Staff, publicly supported Truman's decision. MacArthur meanwhile returned to the United States to a hero's welcome, and addressed a joint session of Congress, a speech the president called "a bunch of damn bullshit."[218] Truman and his generals considered the use of nuclear weapons against the Chinese army, but ultimately chose not to escalate the war to a nuclear level.[219] The war remained a frustrating stalemate for two years, with over 30,000 Americans killed, until an armistice ended the fighting in 1953.[220] In February 1952, Truman's approval mark stood at 22 percent according to Gallup polls, which is the all-time lowest approval mark for a sitting U.S. president, though it was matched by Richard Nixon in 1974.[221][222] Worldwide defense Truman and Indian Prime Minister Jawaharlal Nehru during Nehru's visit to the United States, October 1949 The escalation of the Cold War was highlighted by Truman's approval of NSC 68, a secret statement of foreign policy. It called for tripling the defense budget, and the globalization and militarization of containment policy whereby the United States and its NATO allies would respond militarily to actual Soviet expansion. The document was drafted by Paul Nitze, who consulted State and Defense officials and was formally approved by President Truman as the official national strategy after the war began in Korea. It called for partial mobilization of the U.S. economy to build armaments faster than the Soviets. The plan called for strengthening Europe, weakening the Soviet Union, and building up the United States both militarily and economically.[223] Truman and Shah of Iran Mohammad Reza Pahlavi speaking at Washington National Airport, during ceremonies welcoming him to the United States Truman was a strong supporter of the North Atlantic Treaty Organization (NATO), which established a formal peacetime military alliance with Canada and democratic European nations not under Soviet control following World War II. The treaty establishing it was widely popular and easily passed the Senate in 1949; Truman appointed General Eisenhower as commander. NATO's goals were to contain Soviet expansion in Europe and to send a clear message to communist leaders that the world's democracies were willing and able to build new security structures in support of democratic ideals. The United States, Britain, France, Italy, the Netherlands, Belgium, Luxembourg, Norway, Denmark, Portugal, Iceland, and Canada were the original treaty signatories. The alliance resulted in the Soviets establishing a similar alliance, called the Warsaw Pact.[224][225] General Marshall was Truman's principal adviser on foreign policy matters, influencing such decisions as the U.S. choice against offering direct military aid to Chiang Kai-shek and his nationalist Chinese forces in the Chinese Civil War against their communist opponents. Marshall's opinion was contrary to the counsel of almost all of Truman's other advisers; Marshall thought propping up Chiang's forces would drain U.S. resources necessary for Europe to deter the Soviets.[226] When the communists took control of the mainland, establishing the People's Republic of China and driving the nationalists to Taiwan, Truman would have been willing to maintain some relationship between the United States and the new government but Mao was unwilling.[227] Truman announced on January 5, 1950, that the United States would not engage in any dispute involving the Taiwan Strait, and that he would not intervene in the event of an attack by the PRC.[228] On June 27, 1950, after the outbreak of fighting in Korea, Truman ordered the U.S. Navy's Seventh Fleet into the Taiwan Strait to prevent further conflict between the communist government on the China mainland and the Republic of China (ROC) on Taiwan.[229][230] Truman usually worked well with his top staff – the exceptions were Israel in 1948 and Spain in 1945–1950. Truman was a very strong opponent of Francisco Franco, the right-wing dictator of Spain. He withdrew the American ambassador (but diplomatic relations were not formally broken), kept Spain out of the UN, and rejected any Marshall Plan financial aid to Spain. However, as the Cold War escalated, support for Spain was strong in Congress, the Pentagon, the business community and other influential elements especially Catholics and cotton growers. Liberal opposition to Spain had faded after the Wallace element broke with the Democratic Party in 1948; the CIO became passive on the issue. As Secretary of State Acheson increased his pressure on Truman, the president stood alone in his administration as his own top appointees wanted to normalize relations. When China entered the Korean War and pushed American forces back, the argument for allies became irresistible. Admitting he was "overruled and worn down," Truman relented and sent an ambassador and made loans available.[231] Soviet espionage and McCarthyism Official portrait of President Truman by Greta Kempton, c. 1945 In August 1948, Whittaker Chambers, a former spy for the Soviets and a senior editor at Time magazine, testified before the House Un-American Activities Committee (HUAC). He said an underground communist network had worked inside the U.S. government during the 1930s, of which Chambers had been a member, along with Alger Hiss, until recently a senior State Department official. Chambers did not allege any spying during the Truman presidency. Although Hiss denied the allegations, he was convicted in January 1950 for perjury for denials under oath. The Soviet Union's success in exploding an atomic weapon in 1949 and the fall of the nationalist Chinese the same year led many Americans to conclude subversion by Soviet spies was responsible and to demand that communists be rooted out from the government and other places of influence.[232][233] Hoping to contain these fears, Truman began a "loyalty program" with Executive Order 9835 in 1947.[234] However, Truman got himself into deeper trouble when he called the Hiss trial a "red herring".[235][236] Wisconsin Senator Joseph McCarthy accused the State Department of harboring communists and rode the controversy to political fame,[237] leading to the Second Red Scare,[238] also known as McCarthyism. McCarthy's stifling accusations made it difficult to speak out against him. This led President Harry Truman to call McCarthy "the greatest asset the Kremlin has" by "torpedo[ing] the bipartisan foreign policy of the United States."[239] Charges that Soviet agents had infiltrated the government were believed by 78 percent of the people in 1946 and became a major campaign issue for Eisenhower in 1952.[240] Truman was reluctant to take a more radical stance, because he felt it could threaten civil liberties and add to a potential hysteria. At the same time, he felt political pressure to indicate a strong national security.[241] It is unclear to what extent President Truman was briefed of the Venona intercepts, which discovered widespread evidence of Soviet espionage on the atom bomb project and afterward.[242][243] Truman continued his own loyalty program for some time while believing the issue of communist espionage was overstated.[242] In 1949, Truman described American communist leaders, whom his administration was prosecuting, as "traitors",[241] but in 1950 he vetoed the McCarran Internal Security Act. It was passed over his veto.[244] Truman would later state in private conversations with friends that his creation of a loyalty program had been a "terrible" mistake.[245] Blair House and assassination attempt Main articles: White House Reconstruction and Attempted assassination of Harry S. Truman Inside of a building being renovated, with scaffolding View of the interior shell of the White House during renovation in 1950 In 1948, Truman ordered an addition to the exterior of the White House: a second-floor balcony in the south portico, which came to be known as the Truman Balcony. The addition was unpopular. Some said it spoiled the appearance of the south facade, but it gave the First Family more living space.[246][247] [248] Meanwhile, structural deterioration and a near-imminent collapse of the White House led to a comprehensive dismantling and rebuilding of the building's interior from 1949 to 1952. Architectural and engineering investigations during 1948 deemed it unsafe for occupancy. President Harry S. Truman, his family, and the entire residence staff were relocated across the street into Blair House during the renovations. As the newer West Wing, including the Oval Office, remained open, Truman walked to and from his work across the street each morning and afternoon.[249] External video video icon Newsreel scenes in English of the assassination attempt on U.S. President Harry S. Truman On November 1, 1950, Puerto Rican nationalists Griselio Torresola and Oscar Collazo attempted to assassinate Truman at Blair House. On the street outside the residence, Torresola mortally wounded a White House policeman, Leslie Coffelt. Before he died, the officer shot and killed Torresola. Collazo was wounded and stopped before he entered the house. He was found guilty of murder and sentenced to death in 1952. Truman commuted his sentence to life in prison. To try to settle the question of Puerto Rican independence, Truman allowed a plebiscite in Puerto Rico in 1952 to determine the status of its relationship to the United States. Nearly 82 percent of the people voted in favor of a new constitution for the Estado Libre Asociado, a continued 'associated free state.'[250] Steel and coal strikes Further information: 1952 steel strike In response to a labor/management impasse arising from bitter disagreements over wage and price controls, Truman instructed his Secretary of Commerce, Charles W. Sawyer, to take control of a number of the nation's steel mills in April 1952. Truman cited his authority as commander in chief and the need to maintain an uninterrupted supply of steel for munitions for the war in Korea. The Supreme Court found Truman's actions unconstitutional, however, and reversed the order in a major separation-of-powers decision, Youngstown Sheet & Tube Co. v. Sawyer (1952). The 6–3 decision, which held that Truman's assertion of authority was too vague and was not rooted in any legislative action by Congress, was delivered by a court composed entirely of justices appointed by either Truman or Roosevelt. The high court's reversal of Truman's order was one of the notable defeats of his presidency.[251] Scandals and controversies Truman in an official portrait In 1950, the Senate, led by Estes Kefauver, investigated numerous charges of corruption among senior administration officials, some of whom received fur coats and deep freezers in exchange for favors. A large number of employees of the Internal Revenue Bureau (today the IRS) were accepting bribes; 166 employees either resigned or were fired in 1950,[252] with many soon facing indictment. When Attorney General J. Howard McGrath fired the special prosecutor in early 1952 for being too zealous, Truman fired McGrath.[253] Truman submitted a reorganization plan to reform the IRB; Congress passed it, but corruption was a major issue in the 1952 presidential election.[254][255] On December 6, 1950, Washington Post music critic Paul Hume wrote a critical review of a concert by the president's daughter Margaret Truman: Miss Truman is a unique American phenomenon with a pleasant voice of little size and fair quality ... [she] cannot sing very well ... is flat a good deal of the time—more last night than at any time we have heard her in past years ... has not improved in the years we have heard her ... [and] still cannot sing with anything approaching professional finish.[256] Truman wrote a scathing response: I've just read your lousy review of Margaret's concert. I've come to the conclusion that you are an 'eight ulcer man on four ulcer pay.' It seems to me that you are a frustrated old man who wishes he could have been successful. When you write such poppy-cock as was in the back section of the paper you work for it shows conclusively that you're off the beam and at least four of your ulcers are at work. Some day I hope to meet you. When that happens you'll need a new nose, a lot of beefsteak for black eyes, and perhaps a supporter below! Pegler, a gutter snipe, is a gentleman alongside you. I hope you'll accept that statement as a worse insult than a reflection on your ancestry.[256] Truman was criticized by many for the letter. However, he pointed out that he wrote it as a loving father and not as the president.[257][258][259] In 1951, William M. Boyle, Truman's longtime friend and chairman of the Democratic National Committee, was forced to resign after being charged with financial corruption.[260] Civil rights Further information: President's Committee on Civil Rights A 1947 report by the Truman administration titled To Secure These Rights presented a detailed ten-point agenda of civil rights reforms. Speaking about this report, international developments have to be taken into account, for with the UN Charter being passed in 1945, the question of whether international human rights law could be applicable also on an inner-land basis became crucial in the United States. Though the report acknowledged such a path was not free from controversy in the 1940s United States, it nevertheless raised the possibility for the UN-Charter to be used as a legal tool to combat racial discrimination in the United States.[261] In February 1948, the president submitted a civil rights agenda to Congress that proposed creating several federal offices devoted to issues such as voting rights and fair employment practices.[262] This provoked a storm of criticism from southern Democrats in the runup to the national nominating convention, but Truman refused to compromise, saying: "My forebears were Confederates ... but my very stomach turned over when I had learned that Negro soldiers, just back from overseas, were being dumped out of Army trucks in Mississippi and beaten."[263] Tales of the abuse, violence, and persecution suffered by many African-American veterans upon their return from World War II infuriated Truman and were major factors in his decision to issue Executive Order 9981, in July 1948, requiring equal opportunity in the armed forces.[264] In the early 1950s after several years of planning, recommendations and revisions between Truman, the Committee on Equality of Treatment and Opportunity and the various branches of the military, the services became racially integrated.[265] Executive Order 9980, also in 1948, made it illegal to discriminate against persons applying for civil service positions based on race. A third, in 1951, established the Committee on Government Contract Compliance, which ensured defense contractors did not discriminate because of race.[266][267] In 1950 he vetoed the McCarran Internal Security Act. It was passed over his veto.[268] Administration and cabinet Main article: Presidency of Harry S. Truman § Administration and cabinet Foreign policy Main article: Foreign policy of the Harry S. Truman administration From 1947 until 1989, world affairs were dominated by the Cold War, in which the U.S. and its allies faced the Soviet Union and its allies. There was no large-scale fighting but instead several local civil wars as well as the ever-present threat of a catastrophic nuclear war.[269][270] Unlike Roosevelt, Truman distrusted Stalin and the Soviet Union, and did not have FDR's faith in the UN to soften major tensions. Nevertheless, he cooperated in terms of dividing control over Germany. Soviet efforts to use its army to control politics in Eastern Europe and Iran angered Washington. The final break came in 1947 when the Labour government in London could no longer afford to help Greece fight communism and asked Washington to assume responsibility for suppressing the Communist uprising there.[271][272] The result was the Truman Doctrine of 1947–48 which made it national policy to contain Communist expansion.[273] Truman was supported by the great majority of Democrats, after he forced out the Henry Wallace faction that wanted good terms with Moscow.[274] Truman's policy had the strong support of most Republicans, who led by Senator Arthur Vandenberg overcame the isolationist Republicans led by Senator Robert A. Taft.[275] In 1948, Truman signed the Marshall Plan, which supplied Western Europe—including Germany—with US$13 billion in reconstruction aid. Stalin vetoed any participation by East European nations. A similar program was operated by the United States to restore the Japanese economy. The U.S. actively sought allies, which it subsidized with military and economic "foreign aid", as well as diplomatic support. The main diplomatic initiative was the establishment of the North Atlantic Treaty Organization (NATO) in 1949, committing the United States to nuclear defense of Western Europe. The result was a peace in Europe, coupled with the fear of Soviet invasion and a reliance on American protection.[276] The United States operated a worldwide network of bases for its Army, Navy and Air Force, with large contingents stationed in Germany, Japan and South Korea.[277] Washington had a weak intelligence community before 1942, and the Soviets had a very effective network of spies. The solution was to create the Central Intelligence Agency (CIA) in 1947.[278] Economic and propaganda warfare against the communist world became part of the American toolbox.[279] The containment policy was developed by State Department official George Kennan in 1947.[280] Kennan characterized the Soviet Union as an aggressive, anti-Western power that necessitated containment, a characterization which would shape US foreign policy for decades to come. The idea of containment was to match Soviet aggression with force wherever it occurred while not using nuclear weapons. The policy of containment created a bipolar, zero-sum world where the ideological conflicts between the Soviet Union and the United States dominated geopolitics. Due to the antagonism on both sides and each countries' search for security, a tense worldwide contest developed between the two states as the two nations' governments vied for global supremacy militarily, culturally, and politically.[281] The Cold War was characterized by a lack of global hot wars Instead there were proxy wars, fought by client states and proxies of the United States and Soviet Union. The most important was Korean War (1950–1953), a stalemate that drained away Truman's base of support. Truman made five international trips during his presidency.[282] 1952 election Further information: 1952 United States presidential election Three men at a desk reviewing a document President Truman; Alabama Senator John J. Sparkman, vice presidential nominee; and Illinois Governor Adlai Stevenson, presidential nominee, in the Oval Office, 1952 In 1951, the United States ratified the 22nd Amendment, making a president ineligible for election to a third term or for election to a second full term after serving more than two remaining years of a term of a previously elected president. The latter clause did not apply to Truman's situation in 1952 because of a grandfather clause excluding the amendment's application to the incumbent president.[283] President Truman conferring with labor leader Walter Reuther about economic policy in the Oval Office, 1952 Therefore, he seriously considered running for another term in 1952 and left his name on the ballot in the New Hampshire primary. However all his close advisors, pointing to his age, his failing abilities, and his poor showing in the polls, talked him out of it.[284] At the time of the 1952 New Hampshire primary, no candidate had won Truman's backing. His first choice, Chief Justice Fred M. Vinson, had declined to run; Illinois Governor Adlai Stevenson had also turned Truman down, Vice President Barkley was considered too old,[285][286] and Truman distrusted and disliked Senator Kefauver, who had made a name for himself by his investigations of the Truman administration scandals. Truman let his name be entered in the New Hampshire primary by supporters. The highly unpopular Truman was handily defeated by Kefauver; 18 days later the president formally announced he would not seek a second full term. Truman was eventually able to persuade Stevenson to run, and the governor gained the nomination at the 1952 Democratic National Convention.[287] Harry S. Truman's Farewell Address 24:33 Truman's speech on leaving office, and returning home to Independence, Missouri. (January 15, 1953) Problems playing this file? See media help. Eisenhower gained the Republican nomination, with Senator Nixon as his running mate, and campaigned against what he denounced as Truman's failures: "Korea, communism and corruption". He pledged to clean up the "mess in Washington," and promised to "go to Korea."[285][286] Eisenhower defeated Stevenson decisively in the general election, ending 20 years of Democratic presidents. While Truman and Eisenhower had previously been on good terms, Truman felt annoyed that Eisenhower did not denounce Joseph McCarthy during the campaign.[288] Similarly, Eisenhower was outraged when Truman accused the former general of disregarding "sinister forces ... Anti-Semitism, anti-Catholicism, and anti-foreignism" within the Republican Party.[289] Post-presidency (1953–1972) Financial situation Two men at a desk with a document one is signing with their wives standing behind them Truman and his wife Bess attend the signing of the Medicare Bill on July 30, 1965, by President Lyndon B. Johnson Before being elected as Jackson County judge, Truman had earned little money, and was in debt from the failure of his haberdashery. His election as senator in 1934 carried with it a salary of $10,000 (about $210,000 in 2022), high for the time, but the need to maintain two homes, with one in expensive Washington, Margaret Truman's college expenses, and contributions to the support of needy relatives, left the Trumans little extra money. He probably had about $7,500 in cash and government bonds when nominated for vice president.[290] His finances were transformed by his accession to the presidency, which carried with it a salary of $75,000 ($1.17 million in 2022), which was increased to $100,000 in 1949 (about $1.17 million in 2022). This was more than any Major League Baseball star except Joe DiMaggio, who also earned $100,000 in his final two seasons (1950 and 1951). Beginning in 1949, the president was also granted a $50,000 expense allowance ($589,000 in 2022), which was initially tax-free, and did not have to be accounted for. Although the allowance became taxable later in his presidency, Truman never reported it on his tax return, and converted some of the funds to cash he kept in the White House safe and later in a safe deposit box in Kansas City.[290] Upon leaving the presidency, Truman returned to Independence, Missouri, to live at the Wallace home he and Bess had shared for years with her mother.[291] In a biography that contributed greatly to the myth that Truman was near penury after departing the White House,[290] McCullough stated that the Trumans had little alternative than to return to Independence, for his only income was his army pension of $112.56 per month (equivalent to $1,140 in 2021), and he had only been able to save a modest amount from his salary as president.[292] In February 1953, Truman signed a book deal for his memoirs, and in a draft will dated December of that year listed land worth $250,000, savings bonds of the same amount, and cash of $150,000.[290] He wrote, "Bonds, land, and cash all come from savings of presidential salary and free expense account. It should keep you and Margaret comfortably."[290] The writing of the memoirs was a struggle for Truman and he went through a dozen collaborators during the project,[293] not all of whom served him well,[294] but he remained heavily involved in the result.[295] For the memoirs, Truman received a payment of $670,000 (equivalent to $6,785,833 in 2021).[296] The memoirs were a commercial and critical success.[297][298] They were published in two volumes: Memoirs by Harry S. Truman: Year of Decisions (1955) and Memoirs by Harry S. Truman: Years of Trial and Hope (1956).[299][300] Former members of Congress and the federal courts received a federal retirement package; President Truman himself ensured that former servants of the executive branch of government received similar support. In 1953, however, there was no such benefit package for former presidents, and Congressional pensions were not approved until 1946, after Truman had left the Senate, so he received no pension for his Senate service.[301] Truman, behind the scenes, lobbied for a pension, writing to congressional leaders that he had been near penury but for the sale of family farmlands, and in February 1958, in the first televised interview of a former US president that aired on CBS, Truman claimed that "If I hadn't inherited some property that finally paid things through, I'd be on relief right now."[290] That year, Congress passed the Former Presidents Act, offering a $25,000 (equivalent to $253,203 in 2021) yearly pension to each former president, and it is likely that Truman's claim to be in difficult financial straits played a role in the law's enactment.[302] The only other living former president at the time, Herbert Hoover, also took the pension, even though he did not need the money; reportedly, he did so to avoid embarrassing Truman.[303] Truman's net worth improved further in 1958 when he and his siblings sold most of the family farm to a Kansas City real estate developer.[304] When he was serving as a county judge, Truman borrowed $31,000 (equivalent to $313,971 in 2021) by mortgaging the farm to the county school fund, which was legal at the time.[304] When Republicans controlled the court in 1940, they foreclosed in an effort to embarrass Truman politically, and his mother and sister Mary Jane had to vacate the home.[304] In 1945, Truman organized a syndicate of supporters who purchased the farm with the understanding that they would sell it back to the Trumans.[304] Harry and Vivian Truman purchased 87 acres in 1945, and Truman purchased another portion in 1946.[304] In January 1959, Truman calculated his net worth as $1,046,788.86 ($10.1 million in 2022), including a share in the Los Angeles Rams football team. Nevertheless, the Trumans always lived modestly in Independence, and when Bess Truman died in 1982, almost a decade after her husband, the house was found to be in poor condition due to deferred maintenance.[290] Bess Truman's personal papers were made public in 2009,[305] including financial records and tax returns. The myth that Truman had been in straitened circumstances after his presidency was slow to dissipate; Paul Campos wrote in 2021, "The current, 20,000-plus-word Wikipedia biography of Truman goes so far as to assert that, because his earlier business ventures had failed, Truman left the White House with 'no personal savings.' Every aspect of this narrative is false."[290][g] Truman Library and academic positions See also: Harry S. Truman Presidential Library and Museum Truman's predecessor, Franklin D. Roosevelt, had organized his own presidential library, but legislation to enable future presidents to do something similar had not been enacted. Truman worked to garner private donations to build a presidential library, which he donated to the federal government to maintain and operate—a practice adopted by his successors.[306] He testified before Congress to have money appropriated to have presidential papers copied and organized, and was proud of the bill's passage in 1957. Max Skidmore, in his book on the life of former presidents, wrote that Truman was a well-read man, especially in history. Skidmore added that the presidential papers legislation and the founding of his library "was the culmination of his interest in history. Together they constitute an enormous contribution to the United States—one of the greatest of any former president."[307] Truman taught occasional courses at universities, including Yale, where he was a Chubb Fellow visiting lecturer in 1958.[308] In 1962, Truman was a visiting lecturer at Canisius College.[309] Politics Truman supported Adlai Stevenson's second bid for the White House in 1956, although he had initially favored Democratic governor W. Averell Harriman of New York.[310] He continued to campaign for Democratic senatorial candidates for many years.[311] In 1960 Truman gave a public statement announcing he would not attend the Democratic Convention that year, citing concerns about the way that the supporters of John F. Kennedy had gained control of the nominating process, and called on Kennedy to forgo the nomination for that year.[312] Kennedy responded with a press conference where he bluntly rebuffed Truman's advice.[313] Despite his supportive stance on civil rights during his presidency, Truman expressed criticism of the civil rights movement during the 1960s. In 1960, he stated that he believed the sit-in movement to be part of a Soviet plot.[314] Truman's statement garnered a response from Martin Luther King Jr., who wrote a letter to Truman stating that he was "baffled" by Truman's accusation, and demanded a public apology.[315] Truman would later criticize King following the Selma march in 1965, believing the protest to be "silly" and claiming that it "[couldn't] accomplish a darn thing except to attract attention."[316] In 1963, Truman voiced his opposition to interracial marriage, believing that daughters of white people would never love someone of an opposite color.[317][318] Upon turning 80 in 1964, Truman was feted in Washington, and addressed the Senate, availing himself of a new rule that allowed former presidents to be granted privilege of the floor.[319] Medicare After a fall in his home in late 1964, Truman's physical condition declined. In 1965, President Lyndon B. Johnson signed the Medicare bill at the Harry S. Truman Presidential Library and Museum and gave the first two Medicare cards to Truman and his wife Bess to honor the former president's fight for government health care while in office.[311] Death Wreath by Truman's casket, December 27, 1972 On December 5, 1972, Truman was admitted to Kansas City's Research Hospital and Medical Center with pneumonia. He developed multiple organ failure, fell into a coma, and died at 7:50 a.m. on December 26, at the age of 88.[320][291] Bess Truman opted for a simple private service at the library rather than a state funeral in Washington. A week after the funeral, foreign dignitaries and Washington officials attended a memorial service at Washington National Cathedral. Bess Truman died in 1982 and was buried next to her husband at the Harry S. Truman Library and Museum in Independence, Missouri.[321][322] Tributes and legacy Legacy Man in suit sitting behind desk with sign that says "The buck stops here" Former President Harry Truman with "The Buck Stops Here" sign on a recreation of his Oval Office desk When he left office in 1953, Truman was one of the most unpopular chief executives in history. His job approval rating of 22% in the Gallup Poll of February 1952 was lower than Richard Nixon's 24% in August 1974, the month that Nixon resigned. American public feeling towards Truman grew steadily warmer with the passing years; as early as 1962, a poll of 75 historians conducted by Arthur M. Schlesinger, Sr. ranked Truman among the "near great" presidents. The period following his death consolidated a partial rehabilitation of his legacy among both historians and members of the public.[323] Truman died when the nation was consumed with crises in Vietnam and Watergate, and his death brought a new wave of attention to his political career.[324] In the early and mid-1970s, Truman captured the popular imagination much as he had in 1948, this time emerging as a kind of political folk hero, a president who was thought to exemplify an integrity and accountability many observers felt was lacking in the Nixon White House. This public reassessment of Truman was aided by the popularity of a book of reminiscences which Truman had told to journalist Merle Miller beginning in 1961, with the agreement that they would not be published until after Truman's death.[325] Truman had his latter-day critics as well. After a review of information available to Truman about the presence of espionage activities in the U.S. government, Democratic Senator Daniel Patrick Moynihan concluded that Truman was "almost willfully obtuse" concerning the danger of American communism.[326] In 2010, historian Alonzo Hamby concluded that "Harry Truman remains a controversial president."[327] However, since leaving office, Truman has fared well in polls ranking the presidents. He has never been listed lower than ninth, and most recently was fifth in a C-SPAN poll in 2009.[328] The fall of the Soviet Union in 1991 caused Truman advocates to claim vindication for Truman's decisions in the postwar period. According to Truman biographer Robert Dallek, "His contribution to victory in the cold war without a devastating nuclear conflict elevated him to the stature of a great or near-great president."[329] The 1992 publication of David McCollough's favorable biography of Truman further cemented the view of Truman as a highly regarded Chief Executive.[329] According to historian Daniel R. McCoy in his book on the Truman presidency, Harry Truman himself gave a strong and far-from-incorrect impression of being a tough, concerned and direct leader. He was occasionally vulgar, often partisan, and usually nationalistic ... On his own terms, Truman can be seen as having prevented the coming of a third world war and having preserved from Communist oppression much of what he called the free world. Yet clearly he largely failed to achieve his Wilsonian aim of securing perpetual peace, making the world safe for democracy, and advancing opportunities for individual development internationally.[330] Sites and honors Stamp issued in 1973, following Truman's death—Truman has been honored on five U.S. postage stamps, issued from 1973 to 1999.[331] In 1956, Truman traveled to Europe with his wife. In Britain, he received an honorary degree in Civic Law from Oxford University and met with Winston Churchill.[310] In 1959, he was given a 50-year award by the Masons, recognizing his longstanding involvement: he was initiated on February 9, 1909 into the Belton Freemasonry Lodge in Missouri. In 1911, he helped establish the Grandview Lodge, and he served as its first Worshipful Master. In September 1940, during his Senate re-election campaign, Truman was elected Grand Master of the Missouri Grand Lodge of Freemasonry; Truman said later that the Masonic election assured his victory in the general election. In 1945, he was made a 33° Sovereign Grand Inspector General and an Honorary Member of the supreme council at the Supreme Council A.A.S.R. Southern Jurisdiction Headquarters in Washington D.C. [332][333] Truman was also a member of Sons of the American Revolution (SAR)[334] and a card-carrying member of the Sons of Confederate Veterans.[335] Two of his relatives were Confederate soldiers.[335][336] In 1975, the Truman Scholarship was created as a federal program to honor U.S. college students who exemplified dedication to public service and leadership in public policy.[337] In 2004, the President Harry S. Truman Fellowship in National Security Science and Engineering was created as a distinguished postdoctoral three-year appointment at Sandia National Laboratories.[338] In 2001, the University of Missouri established the Harry S. Truman School of Public Affairs to advance the study and practice of governance.[339] The University of Missouri's Missouri Tigers athletic programs have an official mascot named Truman the Tiger. On July 1, 1996, Northeast Missouri State University became Truman State University—to mark its transformation from a teachers' college to a highly selective liberal arts university and to honor the only Missourian to become president. A member institution of the City Colleges of Chicago, Harry S Truman College in Chicago, Illinois, is named in his honor for his dedication to public colleges and universities. In 2000, the headquarters for the State Department, built in the 1930s but never officially named, was dedicated as the Harry S Truman Building.[340] Despite Truman's attempt to curtail the naval carrier arm, which led to the 1949 Revolt of the Admirals,[341] an aircraft carrier is named after him. The USS Harry S. Truman (CVN-75) was christened on September 7, 1996. [342] The 129th Field Artillery Regiment is designated "Truman's Own" in recognition of Truman's service as commander of its D Battery during World War I.[343] In 1991, Truman was inducted into the Hall of Famous Missourians, and a bronze bust depicting him is on permanent display in the rotunda of the Missouri State Capitol. In 2006, Thomas Daniel, grandson of the Trumans, accepted a star on the Missouri Walk of Fame to honor his late grandfather. In 2007, John Truman, a nephew, accepted a star for Bess Truman. The Walk of Fame is in Marshfield, Missouri, a city Truman visited in 1948.[344] Other sites associated with Truman include: Harry S. Truman National Historic Site includes the Wallace House at 219 N. Delaware in Independence and the family farmhouse at Grandview, Missouri (Truman sold most of the farm for Kansas City suburban development including the Truman Corners Shopping Center). Harry S. Truman Birthplace State Historic Site is the house where Truman was born and spent 11 months in Lamar, Missouri.[345] Harry S. Truman Presidential Library and Museum – The Presidential library in Independence Harry S. Truman Little White House – Truman's winter getaway at Key West, Florida See also Electoral history of Harry S. Truman Truman (film) Truman Day List of presidents of the United States "Harry Truman", a 1975 hit song by the band Chicago Notes Truman was vice president under Franklin D. Roosevelt and became president upon Roosevelt's death on April 12, 1945. As this was prior to the adoption of the Twenty-fifth Amendment in 1967, a vacancy in the office of vice president was not filled until the next ensuing election and inauguration. Truman was given the initial S as a middle name. There is disagreement over whether the period after the S should be included or omitted, or if both forms are equally valid. Truman's own archived correspondence shows that he regularly used the period when writing his name.[6] Truman hald several leadership positions at the local and state level and in 1940 was elected to a one year term as Grand Master of the Grand Lodge of Missouri.[84] In October 1945 he received the 33rd degree of the Scottish Rite.[84] Truman was a founder of the Reserve Officers Association and organized Missouri's first chapter, Chapter 1.[85] Truman organized the first American Legion post in Missouri, aided in organizing several others, and attended numerous annual conventions as a delegate.[86] For example, see Fussell, Paul (1988). "Thank God for the Atomic Bomb". Thank God for the Atomic Bomb and Other Essays. New York Summit Books. That claim was removed from this article on August 1, 2021, with this edit. Selma Hortense Burke (December 31, 1900 – August 29, 1995) was an American sculptor and a member of the Harlem Renaissance movement.[1] Burke is best known for a bas relief portrait of President Franklin D. Roosevelt that may have inspired the profile found on the obverse of the dime.[2] She described herself as "a people's sculptor" and created many pieces of public art, often portraits of prominent African-American figures like Duke Ellington, Mary McLeod Bethune and Booker T. Washington.[3][4] In 1979, she was awarded the Women's Caucus for Art Lifetime Achievement Award[5] She summed up her life as an artist, "I really live and move in the atmosphere in which I am creating" (Interview with Selma Burke, 3 September 1990).[6] Contents 1 Biography 1.1 Harlem Renaissance and education 1.2 Teaching and later life 2 Sculpture 2.1 Portrait of F.D.R. 3 Honors 4 Death 5 References 6 Further reading 7 External links Biography Selma Burke was born on December 31, 1900, in Mooresville, North Carolina, the seventh of 10 children of Reverend Neil and Mary Elizabeth Coalfield Burke.[7][8] Her father was an AME Church Minister who worked on the railroads for additional income. Her father died when she was twelve and at the time her mother was one hundred one years old.[9] As a child, she attended a one-room segregated schoolhouse, and often played with the riverbed clay found near her home.[3][10] She would later describe the feeling of squeezing the clay through her fingers as a first encounter with sculpture, saying "It was there in 1907 that I discovered me."[11] Burke's interest in sculpture was encouraged by her maternal grandmother, a painter, although her mother thought she should pursue a more financially stable career.[12] "You can't make a living at that," Burke recalls her mother saying about her desire to study art. [13] Burke attended Winston-Salem State University before graduating in 1924 from the St. Agnes Training School for Nurses in Raleigh.[14] She married a childhood friend, Durant Woodward, in 1928, although the marriage ended with his death less than a year later.[15] She later moved to Harlem to work as a private nurse.[16][17] She was employed as a private nurse to a wealthy heiress. This heiress later became a patron of Burke and helped her become financially stable during the great depression. [18] Harlem Renaissance and education After moving to New York City in 1935, Burke began art classes at Sarah Lawrence College.[19] She also worked as a model in art classes to pay for that schooling. In 1935, during this time, she also became involved with the Harlem Renaissance cultural movement through her marriage with the writer Claude McKay, with whom she shared an apartment in the Hell's Kitchen neighborhood of Manhattan.[20] The relationship was brief and tumultuous – McKay would destroy her clay models when he did not find the work to be up to his standards – but it introduced Burke to an artistic community that would support her burgeoning career.[21] Burke began teaching for the Harlem Community Arts Center under the leadership of sculptor Augusta Savage, and would go on to work for the Works Progress Administration on the New Deal Federal Art Project.[10] One of her WPA works, a bust of Booker T. Washington, was given to Frederick Douglass High School in Manhattan in 1936.[22] Burke traveled to Europe twice in the 1930s, first on a Rosenwald fellowship to study sculpture in Vienna in 1933-34. She returned in 1936 to study in Paris with Aristide Maillol. While in Paris she met Henri Matisse, who praised her work.[10] One of her most significant works from this period is "Frau Keller" (1937), a portrait of a German-Jewish woman in response to the rising Nazi threat which would convince Burke to leave Europe later that year.[4] With the onset of World War II, Burke chose to work in a factory as a truck driver for the Brooklyn Navy Yard. It was her opinion that, during the war, "artists should get out of their studios."[23] After returning to the United States, Burke won a graduate school scholarship to Columbia University, where she would receive a Master of Fine Arts degree in 1941.[23][24] Teaching and later life In 1940 Burke founded the Selma Burke School of Sculpture in New York City.[16] She was committed to teaching art. She opened the Selma Burke Art School in New York City in 1946, and later opened the Selma Burke Art Center in Pittsburgh, Pennsylvania.[2][25] Open from 1968 to 1981, the center "was an original art center that played an integral role in the Pittsburgh art community," offering courses ranging from studio workshops to puppetry classes.[26] Burke used her art to make opportunities to bring people together. In Mooresville, black children were banned from use of the public library. With her rising fame, Burke chose to donate a bust of a local doctor on the condition that the ban be removed. The town accepted.[23] In 1949 Burke married architect Herman Kobbe, and moved with him to an artists' colony in New Hope, Pennsylvania.[10] Kobbe died in 1955, but Burke continued to live in her New Hope home until her death in 1995, at the age of 94.[15] She has taught at Livingstone College, Swarthmore College, and Harvard University, as well as Friends Charter School in Pennsylvania and Harlem Center in New York.[27] Sculpture Selma Burke sculpted portraits of famous African-American figures as well as lesser-known subjects. She also explored human emotion and family relationships in more expressionistic works.[15] While she admired the abstract modernists, her work was more concerned with rendering the symbolic human form in ways both dignified and symbolic.[4] She worked in a wide variety of media including wood, brass, alabaster, and limestone.[28] Burke's public sculpture pieces include a bust of Duke Ellington at the Performing Arts Center in Milwaukee, as well as works on display at the Hill House Center in Pittsburgh, the Schomburg Center for Research in Black Culture in New York City, Atlanta University, Spelman College, and the Smithsonian Museum of American Art.[29] Her last monumental work, created in 1980 when she was 80 years old, is a bronze statue of Martin Luther King, Jr. in Charlotte, N.C.[3] Burke was among the artists featured at The National Urban League's inaugural exhibition at Gallery 62 in 1978.[30] She had solo exhibitions at Princeton University and the Carnegie Museum, among other venues. Her work is held in the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the Philadelphia Museum of Art,[10] and the James A. Michener Museum of Art in Doylestown, Pennsylvania. Portrait of F.D.R. Burke's best-known work is a portrait honoring President Franklin D. Roosevelt and the Four Freedoms. In 1943, she competed in a national contest to win a commission for the sculpture, created from sketches made during a 45-minute sitting with Roosevelt at the White House.[2] Burke herself "wrote to Roosevelt to request a live sitting, to which the president generously agreed, scheduling the first of two sittings on February 22, 1944."[8] The President passed before the third such appointment could be met. Mrs. Roosevelt objected to how young Burke chose to present Roosevelt as, but she responded by saying, "This profile is not for today, but for tomorrow and all time."[23] When asked about her experience sketching the president, "she said he wiggled too much when she began to sketch him that day. She told him to sit still and he did."[31] The 3.5-by-2.5-foot plaque was completed in 1944 and unveiled by President Harry S. Truman in September 1945 at the Recorder of Deeds Building in Washington, D.C., where it still hangs today.[26] A number of sources contend that John R. Sinnock's obverse design on the Roosevelt dime was adapted from Burke's plaque[3][4][15][32] even though Sinnock later denied that Burke's portrait was an influence.[33][34][35] Sinnock's 1933 presidential medal for Roosevelt bears a striking resemblance to the 1946 dime, with Roosevelt facing the opposite direction.[36] Roosevelt's 1941 inaugural medal, which Sinnock was involved in designing, also resembles the 1946 dime.[37] Both the 1933 and 1941 medals predate Burke's bas relief. Selma Burke discovered her love for sculpture as a young child and followed her passion to Harlem Renaissance New York, Parisian art studios, and even the White House. The artist behind President Franklin Roosevelt’s image on the dime, she was a dedicated art teacher and one of the most notable sculptors of the twentieth century. Selma Hortense Burke was born on December 31, 1900 in Mooresville, North Carolina. She was the seventh of Mary Jackson and Neal Burke’s 10 children. Her father was a Methodist minister who also worked on the railroads and cruise ships. Burke’s interest in art began at an early age, sculpting small objects and animals with white clay from a nearby riverbed. "One day, I was mixing the clay and I saw the imprint of my hands," she told the New York Post in 1945. "I found that I could make something... something that I alone had created." Burke’s father encouraged her artistic pursuits. She often used the objects he brought back from his ocean travels as the models for her sculptures. Her interest in African art began with a collection of African artifacts the family inherited from Burke's uncles who had done missionary work abroad. Burke’s mother, on the other hand, encouraged her to follow the more practical career path of nursing. Burke graduated from the Slater Industrial and Slater Normal School (later Winston-Salem State University) in 1922. She went on to Saint Agnes Training School for Nurses in Raleigh, North Carolina, where she graduated as a registered nurse in 1924. After that, she completed further nursing training in Philadelphia. She married her childhood friend Durant Woodward, but she was widowed when he died not long after their wedding. Burke moved to New York City in the late 1920s where she worked as the private nurse for Amelia Waring, an heiress to the Otis Elevator empire. Waring helped Burke gain exposure to the arts and culture scenes in New York. Burke began socializing with the artists and writers associated with the Harlem Renaissance. She was romantically involved with poet and novelist Claude McKay (sources vary as to whether they ever legally married), but it was a tumultuous pairing and the two soon separated. After Waring’s death, Burke left nursing and turned her focus to sculpture. She studied art at Sarah Lawrence College, modeling to pay for her classes. Burke twice traveled to Europe to hone her technique, where she studied under artists such as Henri Matisse and Aristide Maillol in Paris. But with the threat of Nazism rising in Europe, Burke returned to the United States. She taught art to youth in New York City through the Works Progress Administration’s Federal Art Project and the Harlem Community Arts Center, where influential sculptor Augusta Savage was her mentor. In 1940, Burke opened the Selma Burke School of Sculpture. The next year, Burke earned a Master of Fine Arts degree from Columbia University (where she had received a scholarship) and held her first solo exhibit in a New York gallery. Following the entry of the United States into World War II, Burke enlisted in the Navy, becoming one of the first African-American women to sign up. Her assignment was to drive a truck at the Brooklyn Navy Yard. She injured her back on the job and while recuperating, she won a nationwide contest for the commission of a bronze relief portrait of President Franklin Roosevelt. Burke felt that photographs of Roosevelt were inadequate for her needs and requested a sitting with the President so she could draw him. Roosevelt agreed and Burke sketched Roosevelt over two days in February 1944. Roosevelt passed away in April 1945. His successor, President Harry S. Truman, unveiled Burke’s relief portrait at the Recorder of Deeds Building in Washington, D.C. on September 24, 1945. Though she endorsed it, Eleanor Roosevelt reportedly did not like the portrait at first, as it depicted her husband as a younger man. Burke responded that she intended the image to represent Roosevelt as Americans had long known him, not as he appeared in his final years. In addition to the bronze portrait, Burke’s profile of Roosevelt is widely acknowledged as the basis for his image on the U.S. dime. The dime’s image is officially attributed to U.S. Mint Chief Engraver John Sinnock, but many, including Burke, claim that Sinnock borrowed from Burke’s depiction. Burke described herself as “a people’s sculptor” and intended for her art to speak to wide audiences, including those who lacked an arts education. Her work often focused on the human body and she used brass, bronze, alabaster, and limestone, among other materials. Her sculptures included figures and busts of prominent African Americans such as John Brown, Duke Ellington, Mary McLeod Bethune, and A. Philip Randolph. Some of her well-known pieces include Torso (1937), Temptation (1938), (Untitled) Woman and Child (1950), and Together (1975). Burke married architect Herman Kobbe in 1949 and the two moved to an artists’ colony in New Hope, Pennsylvania. Kobbe passed away in 1955, but Burke remained in Pennsylvania for the rest of her life. Burke continued to emphasize arts education, running the Selma Burke Art Center in Pittsburgh from 1968-1981. She taught children about the vibrancy of sculpture and encouraged them to touch works of art in order to fully understand them. In 1979, President Jimmy Carter awarded Burke with a Women’s Caucus for Art Lifetime Achievement award. Burke received honorary doctorates from Livingstone College in 1970 and Spelman College in 1988. Burke completed her final sculpture in 1980: a nine-foot bronze statue of Martin Luther King Jr. that stands in Marshall Park in Charlotte, North Carolina. She passed away in 1995 in New Hope, Pennsylvania. Her sculptures are still on display at institutions such as Winston-Salem State University, the Smithsonian American Art Museum, and the Mooresville Public Library in her North Carolina hometown. Burke, Selma Hortense. (Mooresville, NC, 1900-Newtown, PA, 1995) Bibliography and Exhibitions MONOGRAPHS AND SOLO EXHIBITIONS: Austin (TX). Lyndon Baines Johnson Library and Museum. The Sculpture of Dr. SELMA BURKE, An Exhibition. October 12, 1990-February 28, 1991. Exhib. cat., illus, biog. Pictorial wraps. Jackson, Garnet Nelson and Cheryl Hannah (illus.). SELMA BURKE, Artist. Cleveland: Modern Curriculum Press, 1994. 26 pp., color plates. Biography for young readers of the African American sculptor whose bas-relief of Roosevelt's profile is on the United States dime. 8vo (21 cm.), cloth. First ed. New York (NY). McMillen Galleries. SELMA BURKE. November, 1941. Solo exhibition. New York (NY). Modernage Art Gallery. SELMA BURKE. 1945. Solo exhibition. Perkasie (PA). Pearl S. Buck Estate. SELMA BURKE. 1989. Solo exhibition. Shaker Heights (OH). Malcolm Brown Gallery. SELMA BURKE: Sculpture. 1994. Solo exhibition of fifteen 15 stone and bronze sculptures, including a bust of Duke Ellington. Watson, Walter Ray, Jr. BURKE Offers Sage Advice to Young Artists: 'Stop Waiting'. 1986. In: Pittsburgh Courier, November 29, 1986:7. Interview, photo of artist. GENERAL BOOKS AND GROUP EXHIBITIONS: ALBANY (NY). Albany Institute of History and Art. The Negro Artist Comes of Age: A National Survey of Contemporary American Artists. January 3-February 11, 1945. vii, 77 pp., 63 b&w illus., checklist of 76 works by 38 artists, with 14 others mentioned as well. A major early survey. Foreword by John Davis Hatch, Jr.; essay "Up Till Now" by Alain Locke who states that the show is both "a representative and challenging cross-section of contemporary American art and, additionally, convincing evidence of the Negro’s maturing racial and cultural self-expression in painting and sculpture." The exhibition coincided with the last months of WWII and the return of the troops. Artists mentioned or included: Charles Alston, William Artis, Henry (Mike) Bannarn, Edward M. Bannister, Richmond Barthé, Romare Bearden, Eloise Bishop, Selma Burke, William S. Carter, Elizabeth Catlett, Claude Clark, Sr., Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Joseph Delaney, Aaron Douglas, Robert S. Duncanson, Frederick Flemister, Meta Warrick Fuller, Rex Goreleigh, William A. Harper, Palmer Hayden, James Herring, May Howard Jackson, Joshua Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Lois Mailou Jones, Ronald Joseph, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Edward L. Loper, Archibald J. Motley, Frank Neal, Marion Perkins, Horace Pippin, James A. Porter, William E. Scott, Charles Sebree, Thelma Streat, Henry Ossawa Tanner, Dox Thrash, Laura Wheeler Waring, James Lesesne Wells, Charles White, Ellis Wilson, John Wilson, Vernon Winslow, Hale Woodruff. [Traveled to: Brooklyn Museum of Art.] [Locke's essay is reprinted in: The Critical Temper of Alain Locke. A Selection of His Essays on Art and Culture. New York: Garland, 191-94.] [Reviews: Carter G. Woodson, The Journal of Negro History, Vol. 30, No. 2 (April 1945):227-228; "The Negro Artist Comes of Age," ARTnews (February 1-14, 1945) reprinted in ARTnews 91 (November 1992):109-10.] 8vo (9 x 6 in.; 23 cm.), wraps. First ed. ALFORD, STERLING G. Famous First Blacks. New York: Vantage, 1974. Minimal coverage of art, pp. 9-11. Artists mentioned include: Edward Bannister, Joshua Johnson, Scipio Moorhead, Georg Olden, Henry Tanner, Richmond Barthé, Selma Burke, Edmonia Lewis, Elizabeth Prophet, William Majors, Jacob Lawrence. ANDERSON, JERVIS. This Was Harlem: A Cultural Portrait, 1900-1950. New York: Ferrar, Straus, Giroux, 1982. x, 389 (1) pp., illus. (Vanderzee photos and Aaron Douglas Crisis cover). Mentions: Charles Alston, William Artis, Henry Bannarn, Richmond Barthé, Romare Bearden, Robert Blackburn, Selma Burke, Yolande Du Bois, E. Simms Campbell, Ernest Crichlow, Aaron Douglas, Elton Fax, Vertis Hayes, Gwendolyn Knight, Jacob Lawrence, Norman Lewis, Augusta Savage, Hale Woodruff, James Vanderzee. 8vo (25 cm.; 9.2 x 6.2 in.), cloth, d.j. ATLANTA (GA). Atlanta University. Atlanta University Contemporary Art Collection. 1959. 38 pp., 22 b&w illus., biogs. and illus. for: Charles Alston, Jacob Lawrence, William Palmer, and Hale Woodruff; list of 186 African American artists whose works were the prize winner purchases from the annual Atlanta University shows, 1942-1959, with titles of works. Prizewinners: 1942: William Carter, Frederick C. Flemister, Edward L. Loper, Charles Alston, Lois Mailou Jones; 1943: John Wilson, Hughie Lee-Smith, Mark Hewitt, Henry W. Bannarn, Frederick D. Jones; 1944: Cecil D. Nelson, Jr., John Farrar, John Wilson, Walter W. Smith, Frank W. Neal, Vernon Winslow, William E. Artis, Selma Burke, Mark Hewitt, James Dallas Parks, John Wilson; 1945: Henry W. Bannarn, John Wilson, Frederick Flemister, John N. Robinson (as John D.), Robert Willis, Margery W. Brown (as Marjorie), William E. Artis, Richmond Barthé, Mark Hewitt, Jenelsie Walden Holloway (as Jenelse Walden), Margaret G. Burroughs (as Margaret Goss); 1946: Joseph Delaney, Charles White, Ellis Wilson, Franklin M. Shands (painting), Leonard Cooper, Franklin M. Shands (watercolor), Richmond Barthé, Elizabeth Catlett, Charles White, Wilmer Jennings, Roy DeCarava; 1947: Frank H. Alston, Jr., Frank Neal, John Wilson, Joseph D. Atkinson, Calvin Burnett, Julia Ann Fields, William Artis, Samella Sanders (Lewis), H.E. Chandler, Hayward L. Oubré, Frank A. Wyley; 1948: Henry Bannarn, Rose Piper, Jacob Lawrence, Clarence Shivers, Calvin Burnett, William E. Pajaud, Richmond Barthé, Houston E. Chandler (sculpture), Bob Blackburn, Houston E. Chandler (prints), Hayward L. Oubré; 1949: Lois Mailou Jones, Cecil D. Nelson, Jr., Frederick D. Jones, Jr., Romeyn Van Vleck Lippman, Walter A. Simon, Charles W. Stallings, Jewel Simon, Charles White, Samella Sanders (Lewis), James H. Malone; 1950: John Howard, James Reuben Reed, Merton D. Simpson, William Hayden, Warren L. Harris, Estella W. Johnson, Eddie F. Jordan, John W. Rhoden, Samella Sanders (Lewis), Bob Blackburn, John T. Biggers; 1951: Merton D. Simpson, Walter A. Simon, Hale A. Woodruff, Richard W. Dempsey, Donald H. Roberts, Gladys W. Renwick, William E. Artis, Charles W. Stallings, Charles White, Charles W. Enoch Jr., John Wilson; 1952: Harvey W. Lee, Jr., Fred Jones, Ernest Crichlow, Samuel A. Countee, Lois Mailou Jones, Donald H. Roberts, Guy L. Miller, William E. Artis, John Wilson, Elizabeth Catlett, Patricia C. Walker; 1953: Walter H. Simon, Irvin H. Turner, Thomas E. Goodwin, Charles White, Romeyn Van Vleck Lippman, Jewel Woodward (as Woodard) Simon, John T. Biggers (sculpture), Hayward L. Oubré, Leroy C. Weaver, John T. Biggers (print), Robert A. Daniel; 1954: Jean Flowers, Romeyn Van Vleck Lipmann, Frederick D. Jones, Jr., Harper T. Phillips, John Wilson (watercolor), Henry Bannarn, Jack Jordan, Margaret S. Collins, John Wilson (print), Charles W. Stallings, Samella S. Lewis; 1955: William E. Rice, John Wilson, James Yeargans, Lois Mailou Jones, Margaret T. Burroughs, Archie Taylor, Henry W. Bannarn, Jewel Woodward (as Woodard) Simon, Howard E. Lewis, Jimmie Mosely, Robert A. Daniel; 1956: Merton D. Simpson, Frederick D. Jones, Jr., Irene V. Clark, Leonard H. Jones, Lewis H. Stephens, Gerald F. Hooper, Marion Perkins, Elizabeth Catlett, Samella Sanders Lewis, Calvin Burnett, Charles W. Stallings; 1957: Thomas Jefferson Flanagan, Benjamin Britt, Geraldine McCullough, Walter Wallace, Jewel Woodard Simon, John Wilson (watercolor), Hayward L. Oubré (sculpture), Jack Jordan, John Wilson (print), Hayward L. Oubré (print), Howard E. Lewis; 1958: Irene V. Clark, James Watkins, Cullen C. Lowe, Benjamin Britt, June Hector, William S. Carter, Guy L. Miller, Gregory Ridley, Barbara L. Gallon, Tommie E. Price, Zenobia Hammonds; 1959: David C. Driskell, Mildred A. Braxton, James Yeargans, James Watkins, Vivian Williams, Leedell Moorehead, William E. Artis, Alfred Stevenson, Hubert C. Taylor, John W. (as H.) Arterbery, Anna E. Costley. 8vo, blue paper covers, lettered in brown. First ed. ATLANTA (GA). Atlanta University. Third Annual Exhibition of Paintings, Sculptures and Prints by Negro Artists: The Two Generations. April 2-30, 1944. Juried group exhibition. Artists included: Charles Alston, William E. Artis, Annabelle Baker, Mike Bannarn, Romare Bearden (Honorable Mention), John T. Biggers, Selma Burke, Calvin Burnett, William S. Carter, Claude Clark, Francis P. Conch, Ernest Crichlow, Allan Rohan Crite, Mary Tobias Daniel, Roy DeCarava, Arthur Diggs, Lillian Dorsey, John Farrar (top prize - Ferrar was 16 yrs. old), Frederick C. Flemister, Charlotte Franklin, Charles Haig, Vertis C. Hayes, Mark Hewitt, Jenelsie Holloway, John Miller Howard, Sargent Johnson, Henry Bozeman Jones, Lois Mailou Jones, Clarence Lawson, Hughie Lee-Smith, Samella Lewis, Frank Neal, Cecil D. Nelson, Jr. (winner, John Hope Purchase award, landscape painting), Allison Oglesby, James Dallas Parks, Horace Pippin, James Porter, Walter W. Smith, Clyde Turner, John E. Washington, Ora Washington, Albert Wells, James Lesesne Wells, Ellis Wilson, John Wilson (Atlanta University award), Vernon Winslow, Hale Woodruff, Frank Wyley, et al. [Review: Art News, May 1, 1944:7.] ATLANTA (GA). High Museum of Art. Highlights from the Atlanta University Collection of Afro-American Art. October-November, 1973. Unpag. (37 pp. plus errata slip) exhib. cat., illus. Intro. by Thomas D. Jarrett; foreword by Gudmund Vigtel; text by Richard A. Long. Over 70 artists listed. Includes: James Adair, Jackie W. Adams, Charles Alston, Frank Herman Alston, Jr., Benny Andrews, John W. Arterbery, Joseph Atkinson, William E. Artis, Herman Kofi Bailey, Mike Bannarn, Ernie Barnes, Richmond Barthé, Romare Bearden, John Biggers, Bob Blackburn, Shirley Bolton, Eva Booker, Mildred A. Braxton, Arthur L. Britt, Margery Brown, Selma Burke, Calvin Burnett, Margaret Burroughs, William S. Carter, Elizabeth Catlett, Houston E. Chandler, Irene V. Clark, Floyd Coleman, Robert Colescott, Margaret S. Collins, William Leonard Cooper, Anne A. Costley, Samuel A. Countee, Ernest Crichlow, Robert A. Daniel, Roy DeCarava, Joseph Delaney, Richard Dempsey, David Driskell, Charles Enoch, John Farrar, Julia A. Fields, Thomas J. Flanagan, Frederick Flemister, Jean Flowers, Otis Galbreath, Barbara L. Gallon, Sam Gilliam, Charles Haines, Zenobia Hammonds, Edwin A. Harleston, William A. Harper, Palmer C. Hayden, William M. Hayden, June Hector, Mark Hewitt, Leon Hicks, Jenelsie Holloway, John Miller Howard, Richard Hunt, Wilmer Jennings, Estella W. Johnson, Malvin Gray Johnson, William H. Johnson, Fred Jones, Leonard Jones, Jacob Lawrence, Samella Lewis, Norma Morgan, Marion Perkins, John Rhoden, Franklin M. Shands, Jewel Simon, Merton Simpson, Henry Ossawa Tanner, Charles White, Robert Willis, Ellis Wilson, Hale Woodruff, et al. [Traveled to: Baltimore Museum of Art, January 15-February 24, 1974; Jacksonville Art Museum, FL, March 15-April 15; Minnesota Museum of Art, St. Paul, June 1-July 15, 1974; Delta Fine Arts, Inc., Winston-Salem, NC; Museum of the National Center of Afro-American Artists, Boston; Studio Museum in Harlem; DuSable Museum of African American History, Chicago.] 4to (28 cm.), wraps. First ed. ATLANTA (GA). Spelman College Museum. Bearing Witness: Contemporary Works by African-American Women Artists. 1996. 176 pp. exhib. cat., 80 color plates, 14 b&w illus., chronol., extensive bibliog., index. Ed. Jontyle Theresa Robinson; foreword by Maya Angelou, six essays, chronol., bibliog., index. A beautiful book with fine scholarly texts by African American women art historians covering the accomplishments of important women artists whose work has been absent from many other surveys. Includes: Amalia Amaki, Emma Amos, Hilda Wilkinson Brown, Beverly Buchanan, Selma H. Burke, Nanette Carter, Elizabeth Catlett, Barbara Chase-Riboud, Sarah Mapps Douglass, Meta Vaux Warrick Fuller, Maren Hassinger, Freida High, Charnelle Holloway, Varnette P. Honeywood, Stephanie Johnson, Lois Mailou Jones, Jean Lacy, Mary Edmonia Lewis, Valerie Maynard, Geraldine McCullough, Howardena, Pindell, Stephanie Pogue, Harriet Powers, Debra Priestly, Elizabeth Prophet, Rachelle Puryear, Faith Ringgold, Malkia Roberts, Alison Saar, Betye Saar, Augusta Savage, Joyce J. Scott, Lorna Simpson, Alma W. Thomas, Annie E.A. Walker, Carrie Mae Weems, Philemona Williamson, Beulah Ecton Woodard. [Traveled to: Tuskegee University Art Gallery, Tuskegee, AL; Fort Wayne Museum of Art, Fort Wayne, IN; St. Paul Museum, St. Paul, MN; Museum of African- American Culture, Fort Worth, TX; Portland Museum of Art, Portland, OR; Museum of Fine Arts, Houston, TX.] 4to, cloth, dust jacket. First ed. ATLANTA (GA). Trevor Arnett Hall, Clark Atlanta University Art Galleries. Women Enchanting Muses. January 15-April 30, 2013. Group exhibition of work selected from the Cochran Collection. Curated by Tina Dunkley and Christopher Hickey. Included: Emma Amos, Trena Banks, Camille Billops, Betty Blayton, Vivian Browne, Beverly Buchanan, Selma Burke, Nanette Carter, Elizabeth Catlett, Maren Hassinger, Cynthia Hawkins, Margo Humphrey, Lois Mailou Jones, Valerie Maynard, Norma Morgan, Mary Lovelace O’Neal, Stepnie Pogue, Tochell Puryear, Mavis Pusey, Barbara Chase Riboud, Faith Ringgold, Aminah Robinson, Betye Saar, Alma Thomas, Mildred Thompson, and Joyce Wellman. BALTIMORE (MD). Baltimore Museum of Art. New Names in American Art. 1944. Exhib. cat. Group exhibition. Included Romare Bearden, John Biggers, Selma Burke, Elizabeth Catlett, Eldzier Cortor, Sargent Johnson,William H. Johnson, Jacob Lawrence, Norman Lewis, Horace Pippin, Thelma Johnson Streat, Charles White and Hale Woodruff. [Also exhibited at G Place Gallery, Washington, DC; Renaissance Society at the University of Chicago, October 7-October 31, 1944.] BALTIMORE (MD). Murphy Fine Arts Center, Morgan State College. Salute to the Barnett Aden Gallery. November 24-December 20, 1968. Exhib. cat., illus. Includes: A. B. Jackson, James C. McMillan, David Driskell, James V. Herring, James L. Wells, William H. Johnson, Sue Jane Mitchell Smock, Charles White, Samuel Brown, Hughie Lee-Smith; drawings: Norman Lewis, Adolphus Ealey, James Porter, Carroll Sockwell; oil paintings: Henry Ossawa Tanner, Aaron Douglas, Laura Wheeler Waring, Elizabeth Catlett, Lee-Smith, Edward M. Bannister, Ellis Wilson, Merton Simpson, Lois Mailou Jones, Aaron Douglas, Charles Sebree, Eldzier Cortor, John Farrar, Norman Lewis, David Driskell, Hale Woodruff, Archibald Motley, Romare Bearden, William E. Scott, Charles Davis, Charles White; watercolors: W. H. Johnson, Alma Thomas, Jacob Lawrence, Samuel Brown; sculpture: Elizabeth Catlett, Selma Burke. BARBOUR, FLOYD B., ed. The Black Seventies. Boston: Porter Sargent, 1970. 335 pp., bibliog., index. Includes: Margaret Burroughs essay "To Make a Painter Black"; Porter Sargent, The Chicago Wall of Pride and Respect. Lois Mailou Jones, Eugene E. White, Selma Burke, Ernest Crichlow, Charles White, Evangeline J. Montgomery; brief mention of Romare Bearden. 8vo, cloth, d.j. BARDOLPH, RICHARD. The Negro Vanguard. New York: Rinehart, 1959. viii, 495, xvi pp., bibliog., index. Mentions very briefly approximately 40 African American visual artists (419-425). 8vo (24 cm.), cloth, d.j. Beauford, Fred, ed. Black Creation: A Quarterly Review of Black Arts and Letters Vol. 6 (1974-5). 1974-75. Includes: Charles Alston, Emma Amos, Benny Andrews ("The Big Bash." Fiction), Emmanuel V. Asihene, Cleveland J. Bellow, Camille Billops ["Contemporary Egyptian Art"], Bob Blackburn, Kay Brown, Vivian Browne, Linda Goode Bryant, Selma Burke, Elizabeth Catlett, Gylbert Coker, Art Coppedge, Eldzier Cortor, Ernest Crichlow, Roy DeCarava, Joseph Delaney, Jeff Donaldson, Aaron Douglas, Sarah Duffy, Joseph Geran, Ray Gibson, Palmer Hayden, Adrienne Hoard, Richard Hunt, Nigel Jackson, Suzanne Jackson, Rosalind Jeffries, Ben Jones, Lois Mailou Jones, Barbara Jones-Hogu, Jacob Lawrence, Norman Lewis, Samella Lewis, Tom Lloyd, Edmund Marshall, Valerie Maynard, Lev Mills, Archibald Motley, Otto Neals, Ademola Olugebefola, Hayward Oubre, et al. BELLEVUE (WA). Bellevue Art Museum. Hidden Heritage: Afro-American Art, 1800-1950. 1985. 104 pp., 59 illus. (18 color plates including cover plates), checklist of 84 works by 42 artists, notes, bibliography. Driskell's essay is an excellent general survey including numerous artists not in the exhibition. Artists in exhibition in chronological order include: Joshua Johnson, William Simpson, David Bowser, Robert Duncanson, Edward Bannister, Grafton T. Brown, Edmonia Lewis, Henry Ossawa Tanner, William A. Harper, William E. Scott. Sargent Johnson, Horace Pippin, Elizabeth Prophet, Archibald Motley, Augusta Savage, Palmer Hayden, Malvin G. Johnson, Aaron Douglas, Meta Warrick Fuller, Ellis Wilson, Hale Woodruff, Richmond Barthé, Selma Burke, Beauford Delaney, William H. Johnson, James L. Wells, Joseph Delaney, Lois Mailou Jones, James Porter, Charles Alston, Marion Perkins, Norman Lewis, Romare Bearden, Ernest Crichlow, Charles Sebree, Hughie-Lee Smith, Claude Clark, Eldzier Cortor, Jacob Lawrence, Charles White, Elizabeth Catlett, James Lewis. [Traveling exhibition.] 4to, wraps. First ed. BLOCKSON, CHARLES L. Pennsylvania's Black History. Philadelphia: Portfolio Associates, 1975. Includes section on The Arts. Mentions: Selma Burke, Robert Bustill, John G. Chaplin, Allan Freelon, Meta Warrick Fuller, May Jackson, Harry and Edgar Patience, Horace Pippin, Pheoris West, and critic Alain Locke. BONTEMPS, ARNA, ed. Forever Free: Art by African-American Women 1862-1980. Hampton: Hampton University and Stephenson Inc., Alexandria, VA, 1980. 214 pp. exhib. cat., 44 color plates, 4 b&w illus., plus b&w thumbnail photos of artists, checklist of 118 works, biogs., bibliogs., colls, exhibs. for each artist. Intro. David Driskell; intro. by Roslyn A. Walker, book-length text by Arna Bontemps and Jacqueline Fonvielle-Bontemps; afterword by Keith Morrison; biogs. by Alan M. Gordon (often with quotes from the artists.) Artists include: Rose Auld, Camille Billops, Betty Blayton, Vivian E. Browne, Selma Burke, Margaret Burroughs, Yvonne Catchings, Elizabeth Catlett, Catti, Barbara Chase-Riboud, Minnie Evans, Meta Fuller, Ethel Guest, Maren Hassinger, Adrienne Hoard, Varnette Honeywood, Margo Humphrey, Clementine Hunter, Suzanne Jackson, Marie Johnson-Calloway, Lois Mailou Jones, Vivian Key, Edmonia Lewis, Geraldine McCullough, Victoria Susan Meek, Eva Hamlin-Miller, Mary Lovelace O'Neal, Winnie Owens, Delilah Pierce, Georgette Powell, Nancy Prophet, Helen Ramsaran, Faith Ringgold, Betye Saar, Augusta Savage, Sylvia Snowden, Shirley Stark, Ann Tanksley, Alma Thomas, Mildred Thompson, Yvonne Tucker, Annie Walker, Laura Waring, Deborah Wilkins, Viola Wood, Shirley Woodson, Estella Wright, Barbara Zuber. [Traveled to: Center for Visual Arts, Normal, IL; Montgomery Museum of Fine Arts, Montgomery, AL; Indianapolis Museum of Art.] [Review by Susan Willand Worteck, Feminist Studies, Vol. 8, No. 1. (Spring, 1982):97-108.] Large 4to, cloth, pictorial d.j. First ed. BRITTON, CRYSTAL A. African-American Art: The Long Struggle. New York: Smithmark, 1996. 128 pp., 107 color plates (mostly full-page and double-page), notes, index. Artists include: Terry Adkins, Charles Alston, Amalia Amaki, Emma Amos, Benny Andrews, William E. Artis, Radcliffe Bailey, Xenobia Bailey, James P. Ball, Jean-Michel Basquiat, Romare Bearden, Edward Mitchell Bannister, John T. Biggers, Camille Billops, Willie Birch, Bob Blackburn, Betty Blayton, David Bustill Bowser, Grafton Tyler Brown, James Andrew Brown, Kay Brown, Vivian Browne, Beverly Buchanan, Selma Burke, Margaret Burroughs, Carole Byard, Elizabeth Catlett, Dana Chandler, Barbara Chase-Riboud, Ed Clark, Robert Colescott, Houston Conwill, Eldzier Cortor, Renée Cox, Ernest Crichlow, Allan Rohan Crite, Giza Daniels-Endesha, Dave [the Potter], Thomas Day, Beauford Delaney, Joseph Delaney, Jeff Donaldson, Aaron Douglas, Leonardo Drew, Robert S. Duncanson, William Edmondson, Melvin Edwards, Minnie Evans, William Farrow, Gilbert Fletcher, James Forman, Meta Vaux Warrick Fuller, Michele Godwin, David Hammons, Edwin Harleston, William A. Harper, Palmer Hayden, Thomas Heath, white artist Jon Hendricks (no illus.), Robin Holder, May Howard Jackson, Wadsworth Jarrell, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Joshua Johnston, Napoleon Jones-Henderson, Barbara Jones-Hogu, Lois Mailou Jones, Cliff Joseph, Jacob Lawrence, Hughie-Lee Smith, Edmonia Lewis, Norman Lewis, Juan Logan, Valerie Maynard, Dindga McCannon, Sam Middleton, Scipio Moorhead, Keith Morrison, Archibald J. Motley, Jr., Sana Musasama, Marilyn Nance, Gordon Parks, Marion Perkins, Howardena Pindell, Adrian Piper, Horace Pippin, James A. Porter, Harriet Powers, Nancy Elizabeth Prophet, Martin Puryear, Patrick Reason, Gary Rickson, Faith Ringgold, Alison Saar, Betye Saar, Raymond Saunders, Augusta Savage, Joyce J. Scott, William E. Scott, Charles Sebree, Lorna Simpson, William H. Simpson, Clarissa Sligh, Frank Smith, Vincent D. Smith, Nelson Stevens, Renée Stout, Freddie L. Styles, Henry Ossawa Tanner, Alma Thomas, Jean Toche (no illus.), Lloyd Toone, Bill Traylor, James Vanderzee, Annie E. Walker, William Walker, Laura Wheeler Waring, Carrie Mae Weems, James Lesesne Wells, Charles White, Grace Williams, Michael Kelly Williams, Pat Ward Williams, William T. Williams, Ellis Wilson, Fred Wilson, Hale Woodruff, et al. 4to (32 cm.), pictorial boards, d.j. First ed. BROOKLYN (NY). New Muse Community Museum of Brooklyn. Black Artists in the WPA, 1933-1943: An Exhibition of Drawings, Paintings and Sculpture. February 15-March 30, 1976. 24 pp. exhib. cat., illus. Curated by Charlene Claye VanDerzee; asst. curator; George Carter, assistant. Texts by VanDerzee and Ed Spriggs. Short biographies for Richmond Barthé, Jacob Lawrence, Charles White, Charles Sebree, Charles Alston, Ernest Crichlow, Norman Lewis, Palmer Hayden, Joseph Delaney, Selma Burke, Lois Mailou Jones, Wilmer A. Jennings, Malvin Gray Johnson, Earl Richardson, Hale Woodruff. [Others mentioned in foreword: Benny Andrews and Nii Ahene La Mettle-Nunoo] 8vo (21 cm.), stapled wraps. BROOKVILLE (NY). Hillwood Art Museum, Long Island University. BOB BLACKBURN's Printmaking Workshop: Artists of Color. 1992. 62, (2) pp., 74 illus. (8 color plates), biographies of over fifty artists. Intro. by Kay Walkingstick; text by Noah Jemisin. One of the early references to Blackburn's profound influence on the printmaking world, and still not focusing on his own prints. A tribute to the Printmaking Workshop with illus. of more than 70 artists who worked with Blackburn (approximately two thirds of those included are Black artists.) Includes: Charles Alston, Emma Amos, Benny Andrews, William Artis, Ellsworth Ausby, Henry Bannarn, Romare Bearden, Hameed Benjamin, John Biggers, Camille Billops, Willie Birch, Betty Blayton, Marion Brown, Vivian Browne, Selma Burke, Nanette Carter, Elizabeth Catlett, Ed Clark, Adger Cowans, Ernest Crichlow, Nadine DeLawrence, Louis Delsarte, Aaron Douglas, Melvin Edwards, Herbert Gentry, (John) Solace Glenn, Michele Godwin, Rex Goreleigh, Manuel Hughes, Zell Ingram, Noah Jemison, Ronald Joseph, Mohammad Omer Khalil, Jacob Lawrence, Spencer Lawrence, Norman Lewis, Norma Morgan, Sara Murrell, Otto Neals, Nefertiti, Lee Pate, Faith Ringgold, Betye Saar, Augusta Savage, AJ Smith, Jr., Vincent Smith, Maxwell Taylor, Luther Vann, Charles White, Michael Kelly Williams, William T. Williams. [One of the most widely circulated exhibitions of African American art. Traveled to: Bronx River Art Center and Gallery, Bronx, NY; Bergstrom-Mahler Museum, Neenah, WI, October 3-November 21, 1993; ; Chicago Public Library, Chicago, IL, July 10-August 28, 1994; Telfair Academy of Art and Sciences, Savannah, GA, December 12, 1994-January 30, 1995; Fisk University, Nashville, TN, September 18, 1994-January 15, 1995; Albany Institute of History & Art, Albany, NY, September 3-December 31, 1995; Edwin A. Ulrich Museum of Art, Wichita State University; Wichita, KS, April 16-June 4, 1995; The Roger Guffey Gallery; Federal Reserve Bank of Kansas City, Kansas City, MO, February 5-March 26, 1995.] Small oblong 4to, wraps. First ed. BROUDE, NORMA and MARY D. GARRARD. The Power of Feminist Art. New York: Abrams, 1994. One of the first attempts to incorporate the history of Black feminism into the usual account of the feminist art movement. Artists and groups mentioned include: Carole Blank, Kay Brown, Beverly Buchanan, Viola Burley, Selma Burke, Carole Byard, Gylbert Coker, Jerrolyn Crooks, Iris Crump, Pat Davis, Margret Gallegos, Janet Olivia Henry, Jamillah Jennings, Lois Mailou Jones, Doris Kane, Mai Mai Leabua, Dindga McCannon, Senga Nengudi, Lorraine O'Grady, Howardena Pindell, Adrian Piper, Willi Posey; Charlotte Richardson, Faith Ringgold, Betye Saar, Elizabeth Scott, Joyce Scott, Akweke Singho, Clarissa Sligh, Ann Tanksley, Jean Taylor, Judith Wilson. Groups mentioned include: Artists for Black Art Liberation (WSABAL), founded in 1970 by Faith Ringgold and her daughter Michele Wallace; Coast to Coast; Where We At Black Women Artists. 4to, cloth, d.j. First ed. CAMPBELL, MARY SCHMIDT. Harlem Renaissance: Art of Black America. New York: The Studio Museum and Abrams, N.Y., 1994. 200 pp., 140 illus., 55 in color, 29 artists mentioned along with an overall focus on music, dance, literature, and general culture, chronols., bibliog., good reference bibliography, books and magazines illustrated by Aaron Douglas, index. Texts by David Levering Lewis, David C. Driskell, Deborah Willis Ryan, J. Stewart. Artists included: Edward M. Bannister, Richmond Barthé, Selma Burke, Allan Rohan Crite, Roy DeCarava, Aaron Douglas, David Driskell, Meta Vaux Fuller, Palmer Hayden, Charles S. Johnson, Sargent Johnson, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Edmonia Lewis, Archibald Motley, Richard B. Nugent, James A. Porter, Nancy Elizabeth Prophet, Augusta Savage, Charles Sebree, Marvin and Morgan Smith, Henry O. Tanner, James Vanderzee, Laura W. Waring, Charles White, Hale Woodruff. Many others mentioned very briefly in passing. [Review: Kay Larsen, "Born Again," New York Magazine, March 16, 1987:74-75, color illus.] 4to (30 cm.; 11.5 x 8.6 in.), cloth, d.j. First ed. CHAMBERS, LUCILLE ARCOLA. America's Tenth Man. New York: Twayne, 1957. 357 pp., approx. 1000 illus. Foreword by Henry Cabot Lodge, Jr. A pictorial review of the African American contribution to American life. Includes: Alonzo Aden, Charles Alston, William E. Artist, Henry Bannarn, Edward M. Bannister, Richmond Barthé, Romare Bearden, Eloise Bishop, Bob Blackburn, Emile Broussard, Selma Burke, Elmer Simms Campbell, George Washington Carver, Elizabeth Catlett, Eldzier Cortor, Charles C. Davis, Charles Dawson, Aaron Douglas, Robert S. Duncanson, Mrs. Charley Rosenberg Foster, Allan R. Freelon, Rex Goreleigh, Bernard Goss, William T. Goss, Palmer Hayden, Zell Ingram, Joshua Johnson, Sargent Claude Johnson, John H. Jones, Joseph Kersey, Jacob Lawrence, Edmonia Lewis, Archibald J. Motley, Jr., Edgar Patience, Horace Pippin, John Rhoden, Augusta Savage, Albert Alexander Smith, Alma G. Scott (b. 1878; china painter; the only known source for this artist), Henry Ossawa Tanner, Laura Wheeler Waring, Mme. Toussaint Welcome (the only known source for this artist, active Jamaica, NY, with illus., p. 203), Charles White, John Wilson, Hale Woodruff. [Review: The Crisis, November 1957:579.] CHIARMONTE, PAULA. Women Artists in the United States. A Selective Bibliography and Resource Guide on the Fine and Decorative Arts, 1750-1986. Boston: G.K. Hall & Co., 1990. Non-black or male artists who were erroneously included are omitted from this list: Eileen Abdulrashid, Mrs. Allen, Charlotte Amevor, Emma Amos, Dorothy Atkins, Joan Cooper Bacchus, Ellen Banks, Camille Billops, Betty Blayton, Gloria Bohanon, [as Bottanon], Shirley Bolton, Kay Brown, Vivian Browne, Beverly Buchanan, Selma Burke, Margaret Burroughs, Sheryle Butler, Carole Byard, Catti [as Caiti], Yvonne Catchings, Elizabeth Catlett, Barbara Chase-Riboud, Doris L. Colbert, Luiza Combs, Marva Cremer, Doris Crudup, Oletha Devane, Stephanie Douglas, Eugenia Dunn, Queen Ellis, Annette Lewis Ensley, Minnie Jones Evans, Irene Foreman, Miriam Francis, Meta Vaux Warrick Fuller, Ibibio Fundi [as Ibibin] (a.k.a. Jo Austin), Alice Gafford, Wilhelmina Godfrey [as Wihelmina], Amanda Gordon, Cynthia Hawkins, Kitty L. Hayden, Lana T. Henderson [as Lane], Vernita Henderson, Adrienne Hoard, Jacqui Holmes, Margo Humphrey, Clementine Hunter, Claudia Jane Hutchinson, Martha E. Jackson, May Howard Jackson, Suzanne Jackson, Rosalind Jeffries, Marie Johnson, Lois Mailou Jones, Barbara Jones-Hogu [as Jones-Hogn], Harriet Kennedy, Gwendolyn Knight, Edmonia Lewis, Samella Lewis, Ida Magwood, Mary Manigault, Valerie Maynard, Geraldine McCullough, Mrs. McIntosh, Dorothy McQuarter, Yvonne Cole Meo, Onnie Millar, Eva Hamlin Miller, Evangeline Montgomery, Sister Gertrude Morgan, Norma Morgan, Marilyn Nance, Inez Nathaniel-Walker, Senga Nengudi, Winifred Owens-Hart, Denise Palm, Louise Parks, Angela Perkins, Howardena Pindell, Adrian Piper, Stephanie Pogue, Harriet Powers, Elizabeth Prophet, Mavis Pusey, Faith Ringgold, Brenda Rogers, Juanita Rogers, Nellie Mae Rowe, Betye Saar, Augusta Savage, Elizabeth Scott, Joyce Scott, Jewel Simon, Shirley Stark, Della Brown Taylor [as Delia Braun Taylor], Jessie Telfair [as Jessi], Alma Thomas, Phyllis Thompson, Roberta Thompson, Betty Tolbert, Elaine Tomlin, Lucinda Toomer, Elaine Towns, Yvonne Tucker, Charlene Tull, Anna Tyler, Florestee Vance, Pinkie Veal, Ruth Waddy, Carole Ward, Laura W. Waring, Pecolia Warner, Mary Parks Washington, Laura W. Williams, Yvonne Williams. A few African American male artists are also included: Leslie Garland Bolling, Ademola Olugebefola [as Adennola]. CHICAGO (IL). Chicago Public Library. WPA and the Black Artist: Chicago and New York. 1978. 16 pp., color cover illus., 17 b&w illus. Checklist of 62 works by 13 New York artists and 21 Chicago artists. Intro. by Ruth Ann Stewart. Artists included: Charles Alston, Robert Blackburn, Selma Burke, Margaret Burroughs, Eldzier Cortor, Ernest Crichlow, Joseph Delaney, Aaron Douglas, Rex Goreleigh, Vertis Hayes, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Archibald Motley, Gordon Parks, Augusta Savage, Charles White, Henry Avery, Richmond Barthé, William Carter, Charles Dawson, Walter W. Ellison, Ramon Gabriel, Bernard Goss, Fred Hollingsworth, Joseph Kersey, William McBride, Frank Neal, Marion Perkins, Charles Sebree, Dox Thrash, Vernon Winslow. Biographies mention Alonzo Aden, James Porter, Hale Woodruff. [Traveled to: Studio Museum in Harlem, New York, NY.] 8vo, stapled stiff wraps. CHICAGO (IL). Tanner Art Galleries. Exhibition of the Art of the American Negro (1851-1940). July 4-September 2, 1940. Exhib. cat., 18 illus. Assembled by the American Negro Exposition. Statement by Alain Locke, chairman of the art committee; lists selections jury, awards jury, exhibition committees. Included 100 artists: Charles Alston, William E. Artis, John Ingliss Atkinson, Henry Avery, Edward M. Bannister, Richmond Barthé, Leslie G. Bolling, Selma Burke, Margaret Burroughs, Simms Campbell, Fred Carlo, William S. Carter, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Charles C. Davis, Charles C. Dawson, Beauford Delaney, Joseph Delaney, Aaron Douglas, Robert S. Duncanson, Elba Lightfoot DeReyes, Walter Ellison, William M. Farrow, Elton Fax, Frederick C. Flemister, Allan R. Freelon, Meta Vaux Fuller, Reginald Gammon, Rex Goreleigh, Bernard Goss, J. Eugene Grigsby, John Hardrick, Edwin Harleston, William A. Harper, Palmer C. Hayden, William M. Hayden, Vertis Hayes, James Herring, Fred Hollingsworth, Zell Ingram, Burt Jackson, Robert M. Jackson, Louise E. Jefferson, Wilmer Jennings, Malvin Johnson, Sargent Johnson, William H. Johnson, Lawrence Arthur Jones, Lois Mailou Jones, Joseph Kersey, Jacob Lawrence (won second prize), Clarence Lawson, Edmonia Lewis, Norman Lewis, Richard Lindsey, Romeyn Van Vleck Lippman, Ed Loper, Rosemary Louis, John Lutz, Francis McGee, Ron Moody, Archibald J. Motley, George E. Neal, Robert L. Neal, Marion Perkins, Frederick Perry, Robert Pious, Horace Pippin, James A. Porter, Georgette Powell, Teodoro Ramos-Blanco (South American artist), Donald Reid, John Rollins, David Ross, Charles Sallee, Augusta Savage, Charles Sebree, Samuel Simms, Albert A. Smith, Marvin Smith, Mary E. Smith, William E. Smith, Thelma Streat, Henry Ossawa Tanner, Dox Thrash, Daniel N. Tillman, Earl Walker, Laura Wheeler Waring, Wilbert (Masood Ali) Warren, Claude Weaver, Albert Wells, James Lesesne Wells, Charles White, Ellis Wilson, Leroy Winbush, Hale Woodruff, Leon Wright. [Among the many reviews: Selma Gordon, "Seventy-Five Years of Negro Progress," The Criss 48 (January 1941):10-11+; mainstream review in Newsweek Vol XVI, No 11, September 9, 1940.] 8vo, pictorial wraps. Exhibition poster and catalogue cover design by James Lesesne Wells. CLAPP, JANE, ed. Sculpture Index. Metuchen (NJ): Scarecrow, 1970. Vol. 2: Sculpture of the Americas, the Orient, Africa, the Pacific area, and the classical world. 1369 pp. Includes: Charles H. Alston, William E. Artis, Henry Bannarn, Richmond Barthé, Leslie Bolling, Selma Burke, Elizabeth Catlett, Barbara Chase-Riboud, William Edmondson, Meta Vaux Fuller, Richard Hunt, May Howard Jackson, Sargent Johnson, Joseph Kersey, Edmonia Lewis, Guy L. Miller, Hayward Oubre, Marion Perkins, John W. Rhoden, Gregory D. Ridley, Augusta Savage, Carroll Simms, Daniel Warburg, Eugene Warburg, John Wilson. COOKS, BRIDGET R. Exhibiting Blackness: African Americans and the American Art Museum. Amherst: University of Massachusetts Press, 2011. 240 pp., color illus., notes, index. The narrative begins in 1927 with the Chicago "Negro in Art Week" exhibition, and in the 1930s with the Museum of Modern Art's exhibition of "William Edmondson" (1937) and "Contemporary Negro Art" (1939) at the Baltimore Museum of Art; the focus, however, is on exhibitions held from the 1960s to present with chapters on "Harlem on My Mind" (1969), "Two Centuries of Black American Art" (1976); "Black Male" (1994-95); and "The Quilts of Gee's Bend" (2202). Numerous artists, but most mentioned only in passing: Cedric Adams, Charles Alston, Emma Amos, Benny Andrews, Edward M. Bannister, Richmond Barthé, Romare Bearden, numerous Bendolphs (Annie, Jacob, Mary Ann, Mary Lee, Louisiana) and Loretta Bennett, Ed Bereal, Donald Bernard, Nayland Blake, Gloria Bohanon, Leslie Bolling, St. Clair Bourne, Cloyd Boykin, Kay Brown, Selma Burke, Bernie Casey, Roland Charles, Barbara Chase-Riboud, Claude Clark, Linda Day Clark, Robert Colescott, Dan Concholar, Emilio Cruz, Ernest Crichlow (footnote only), Alonzo Davis, Selma Day (footnote only), Roy DeCarava, Aaron Douglas, Emory Douglas, Robert M. Douglass, Jr., David Driskell, Robert S. Duncanson, William Edmondson, Elton Fax (footnote only), Cecil L. Fergerson, Roland Freeman, Meta Vaux Warrick Fuller, Reginald Gammon (footnote only), K.D. Ganaway, Sam Gilliam, David Hammons, William A. Harper, Palmer Hayden, Vertis C. Hayes, Barkley L. Hendricks, James V. Herring, Richard Hunt, Rudy Irwin, May Howard Jackson, Suzanne Jackson, Joshua Johnson, William H. Johnson, Lois Mailou Jones, Gwendolyn Knight, Wifredo Lam, Artis Lane, Jacob Lawrence, Edmonia Lewis, Norman Lewis, Samella Lewis, Alvin Loving (footnote only), William Majors (footnote only), Richard Mayhew, Reginald McGhee, Archibald J. Motley, Jr., Richard Mayhew, Willie Middlebrook, Ron Moody, Lottie and Lucy Mooney, Flora Moore, Scipio Moorhead, Norma Morgan, Archibald J. Motley, Jr., Sara Murrell (footnote only), Otto Neals (footnote only), Odili Donald Odita, Noni Olubisi, Ademola Olugebefola, John Outterbridge, Gordon Parks, six Pettways (Annie E., Arlonzia, Bertha, Clinton, Jr., Jesse T., Letisha), James Phillips, Howardena Pindell, Horace Pippin, Carl Pope, James A. Porter, Nancy Elizabeth Prophet, Noah Purifoy, Martin Puryear, Okoe Pyatt (footnote only), Robert Reid (footnote only), John Rhoden, John Riddle, Faith Ringgold (footnote only), Betye Saar, Raymond Saunders (footnote only), Augusta Savage, William E. Scott, Georgette Seabrook, James Sepyo (footnote only), Taiwo Shabazz (footnote only), Gary Simmons, Lorna Simpson, Merton Simpson (footnote only), Albert Alexander Smith, Arenzo Smith, Frank Stewart, Henry Ossawa Tanner, Alma Thomas, Danny Tisdale, Melvin Van Peebles, James Vanderzee, Annie Walker, Kara Walker, Augustus Washington, Timothy Washington, Carrie Mae Weems, James Lesesne Wells, Charles White, Pat Ward Williams, William T. Williams, Deborah Willis, Fred Wilson, Ernest C. Withers, Beulah Ecton Woodard, Hale Woodruff, Lloyd Yearwood, Annie Mae and Nettie Pettway Young. 8vo (9 x 6 in.), wraps. DAVIS (CA). Nelson Gallery, University of California-Davis. Shared Histories: African American Art from Local Collections. July 12-August 17, 2007. Group exhibition. Includes painting, sculpture and drawing by 35 artists: Ernie Barnes, Romare Bearden, Charles Bibbs, Lynda E. Bibbs, Ella Mae Bolton, Milton Bowens, Manuelita Brown, Selma Burke, Margaret Burroughs, Elizabeth Catlett, Betty Davies, Aaron Douglas, David Driskell, Ed Dwight, Frank Frazier, Jonathan Green, Mike Henderson, Oliver Jackson, Charles Joyner, Jacob Lawrence, Edna McIver, Mamie McKinstry, Betye Saar, John T. Scott, Sir Shadow, Bernice Sims, Hughie Lee-Smith, Jimmie Lee Sudduth, Milan Tiff, Mose Tolliver, Charles White, Fred Wilson, Hale Woodruff, Joseph Yoakum. DOYLESTOWN (PA). Keenan Motors. Gone But Not Forgotten. April 23-May 6. 23rd Annual Byers Bucks Fever Art Exhibition. Group exhibition. Included: Selma Burke. DRISKELL, DAVID C. Two Centuries of Black American Art. Los Angeles: Museum of Art, 1976. 221 pp. exhib. cat., 205 illus., 32 in color, bibliog., index. Groundbreaking survey exhibition of African American art. Texts by Driskell; catalogue notes by Leonard Simon. Includes Dave the Potter, Charles H. Alston, William E. Artis, Edward M. Bannister, Richmond Barthé, Romare Bearden, John Biggers, Grafton Tyler Brown, David Butler, Selma Burke, Calvin Burnett, Margaret Burroughs, Elizabeth Catlett, Claude Clark, Eldzier Cortor, Allan Rohan Crite, Thomas Day, Joseph Delaney, Aaron Douglas, Robert S. Duncanson, William Edmondson, Minnie Evans, Edwin A. Harleston, Palmer Hayden, Felrath Hines, Earl J. Hooks, Julien Hudson, Clementine Hunter, Wilmer Jennings, James Butler Johnson, Joshua Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Richard Mayhew, Sam Middleton, Leo Moss, Archibald J. Motley, Jr., Marion Perkins, Horace Pippin, James A. Porter, Patrick Reason, John Rhoden, Gregory Ridley, Jr., William E. Scott, Charles Sebree, Henry Ossawa Tanner, William (Bill) Taylor, Alma Thomas, Dox Thrash, Laura Wheeler Waring, Edward Webster, James Lesesne Wells, Charles White, Walter Williams, Ed Wilson, Ellis Wilson, John Wilson, Hale Woodruff. Additional artists mentioned in the text: James Allen, Leslie Bolling, John Kane (?), Jules Lion, James Vanderzee, many more. [Traveled to Los Angeles County Museum of Art, Los Angeles, CA; High Museum of Art, Atlanta, GA; Museum of Fine Arts, Dallas, TX; and the Brooklyn Museum, NY.] 4to, wraps. First ed. DURHAM (NC). NCCU Art Museum, North Carolina Central University. Black Women Artists: North Carolina Connections. 1990. Exhib. cat. Includes important text by Lynn Igoe: "Black Women Artists: An Introduction." Provides an extensive list of exhibits featuring black women artists since the first such show in 1947 at the Barnett Aden Gallery, Washington, DC. Artists mentioned includes the usual 50-60 names: Edmonia Lewis, Meta Warrick Fuller, May Howard Jackson, Bertina Lee, Betty Blayton, Barbara Chase-Riboud, Harriet Powers, Minnie Evans, Clementine Hunter, Sister Gertrude Morgan, Eva Hamlin Miller, Jacqueline Fonvielle-Bontemps, Betye Saar, Alison Saar, Lezley Saar, Nellie Mae Rowe, Liani Foster, Barbara Tyson Mosley, Camille Billops, Alma Thomas, Maren Hassinger. Checklist of women artists includes: Emma Amos, Gwendolyn Bennett, Camille Billops, Betty Blayton, Kay Brown, Margery Wheeler Brown, Vivian Browne, Beverly Buchanan, Selma Burke, Margaret Burroughs, Carole Byard, Yvonne Pickering Carter, Elizabeth Catlett, Barbara Chase-Riboud, Minnie Evans, Meta Warrick Fuller, Maren Hassinger, Varnette P. Honeywood, Margo Humphrey, Clementine Hunter, May Howard Jackson, Suzanne Jackson, Louise Jefferson, Marie Johnson-Calloway, Lois Mailou Jones, Barbara Jones-Hogu, Edmonia Lewis, Samella Saunders Lewis, Dindga McCannon, Geraldine McCullough, Allie McGhee, Valerie Maynard, Evangeline J. Montgomery, Norma Morgan, Sister Gertrude Morgan, Inez Nathaniel-Walker, Senga Nengudi (Sue Irons), Delilah Pierce, Howardena Pindell, Adrian Piper, Stephanie Pogue, Georgette Powell, Harriet Powers, Nancy Elizabeth Prophet, Faith Ringgold, Malkia (Lucille) Roberts, Nellie Mae Rowe, Alison Saar, Betye Saar, Augusta Savage, Jewel Simon, Ann Tanksley, Alma Thomas, Ruth Waddy, Laura Wheeler Waring. The exhibition includes many of the same artists but also a number of artists not in Igoe's essay or checklist. Exhib. checklist lists the following: Marvette Pratt Aldrich, Brenda Branch, Mable Bullock, Selma Burke, Elizabeth Catlett, Collins, Davis, Minnie Evans, Olivia Gatewood, Gail Hansberry, Lana Thompson Henderson, Hill, Lois Mailou Jones, Eva Hamlin Miller, Norma Morgan, Stephanie Pogue, Mercedes Barnes Thompson. EDMUNDS, ALLAN L. and LOUISE D. STONE. Three Decades of American Printmaking: The Brandywine Workshop Collection. Manchester: Hudson Hills, 2004. 240 pp., 126 color plates, 21 b&w illus., bibliog., index. Texts by Halima Taha, Lois H. Johnson and Patricia Smith, Keith A. Morrison, and Claude Elliott. Among the artists who have had prints made at Brandywine are: Candida Alvarez, Emma Amos, Akili Ron Anderson, Benny Andrews, Roland Ayers, Belkis Ayon, Romare Bearden, Ron Bechet, John T. Biggers, Camille Billops, Willie Birch, Terry Boddie, Berrisford Boothe, James Brantley, Moe Brooker, Marvin P. Brown, Samuel J. Brown, Weldon Butler, Selma Burke, Nanette Carter, Elizabeth Catlett, Ed Clark, Kevin E. Cole, William Cordova, Adger Cowans, Alonzo Davis, Louis Delsarte, John E. Dowell, David Driskell, James Dupree, Walter Edmonds, Allen Edmunds, Melvin Edwards, Rodney Ewing, Agbo Folarin, Reginald Gammon, Sam Gilliam, Simon Gouverneur, Leamon Green, Eugene Grigsby, Maren Hassinger, Barkley L. Hendricks, Leon Hicks, Vandorn Hinnant, Margo Humphrey, Curlee Raven Holton, Richard Hunt, Bill Hutson, Martha Jackson-Jarvis, Wadsworth Jarrell, Paul F. Keene, Jr., Lois Mailou Jones, Napoleon Jones-Henderson, Souleymane Keita, Gwendolyn Knight, Jacob Lawrence, Hughie Lee-Smith, Samella Lewis, Arturo Lindsay, Alvin Loving, Deryl Mackie, Jimmy Mance, Percy Martin, Valerie Maynard, Donna Meeks, Charles Mills, Ibrahim Miranda, Quentin Morris, Keith Morrison, Evangeline Montgomery, Quentin Morris, Abdouleye Ndoye, Floyd Newsum, Magdalene Odundo, Ademola Olugebefola, Mary Lovelace O'Neal, Laurie Ourlicht, Joe Overstreet, William Pajaud, Howardena Pindell, James Phillips, Michael Platt, Eric Pryor, Leo Robinson, Alison Saar, Betye Saar, Juan Sanchez, John T. Scott, Charles Searles, AJ Smith, Frank Smith, George Smith, Vincent Smith, Sylvia Snowden, Edgar Sorrells-Adewale, David Stephens, Hubert Taylor, Evelyn Terry, Phyllis Thompson, Kaylynn Sullivan Twotrees, Larry Walker, John Wade, Richard Watson, James Lesesne Wells, Stanley Whitney, Carl Joe Williams, Michael Kelly Williams, Pat Ward Williams, Gilberto Wilson, Clarence Wood, Shirley Woodson, and Barbara Chase-Riboud. [Also issued in a limited numbered edition of 396 copies, including three offset lithographs by Sam Gilliam, each signed and numbered in pencil, bound in red cloth, in matching cloth covered slipcase.] 4to (12.4 x 9.2 in.), cloth, d.j. First ed. ESTELL, KENNETH. African America: Portrait of a People. Detroit: Visible Ink, 1994. Section on Fine and Applied Arts pp. 593-655 mentions a sizeable number of artists (with many misspellings): Scipio Moorhead, Eugene Warburg, Bill Day [presumably Thomas Day], Charles Alston, Benny Andrews, Henry Bannarn, Edward M. Bannister, Richmond Barthé (photo), Jean-Michel Basquiat, Romare Bearden, John Biggers, Camille Billops, Robert Blackburn, curator Horace Brockington, Elmer Brown, Eugene Brown, Kay Brown, Linda Bryant, Selma Burke, Margaret Burroughs, E. Simms Campbell, Elizabeth Catlett, Cathy Chance, Dana Chandler, Gylbert Coker, Robert Colescott, Houston Conwill, Michael Cummings, Ernest Crichlow, Emilio Cruz, Roy DeCarava (with photo), Beauford Delaney, Aaron Douglas, David Driskell, Robert Duncanson, William Edmondson, Elton Fax, (with photo), Meta Warrick Fuller, Sam Gilliam, David Hammons, Philip Hampton, Florence Harding (as Harney), Palmer Hayden, James V. Herring, George Hulsinger, Richard Hunt, Clementine Hunter, Zell Ingram, Venola Jennings, Larry Johnson, Lester L. Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Joshua Johnston, Ben Jones, Emeline King, Jacob Lawrence (with photo); Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Samella Lewis, Ionis Bracy Martin, Cheryl McClenny, Geraldine McCullough, Evangeline J. Montgomery, Jimmy Mosely, Juanita Moulon, Archibald Motley (with photo), Otto Neals, Senga Nengudi, Ademola Olugebefola, Hayward Oubré, John Outterbridge, Gordon Parks, Marion Perkins, Delilah Pierce, Howardena Pindell, Jerry Pinkney, Horace Pippin, James Porter, Florence Purviance, Martin Puryear, Faith Ringgold, Betye Saar, Charles Sallee, Augusta Savage, William E. Scott, Charles Searles, Lorna Simpson, Willi Smith (with photo), William E. Smith, Edward Spriggs, F. [Doc] Spellmon, Nelson Stevens, Henry Ossawa Tanner, Jean Taylor, Alma Thomas, Bob Thompson, Dox Thrash, James VanDerZee, Laura Waring, Faith Weaver, Edward T. P. Welburn, Charles White, Randy Williams, William T. Williams (with photo), John Wilson, Hale Woodruff, Dolores Wright, Richard Yarde, and George Washington Carver. Also mentions fashion designers Stephen Burrows (photo), Gordon Henderson, Willi Smith. 4to, cloth. FALK, PETER HASTINGS, ed. Who Was Who in American Art, 1564-1975. Madison, CT: Sound View Press, 1999. 3 Vols. 3724 pp. The 1985 publication is a summary compiled from the original 34 volumes of American Art Annual: Who's Who in Art, no new entries. It is in some ways an account of the spotty knowledge that the white art world had acquired about black artists during the decades after WWII. Many glaring omissions. The 1999 edition seems to have substantial additions. Included: Alonzo Aden, Frank Herman Alston, Jr., Frederick Cornelius Alston, Dorothy Austin, Henry Avery, Henry Bannarn, Edward Bannister, Richmond Barthé, John Biggers, James Bland, Leslie Bolling, William E. Braxton, Wendell T. Brooks, Elmer William Brown, Eugene J. Brown, Samuel Joseph Brown, Selma Burke, Calvin Burnett, Margaret Taylor Goss Burroughs, Elmer Simms Campbell, John Carlis, Jr., William S. Carter, Dana C. Chandler, Jr., Samuel O. Collins, Eldzier Cortor, Norma Criss, Allan Crite, Charles C. Dawson, Beauford Delaney, Joseph Delaney, Arthur Diggs, Frank J. Dillon, Aaron Douglas, Charles Early, Walter W. Ellison, Annette Ensley, William M. Farrow, Allan Freelon, Meta Fuller, Robert Gates, Rex Goreleigh, Donald O. Greene, Samuel P. Greene, Charles E. Haines, John Wesley Hardrick, William A. Harper, John Taylor Harris, Palmer Hayden, Dion Henderson, James V. Herring, Clifton Thompson Hill, Hector Hill, Raymond Howell, Bill Hutson, May Howard Jackson, Oliver Jackson, Wilmer Jennings, George H. Benjamin Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Frederick D. Jones, Jr., Henry B. Jones, Lois Mailou Jones, Joseph Kersey, Vivian Schuyler Key, Jacob Lawrence, Bertina B. Lee, Hughie Lee-Smith, Edmonia Lewis, Elba Lightfoot, Ed Loper, John Lutz, William McBride, Sr., Archibald J. Motley, Jr., Robert L. Neal, John B. Payne, Horace Pippin, James A. Porter, Nancy Prophet, Oliver Richard Reid, Earl Richardson, Marion Sampler, Augusta Savage, William E. Scott, Charles Sebree, Albert Alexander Smith, Teressa Staats, Thelma J. Streat, Henry O. Tanner, Dox Thrash, Laura Waring, James Lesesne Wells, Charles White, Benjamin L. Wigfall, Ellis Wilson, John W. Wilson, Hale Woodruff, Terrance Yancey. 4to, cloth. FARRINGTON, LISA E. Creating Their Own Image: The History of African-American Women Artists. New York: Oxford University Press, 2005. 354 pp., 150 color plates, 100 b&w illus. A history of African American women artists, from slavery to the present day. Draws on numerous interviews with contemporary artists. The following are included with illustration(s): Laylah Ali, Emma Amos, Xenobia Bailey, Camille Billops, Betty Blayton, Chakaia Booker, Kay Brown, Vivian E. Browne, Beverly Buchanan, Selma Burke, Carole Byard, Carol Ann Carter, Nanette Carter, Elizabeth Catlett, Yvonne Parks Catchings, Barbara Chase-Riboud, Luiza Francis Combs, Josie Covington, Renée Cox, Sarah Mapps Douglass, Sharon Dunn, Gaye Ellington, Minnie Evans, Meta Warrick Fuller, Ellen Gallagher, Deborah Grant, Alyne Harris, Bessie Harvey, Robin Holder, Margo Humphrey, Clementine Hunter, May Howard Jackson, Martha Jackson-Jarvis, Marie Johnson-Calloway, Lois Mailou Jones, Barbara Jones-Hogu, Elizabeth Keckly, Pamela Jennings, Jean Lacy, Ruth Lampkins, Edmonia Lewis, Samella Lewis, Valerie Maynard, Dindga McCannon, Geraldine McCullough, Vicki Meek, Sister Gertrude Morgan, Lorraine O'Grady, Mary Lovelace O'Neal, Winnie Owens-Hart, Howardena Pindell, Adrian Piper, Stephanie Pogue, Georgette Seabrooke Powell, Harriet Powers, Debra Priestly, Nancy Elizabeth Prophet, Helen Evans Ramsaran, Nellie Mae Rowe, Betye Saar, Gail Shaw-Clemons, Mary T. Smith, Faith Ringgold, Alison Saar, Betye Saar, Joyce J. Scott, Lorna Simpson, Sylvia Snowden, Renée Stout, Freida High W. Tesfagiogis, Alma Thomas, Annie E. Anderson Walker, Kara Walker, Adell Westbrook, Laura Wheeler Waring, Carrie Mae Weems, Joyce Wellman, Philemona Williamson, Deborah Willis, Beulah Ecton Woodard. Others such as Margaret Burroughs, Catti, Tana Hargest, Kira Lynn Harris, Cynthia Hawkins, Jennie C. Jones, Adia Millett, Julie Mehretu, Camille Norment, Aminah Robinson, Nadine Robinson, Gilda Snowden, Ann Tanksley, Shirley Woodson, are briefly mentioned in passing. [Review: April F. Masten, Illuminating the Color Line Artist by Artist," Reviews in American History Vol. 35, No. 2 (June 2007):265-272; Renée Ater, "Creating Their Own Image: The History of African-American Women Artists," NWSA Journal Vol. 19, No. 1 (Spring 2007):211-217.] 4to (11 x 8 in.), cloth, d.j. First ed. FARRIS, PHOEBE, ed. Women Artists of Color: A Bio-Critical Sourcebook to Twentieth Century Artists in the Americas. Westport (CT): Greenwood, 1999. xx, 496 pp., afterword, notes, cultural resource list, index. Includes 25 African American women artists; biographical essay, exhibs. artist's statement and bibliog. for each artist. The choices are fairly predictable, with only a few surprise additions such as installation artist Marie T. Cochran and ceramicist Sana Musasama. However, the essays are substantial and the reference material is useful. 8vo, cloth, no d.j. (as issued). First ed. FRANKLIN, JOHN HOPE. From Slavery to Freedom: A History of Negro Americans. New York: Knopf. 1967. From the point of view of research in the visual arts, this third edition is preferable to the earlier editions, containing mention of many more artists including spinners, weavers, jewelers, printers and engravers, architects, cabinetmakers. Individual artists receive 5 pp. and include: Charles Alston, Richmond Barthé, Romare Bearden, Selma Burke, Simms Campbell, Ernest Crichlow, Aaron Douglas, Meta Fuller, Edwin Harleston, Sargent Johnson, Lois Mailou Jones, James Porter, Elizabeth Prophet, Augusta Savage, Henry Ossawa Tanner, Laura Wheeler Waring, Hale Woodruff. GATES, HENRY LOUIS and EVELYN BROOKS HIGGINBOTHAM, eds. African American National Biography. 2009. Originally published in 8 volumes, the set has grown to 12 vollumes with the addition of 1000 new entries. Also available as online database of biographies, accessible only to paid subscribers (well-endowed institutions and research libraries.) As per update of February 2, 2009, the following artists were included in the 8-volume set, plus addenda. A very poor showing for such an important reference work. Hopefully there are many more artists in the new entries: Jesse Aaron, Julien Abele (architect), John H. Adams, Jr., Ron Adams, Salimah Ali, James Latimer Allen, Charles H. Alston, Amalia Amaki, Emma Amos, Benny Andrews, William E. Artis, Herman "Kofi" Bailey, Walter T. Bailey (architect), James Presley Ball, Edward M. Bannister, Anthony Barboza, Ernie Barnes, Richmond Barthé, Jean-Michel Basquiat, Cornelius Marion Battey, Romare Bearden, Phoebe Beasley, Arthur Bedou, Mary A. Bell, Cuesta Ray Benberry, John Biggers, Camille Billops, Howard Bingham, Alpha Blackburn, Robert H. Blackburn, Walter Scott Blackburn, Melvin R. Bolden, David Bustill Bowser, Wallace Branch, Barbara Brandon, Grafton Tyler Brown, Richard Lonsdale Brown, Barbara Bullock, Selma Hortense Burke, Calvin Burnett, Margaret Taylor Goss Burroughs, John Bush, Elmer Simms Campbell, Elizabeth Catlett, David C. Chandler, Jr., Raven Chanticleer, Ed Clark, Allen Eugene Cole, Robert H. Colescott, Eldzier Cortor, Ernest T. Crichlow, Michael Cummings, Dave the Potter [David Drake], Griffith J. Davis, Thomas Day, Beauford Delaney, Joseph Delaney, Thornton Dial, Sr., Joseph Eldridge Dodd, Jeff Donaldson, Aaron Douglas, Sam Doyle, David Clyde Driskell, Robert S. Duncanson, Ed Dwight (listed as military, not as artist); Mel Edwards, Minnie Jones Evans, William McNight Farrow, Elton Fax, Daniel Freeman, Meta Warrick Fuller, Reginald Gammon, King Daniel Ganaway, the Goodridge Brothers, Rex Goreleigh, Tyree Guyton, James Hampton, Della Brown Taylor (Hardman), Edwin Augustus Harleston, Charles "Teenie" Harris, Lyle Ashton Harris, Bessie Harvey, Isaac Scott Hathaway, Palmer Hayden, Nestor Hernandez, George Joseph Herriman, Varnette Honeywood, Walter Hood, Richard L. Hunster, Richard Hunt, Clementine Hunter, Bill Hutson, Joshua Johnson, Sargent Claude Johnson, William H. Johnson, Lois Mailou Jones, Ann Keesee, Gwendolyn Knight, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Samella Lewis, Glenn Ligon, Jules Lion, Edward Love, Estella Conwill Majozo, Ellen Littlejohn, Kerry James Marshall, Lynn Marshall-Linnemeier, Richard Mayhew, Carolyn Mazloomi, Aaron Vincent McGruder, Robert H. McNeill, Scipio Moorhead, Archibald H. Motley, Jr., Jeanne Moutoussamy-Ashe, Mr. Imagination (Gregory Warmack), Lorraine O'Grady, Jackie Ormes, Joe Overstreet, Carl Owens, Gordon Parks, Sr., Gordon Parks, Jr., C. Edgar Patience, Howardena Pindell, Adrian Margaret Smith Piper, Rose Piper, Horace Pippin, William Sidney Pittman, Stephanie Pogue, Prentiss Herman Polk (as Prentice), James Amos Porter, Harriet Powers, Elizabeth Prophet, Martin Puryear, Patrick Henry Reason, Michael Richards, Arthur Rose, Alison Saar, Betye Saar, Raymond Saunders, Augusta Savage, Joyce J. Scott, Addison Scurlock, George Scurlock, Willie Brown Seals, Charles Sebree, Joe Selby, Lorna Simpson, Norma Merrick Sklarek, Clarissa Sligh, Albert Alexander Smith, Damballah Smith, Marvin and Morgan Smith, Maurice B. Sorrell, Simon Sparrow, Rozzell Sykes, Henry Ossawa Tanner, Alma Thomas, J.J. Thomas, Robert Louis (Bob) Thompson, Mildred Jean Thompson, Dox Thrash, William Tolliver, Bill Traylor, Leo F. Twiggs, James Augustus Joseph Vanderzee, Kara Walker, William Onikwa Wallace, Laura Wheeler Waring, Augustus Washington, James W. Washington, Jr., Carrie Mae Weems, James Lesesne Wells, Charles White, John H. White, Jack Whitten, Carla Williams, Daniel S. Williams, Paul Revere Williams (architect), Deborah Willis, Ed Wilson, Ellis Wilson, Fred Wilson, John Woodrow Wilson, Ernest C. Withers, Beulah Ecton Woodard, Hale Aspacio Woodruff. GREEN, ADAM. Selling the Race: Culture, Community, and Black Chicago, 1940-1955. University of Chicago Press, 2006. 322 pp., 31 b&w illus. Includes reinterpretations of such events as the 1940 American Negro Exposition, the rise of black music and the culture industry that emerged around it, the development of the Associated Negro Press and the founding of Johnson Publishing, and the outcry over the 1955 lynching of Emmett Till. 8vo (9 x 6 in.), cloth, d.j. GREENVILLE (SC). Alpha Kappa Alpha Sorority. Beta lota Omega Chapter. Afro-American Women in Art: their achievements in sculpture and painting. Greenville: Negro Heritage Committee, 1969. 32 pp., illus., bibliog. Introduction by Leroy F. Holmes, Jr. Artists included and mentioned: Emma Amos, Betty Blayton, Mildred A. Braxton, Selma Burke, Margaret Burroughs, Elizabeth Catlett, Yvonne Catchings, Barbara Chase-Riboud, Ladybird Cleveland, Virginia Cox, Eugenia V. Christian Dunn, Edmonia Lewis, Meta Vaux Warrick Fuller, Ethel Guest, Esther Hill, May Howard Jackson, Lois Mailou Jones, Eva Hamlin Miller, Geraldine Hamilton McCullough, Norma Morgan, Nancy Elizabeth Prophet, Augusta Savage, Laura Wheeler Waring, et al. 4to, wraps. First ed. GRIGSBY, J. EUGENE. Art and Ethnics: Background for Teaching Youth in a Pluralistic Society. Dubuque (IA): Wm. C. Brown Company, 1977. 147 pp., illus. Includes: Charles Alston, Emma Amos, Benny Andrews, William Artis, Malcolm Bailey, Mike Bannarn, Edward M. Bannister, Richmond Barthé, Romare Bearden, John Biggers, Bob Blackburn, Betty Blayton, Selma Burke, George Washington Carver, Elizabeth Catlett, Dana Chandler, Barbara Chase-Riboud, Dan R. Concholar, Eldzier Cortor, Ernest Crichlow, Dale Brockman Davis, Beauford Delaney, James T. Diggs, Jeff Donaldson, Aaron Douglas, Robert S. Duncanson, William M. Farrow, Perry Ferguson, Elton Fax, Doyle Foreman, Meta Vaux Fuller, Reginald Gammon, Sam Gilliam, Joseph W. Gilliard, Manuel Gomez, Rex Goreleigh, Ethel Guest, Edwin A Harleston, Palmer Hayden, Esther P. Hill, Felrath Hines, Alvin C. Hollingsworth, Richard, Hunt, Bob Jefferson, Joshua Johnson, Sargent Johnson, Lois Mailou Jones, Cliff Joseph, Edward Judie, Jacob Lawrence, Edmonia Lewis, Norman Lewis, Samella Lewis, Tom Lloyd, Hughie Lee-Smith, William Majors, Richard Mayhew, Earl B. Miller, E.J. Montgomery, Scipio Moorhead, Archibald J. Motley, Robert L. Neal, John Outterbridge, Joe Overstreet, Horace Pippin, James A. Porter, Patrick Reason, Gary Rickson, Augusta Savage, Merton D. Simpson, Albert A. Smith, Vincent D. Smith, Henry Ossawa Tanner, Alma Thomas, Neptune Thurston, Ruth Waddy, Laura Wheeler Waring, James Lesesne Wells, Charles White, John Wilson, Hale Woodruff, Rip Woods, Hartwell Yeargans. HAJOSY, DOLORES. Gallery 62: An Outlet . . . A Bridge. 1985. In: Black American Literature Forum 19, No. 1 (Spring 1985):22-23. Mentions artists in 1978 inaugural exhibition at Gallery 62: Charles Alston, Richmond Barthé, Romare Bearden, William Braxton, Selma Burke, Aaron Douglas, Palmer Hayden, Jacob Lawrence, Archibald Motley, Augusta Savage, William E. Scott, Albert A. Smith, Henry O. Tanner, Charles White, Hale Woodruff. Mentions the many other artists subsequently shown in Gallery 62 exhibitions: Jules Allen, Emma Amos, Toyce Anderson, Aleta Bass, Carole Byard, Adger Cowans, Virginia Cox, Nicholas Davis, Avel DeKnight, Nadine DeLawrence-Maine, Louis Delsarte, James Denmark, Tom Feelings, Manuel Hughes, Bill Hutson, Oliver Johnson, Ben Jones, Richard Leonard, James Little, Fern Logan, Jacqueline Patten, John Pinderhughes, John Rhoden, Faith Ringgold, Arthur Robinson (presumably Leo A. Robinson?), Betye Saar, Sidney Schenck, Coreen Simpson, Beauford Smith, George Smith, John Spaulding, Charles Stewart, Frank Stewart, Sharon Sutton, Jon Thomas, Leon Waller, Joyce Wellman, George Wilson, Maryam Zafar. HARLEY, RALPH L., JR. Checklist of Afro-American Art and Artists. Kent State University Libraries, 1970. In: Serif 7 (December 1970):3-63. What could have been the solid foundation of future scholarship is unfortunately marred by errors of all kinds and the inclusion of numerous white artists. All Black artists are cross-referenced. HELLER, JULES and NANCY G. HELLER, eds. North American Women Artists of the Twentieth Century: A Biographical Dictionary. New York: Garland, 1995. 612 pp., 100 b&w illus., 1500 aritsts' biogs. Includes approx. 49 African American artists: Emma Amos, Ellen Banks, Erlena Bland, Betty Blayton-Taylor, Vivian Browne, Beverly Buchanan, Selma Burke, Margaret Burroughs, Lilian Thomas Burwell, Yvonne Pickering Carter, Elizabeth Catlett, Barbara Dewayne Chase-Riboud, Barbara Chavous, Minnie Jones Evans, Meta Warrick Fuller, Maren Hassinger, Margo Humphrey, Clementine Hunter, May Howard Jackson, Suzanne Fitzallen Jackson, Vera Jackson, Marie E. Johnson-Calloway, Lois Mailou Jones, Viola Burley Leak, Edmonia Lewis, Samella Sanders Lewis, Louise Martin, Geraldine McCullough, Evangeline J. Montgomery, Winnie Owens-Hart, Louise Parks, Howardena Pindell, Adrian Piper, Stephanie Elaine Pogue, Nancy Elizabeth Prophet, Faith Ringgold, Malkia Roberts, Alison Saar, Betye Saar, Augusta Christine Savage, Georgette Seabrooke, Jewel Woodard Simon, Clarissa Sligh, Sylvia Snowden, Renée Stout, Alma Thomas, Denise Ward-Brown, Laura Wheeler Waring, Adell Westbrook. Stout 4to, cloth. HILDEBRANDT, LORRAINE and RICHARD S. AIKEN, eds. A Bibliography of Afro-American Print and Non-Print Resources in Libraries of Pierce County, Washington. Tacoma Community College Library, 1969. Artists include: Charles Alston, William Artis, Henry Avery, Henry Bannarn, Edward Bannister, Richmond Barthé, Carter Bazile, Romare Bearden, Rigaud Bénoit, Charles Bible, John Biggers, Wilson Bigaud, Eloise Bishop, Robert Blackburn, Ramos Blanco (Uruguayan), James Bland, Leslie Bolling, Seymour Bottex, Elmer Brown, Fred Brown, Samuel Brown, Selma Burke, Calvin Burnett, E. Simms Campbell, William Carter, Elizabeth Catlett, Barbara Chase, Ernest Crichlow, Claude Clark, William Arthur Cooper, Eldzier Cortor, Ernest Crichlow, Allan Crite, Harvey Cropper, Charles Dawson, Joseph Delaney, Richard Dempsey, Lillian A. Dorsey, Aaron Douglas, Glanton Dowdell, Robert S. Duncanson, William Edmondson, William Farrow, Elton Fax, Fred Flemister, Allan Freelon, Meta Fuller, Rex Goreleigh [as Gorleigh], Bernard Goss, Eugene Grigsby, John Hardrick, Edwin Harleston, William Harper, Isaac Hathaway, Palmer Hayden, William Hayden, Vertis Hayes, Geoffrey Holder, Al Hollingsworth, Humbert Howard, Richard Hunt, May Jackson, Daniel Larue Johnson, Malvin Gray Johnson, Sargent C. Johnson, William H. Johnson, Joshua Johnston, Henry B. Jones, Lois Jones, Ronald Joseph, Paul Keene, Joseph Kersey, Oliver LaGrone, Jacob Lawrence, Clarence Lawson, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Edward Loper, John C. Lutz, Geraldine McCullough, Charles McGee, Lloyd McNeil, William Majors, Sam Middleton, Ronald C. Moody, Scipio Moorhead, Norma Morgan, Archibald Motley, Robert L. Neal, Hayward L. Oubré, Joe Overstreet, Pastor Argudin y Pedroso [as Argudin (Pastor) Pedrosa], Marion Perkins, Harper Phillips, Delilah Pierce, Horace Pippin, Robert Pious, James Porter, Elizabeth Prophet, Florence Purviance, John Robinson, Leo Robinson, Augusta Savage, William Edouard Scott, Georgette Seabrooke, Charles Sebree, Merton Simpson, William H. Simpson, Albert Alexander Smith, Marvin Smith, Thelma Johnson Streat, Henry O. Tanner, Bob Thompson, Dox Thrash [as Thrasher], Laura Waring, James Washington, James Wells [see also Lesesne Wells], Charles White, Jack Whitten, Walter Williams, Ellis Wilson, John Wilson, Hale Woodruff. HINE, DARLENE CLARK and KATHLEEN THOMPSON. A Shining Thread of Hope: The History of Black Women in America. New York: Broadway Books, 1998. 368 pp. Only passing notice of visual artists with brief mention of Selma Burke, May Howard Jackson, Edmonia Lewis, Georgette Powell, Harriet Powers, Elizabeth Prophet, Augusta Savage, Faith Ringgold, and others. 8vo, cloth, d.j. HOLMES, OAKLEY N., JR. Black artists in America. Part three [Film]. (1973), 1991. Artists in this segment include: Romare Bearden, Selma Burke, Elton Fax, Palmer Hayden, Richard Mayhew, Thomas Sills, Charles White, with shots of Charles Alston, Hughie Lee-Smith, Ernest Crichlow, Norman Lewis, Sam, Gilliam Jr., Ed Taylor. Re-release on video (transfer from original 16mm. film.) VHS-NTSC: Sd., col. 34 min. HOLMES, OAKLEY N., JR. The Complete Annotated Resource Guide to Black American art: Books, doctoral dissertations, exhibition catalogs, periodicals, films, slides, large prints, speakers, filmstrips, video tapes, Black museums, art galleries, and much more. Spring Valley, NY: Black Artists in America, 1978. iii, 275 pp. A bibliographical reference superceded by Igoe who incorporated all of this information. AAVAD has not yet consulted or copied this information into the database, except where the reference appeared through other sources. Note: numerous misspellings of artists' names. 8vo (23 cm.), glossy printed wraps; text mimeographed. First ed. IGOE, LYNN. Artis, Bearden & Burke: A Bibliography & Illustrations List. Durham: Museum of Art, North Carolina Central University, 1977. 49 pp. Groundbreaking bibliographic work on black artists. Covers William Artis, Romare Bearden, and Selma Burke. Accompanied the exhibition Heralds of Life: Artis, Bearden, and Burke, Central University Museum of Art, Durham, NC. 4to, stapled red wraps. Ivoryton (CT). ART Gallery Magazine. The ART Gallery Magazine [Vol. 13, no. 7, April 1970]. 1970. Special Afro-American issue, 2nd Double number. A16, 104 pp., b&w and color illus. Contains interviews with and statements by: John T. Biggers, Bernie Casey, Alvin Hollingsworth, Alma Thomas, Thomas Sills, Also included: Charles Alston, Emma Amos, Benny Andrews, Ralph M. Arnold, William E. Artis, Malcolm Bailey, Edward M. Bannister, Richmond Barthé, John T. Biggers, Betty Blayton, Selma Burke, Elizabeth Catlett, Dana Chandler, Barbara Chase-Riboud, Eldzier Cortor, Ernest Crichlow, Emilio Cruz, Avel DeKnight, Aaron Douglas, John E. Dowell, Robert S. Duncanson, Eugene Eda, William Edmondson, Minnie Evans, James Gadson, Reginald Gammon, Sam Gilliam, James Herring, Felrath Hines, Richard Hunt, William H. Johnson, Lois Mailou Jones, Paul Keene, Jacob Lawrence, Edmonia Lewis, Norman Lewis, Tom Lloyd, William Majors, Richard Mayhew, Archibald J. Motley, Donald McIlvaine, Lloyd McNeill, Jr., Ademola Olugebefola, Joe Overstreet, Horace Pippin, Patrick Henry Reason, John W. Rhoden, Thomas A. Sills, William H. Simpson, Alvin Smith, John Stevens, Henry Ossawa Tanner, Alma Thomas, Russell Thompson, Eugene Warburg, Charles White, Ellis Wilson, John W. Wilson, Hale A. Woodruff, and many more. 8vo (24 cm.; 9 x 6 in.), wraps. KING-HAMMOND, LESLIE and bell hooks. Gumbo Ya Ya: An Anthology of Contemporary African American Women Artists. New York: Midmarch Arts Press, 1995. 351 pp., over 300 illus. (11 in color), photo and /or illus., biogs., exhibs., and brief critical text for each artist, index. Intro. by Leslie King-Hammond. Essential reference listing of 152 women artists with brief entries by African American scholars and curators; more than a dozen others are mentioned in passing (see below primary list.) It should be mentioned that most performance artists, filmmakers, video artists, folk artists, quilters, most photographers, illustrators, and other categories such as the entire new generation of artists established in the decade preceding publication are omitted. Artists included in the primary listings: Emma Amos, Rose Auld, Xenobia Bailey, Mildred Baldwin, Ellen Banks, Trena Banks, Phoebe Beasley, Camille Billops, Betty Blayton, Lula Mae Blocton, Kabuya P. Bowens, Brenda Branch, Kay Brown, Vivian E. Browne, Beverly Buchanan, Selma Burke, Millie Burns, Margaret Burroughs, Carole Byard, Carol Ann Carter, Nanette Carter, Yvonne Pickering Carter, Yvonne Catchings, Elizabeth Catlett, Catti, Robin Chandler, Barbara Chase-Riboud, Marie Cochran, Virginia Cox, Pat Cummings, Mary Reed Daniel, Juette Day, Nadine DeLawrence, Julee Dickerson-Thompson, Marita Dingus, Yanla Dozier, Tina Dunkley, Malaika Favorite, Violet Fields, Ibibio Fundi, Olivia Gatewood, Jan Spivey Gilchrist, Michele Godwin, Gladys Barker Grauer, Renée Green, Ethel Guest, Cheryl Hanna, Inge Hardison, Bessie Harvey, Maren Hassinger, Cynthia Hawkins, Janet Henry, Candace Hill-Montgomery, Adrienne Hoard, Robin Holder, Jenelsie Holloway, Jacqui Holmes, Varnette Honeywood, Mildred Howard, Margo Humphrey, Irmagean, Suzanne Jackson, Martha Jackson-Jarvis, Marie Johnson-Calloway, Marva Lee Pitchford Jolly, Lois Mailou Jones, Barbara Jones-Hogu, Kai Kambel, Margaret Slade Kelly, Gwendolyn Knight, Ruth Lampkins, Artis Lane, Viola Leak, Dori Lemeh, Mary Le Ravin, Rosalind Letcher, Edmonia Lewis, Samella Lewis, Marcia Lloyd, Fern Logan, Lynn Marshall-Linnemeier, Valerie Maynard, Dindga McCannon, Geraldine McCullough, Vivian McDuffie, Joanne McFarland, Vicki Meek, Yvonne Meo, Eva Hamlin Miller, Corinne Howard Mitchell, Evangeline Montgomery, Norma Morgan, Lillian Morgan-Lewis, Jeanne Moutoussamy-Ashe, Deborah Muirhead, Sana Musasama, Marilyn Nance, Senga Nengudi, Lorraine O'Grady, Mary Lovelace O'Neal, Winifred Owens-Hart, Sandra Payne, Janet Taylor Pickett, Delilah Williams Pierce, Howardena Pindell, Adrian Piper, Rose Piper, Stephanie Pogue, Georgette Seabrooke Powell, Debra Priestly, Mavis Pusey, Helen Ramsaran, Patricia Ravarra, Faith Ringgold, Malkia Roberts, Aminah Robinson, Sandra Rowe, Alison Saar, Betye Saar, Eve Sandler, Joanne Scott, Joyce J. Scott, Cheryl Shackleton, Yolanda Sharpe, Gail Shaw-Clemons, Jewel Simon, Coreen Simpson, Lorna Simpson, Clarissa Sligh, Gilda Snowden, Sylvia Snowden, Shirley Stark, Janet Stewart, Renée Stout, Elisabeth Sunday, Ann Tanksley, Vivian Tanner, Anna Tate, Evelyn Terry, Freida High Tesfagiorgis, Alma Thomas, Barbara Thomas, Mildred Thompson, Renée Townsend, Yvonne Tucker, Ruth Waddy, Denise Ward-Brown, Fan Warren, Bisa Washington, Mary Washington, Joyce Wellman, Adell Westbrook, Linda Whitaker, Pat Ward Williams, Philemona Williamson, Deborah Willis, Shirley Woodson, [OTHERS mentioned in passing or in footnotes include the following: May Howard Jackson, Meta Warrick Fuller, Nancy Elizabeth Prophet, Annie Walker, Laura Waring, Irene Clark, Clementine Hunter, Harriet Powers, Gladys-Marie Fry, Cuesta Benberry, Rosalind Jeffries [as Roslind], Sister Gertrude Morgan, Inez Nathaniel-Walker, Nellie Mae Rowe, Mary T. Smith, Grannie Dear Williams. Mentions artists the editors hoped to include, but who weren't for various reasons: Amalia Amaki, Jacqueline Bontemps, Ora Williams Carter, Marva Cremer, Pat Davis, Kira Harris, Ruth Beckman Holloman, May Howard, Dolores Johnson, Jean Lacy, Toni Lane, Laurie Ourlicht, Virginia Smit, Ming Smith, Phyllis Thompson, Deborah Wilkins, and Viola M. Wood.] 4to (11 x 8.5 in ), wraps. First ed. LEWIS, SAMELLA. African American Art & Artists. Berkeley: University of California Press, 1990. 302 pp., 204 illus., many in color, substantial bibliog. A history of African American art from the seventeenth-century to the '90s. Revised and updated from Lewis's original publication Art: African American (1978). [See also entry on expanded edition, 2003]. Foreword by Floyd Coleman. Artists include: the slaves of Thomas Fleet, Boston,.Scipio Moorhead, Neptune Thurston, G.W.Hobbs (white artist), Joshua Johnston, Julien Hudson, Robert M. Douglass, Jr., Patrick Henry Reason, David Bustill Bowser, William Simpson, Robert S. Duncanson, Eugene Warburg, Edward Mitchell Bannister, Grafton Tyler Brown, Nelson A. Primus, Charles Ethan Porter, (Mary) Edmonia Lewis, Henry Ossawa Tanner, Meta Vaux Warrick (Fuller), William Edouard Scott, Laura Wheeler Waring, Aaron Douglas, Hale Woodruff, Palmer Hayden, Archibald Motley, Jr., Malvin Gray Johnson, Ellis Wilson, Sargent Claude Johnson, Augusta Savage, Richmond Barthé, William H. Johnson, James Lesesne Wells, Beauford Delaney, Selma Burke, Lois Mailou Jones, Alma Thomas, James A. Porter, William E. Artis, William Edmondson, Horace Pippin, Clementine Hunter, David Butler, Charles Alston, Norman Lewis, Romare Bearden, Hughie Lee-Smith, Eldzier Cortor, Jacob Lawrence, Charles White, Elizabeth Catlett, John Wilson, John Biggers, Ademola Olugebefola, Herman Kofi Bailey, Raymond Saunders, Lucille Malkia Roberts, David Driskell, Floyd Coleman, Paul Keene, Arthur Carraway, Mikelle Fletcher, Varnette Honeywood, Phoebe Beasley, Benny Andrews, Reginald Gammon, Faith Ringgold, Cliff Joseph, David Bradford, Bertrand Phillips, Manuel Hughes, Phillip Lindsay Mason, Dana Chandler, Malaika Favorite, Bob Thompson, Emilio Cruz, Leslie Price, Irene Clark, Al Hollingsworth, William Pajaud, Richard Mayhew, Bernie Casey, Floyd Newsum, Frank Williams, Louis Delsarte, William Henderson, Daniel LaRue Johnson, Joe Overstreet, Adrienne W. Hoard, Sam Gilliam, Mahler Ryder, Oliver Jackson, Eugene Coles, Vincent Smith, Calvin Jones, Pheoris West, Noah Purifoy, Ed Bereal, Betye Saar, Ron Griffin, John Outterbridge, Marie Johnson, Ibibio Fundi, John Stevens, Juan Logan, John Riddle, Richard Hunt, Mel Edwards, Allie Anderson, Ed Love, Plla Mills, Doyle Foreman, Barbara Chase-Riboud, Artis Lane, John Scott, William Anderson, Martin Puryear, Thomas Miller, Fred Eversley, Larry Urbina, Ben Hazard, Sargent Johnson, Doyle Lane, Willis (Bing) Davis, Curtis Tucker, Yvonne Tucker, Bill Maxwell, Camille Billops, James Tatum, Douglas Phillips, Art Smith, Bob Jefferson, Evangeline Montgomery, Manuel Gomez, Joanna Lee, Allen Fannin, Leo Twiggs, James Tanner, Therman Statom, Marion Sampler, Arthur Monroe, James Lawrence, Marvin Harden, Raymond Lark, Murray DePillars, Donald Coles, Joseph Geran, Ron Adams, Kenneth Falana, Ruth Waddy, Van Slater, Joyce Wellman, William E. Smith, Leon Hicks, Marion Epting, Russell Gordon, Stephanie Pogue, Devoice Berry, Margo Humphrey, Howard Smith, Jeff Donaldson, Lev Mills, Carol Ward, David Hammons, Michael Kelly Williams, Laurie Ourlicht, Gary Bibbs, Houston Conwill, Mildred Howard, Martha Jackson-Jarvis, Alison Saar, Lorenzo Pace. 4to (28 cm.), wraps. 2nd edition (Revised). Reprinted 1994. LEWIS, SAMELLA. Art: African American. Los Angeles: Hancraft, 1990. x (ii), 298 pp., 294 illus. (104 in color), bibliog. Excellent survey of African American art as of the mid-70s, with a discriminating selection of plates. Unfortunately very poor quality reproductions. [All 169 artists are cross-referenced, although not separately listed here.) 4to, wraps. Second revised ed. 1990 LOGAN, FERN, MARGARET R. VENDRYES and DEBORAH WILLIS. The Artist Portrait Series: Images of Contemporary African American Artists. Carbondale: Southern Illinois University Press, 2001. xviii, 122 pp., 61 b&w illus., index. Foreword by Margaret Rose Vendryes; intro. by Deborah Willis. Portrait images by photographer Fern Logan. Subjects include: Candida Alvarez, Emma Amos, Benny Andrews, Ellsworth Ausby, Romare Bearden, Dawoud Bey Camille Billops, Bob Blackburn, Vivian Browne, Selma Burke, Nanette Carter, Elizabeth Catlett, Ed Clark, Eldzier Cortor, Adger Cowans, Ernest Crichlow, Roy DeCarava, Louis Delsarte, Joseph Delaney, Melvin Edwards, Herbert Gentry, Rosa Guy, Manuel Hughes, Richard Hunt, Bill Hutson, Lois Mailou Jones, Gwendolyn Knight (as Gwendolyn Lawrence), Jacob Lawrence, Samella Lewis, James Little, Al Loving, Fern Logan, Andrew Lyght, Richard Mayhew, Arthur Mitchell, Tyrone Mitchell, Jeanne Moutoussamy-Ashe, Gordon Parks, Howardena Pindell, John Pinderhughes, Faith Ringgold, Betye Saar, Coreen Simpson, Merton Simpson, Charles Smalls, Vincent Smith, Frank Stewart, Raymond Bo Walker, Jack Whitten, William T. Williams, Mel Wright, and others. 4to (27 cm.; 10 x 8 in.), cloth, d.j. First ed. LONG, RICHARD, et al. African American Works on Paper from the Cochran Collection. Lagrange, 1991. 74 pp., 47 full-page illus. (6 in color), biogs. of 64 artists in this substantial collection. Intro. by Richard Long; texts by Judith Wilson, Camille Billops, Robert Blackburn. Includes 66 major 20th-century artists (including 16 women artists and a few less well-known artists): Charles Alston, Emma Amos, Benny Andrews, Trena Banks, Romare Bearden, John Biggers, Camille Billops, Betty Blayton, Moe Brooker, Vivian Browne, Beverly Buchanan, Selma Burke, Nanette Carter, Elizabeth Catlett, Ed Clark, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, John Dowell, Allan Edmunds, Melvin Edwards, Elton Fax, Herbert Gentry, Sam Gilliam, Maren Hassinger, Manuel Hughes, Richard Hunt, Wilmer Jennings, Lois Mailou Jones, Mohammad Khalil, Ronald Joseph, Jacob Lawrence, Norman Lewis, James Little, Whitfield Lovell, Al Loving, Richard Mayhew, Norma Morgan, Frank Neal, Mary Lovelace O'Neal, Joe Overstreet, Howardena Pindell, Stephanie Pogue, Richard Powell, Mavis Pusey, Faith Ringgold, Aminah Robinson, Betye Saar, Al Smith, Walter Agustus Simon, Morgan Smith, Marvin Smith, Vincent Smith, Luther Stovall, Alma Thomas, Mildred Thompson, James Lesesne Wells, Charles White, Jack Whitten, Walter Williams, William T. Williams, John Wilson, Hale Woodruff, Hartwell Yeargans. [16+ venue touring exhibition beginning at: Lamar Dodd Art Center, LaGrange College, La Grange, GA, March 3-31, 1991; Columbia Museum of Art, Columbia, SC; Lauren Rogers Museum, Laurel, MI; Hickory Museum of Art, Hickory, NC; Museum of the South, Mobile, AL; Museum of Arts and Sciences, Macon, GA; Greenville Museum of Art, Greenville, SC; Danville Museum of Fine Arts and History, Danville, VA; Gadsden Museum of Art, Gadsden, AL; Polk Museum of Art, Lakeland, FL; Gibbes Museum of Art, Charleston, SC; Cleveland Institute of Art, Cleveland, OH; York County Museum of Art, Rock Hill, SC; Pensacola Museum of Art, Pensacola, FL; Marietta-Cobb Museum of Art, Marietta, GA; Indiana State University, Terre Haute, IN; Miami Univeristy Museum of Art, Oxford, OH; Washington and Lee University, Lexington, VA; Jacksonville Museum of Art, Jacksonville, FL; William and Mary College, Williamsburg, VA; Northwest Visual Arts Center, Panama City, FL; Gertrude Herbert Institute, Augusta, GA; Springfield Art Museum, Springfield, MO; Beach Museum of Art, Manhattan, KS; Montgomery Museum of Art, Montgomery, AL; New Visions Gallery, Atlanta, GA.] 4to (28 x 22 cm.), wraps. First ed. LOS ANGELES (CA). California African American Museum. Three Generations of African American Women Sculptors: A Study in Paradox. September 5-November 16, 1997. Group exhibition. Co-curated by Tritobia Hayes Benjamin. Seventy-four sculptures from the following artists: Mary Edmonia Lewis, Meta Warrick Fuller, May Howard Jackson, Augusta Savage, Nancy Elizabeth Prophet, Beulah Woodard, Selma Hortense Burke, Elizabeth Catlett, Geraldine McCullough and Barbara Chase-Riboud. [Traveled to: The Equitable Gallery, NY; Telfair Museum of Art, Savannah, December 9, 1997-February 15, 1998; Smithsonian, Washington, DC.] LOS ANGELES (CA). Los Angeles County Museum of Art (LACMA). The Figure in American Sculpture: A Question of Modernity. February 26-April 30, 1995. Exhib. cat., checklist, biogs. of all artists. Texts by Ilene Susan Fort, Mary L. Lenihan, Marlene Park, Susan Rather, Roberta K. Tarbell. Artists include: William Artis, Richmond Barthé, Leslie Bolling, Selma Burke, William Edmondson, Meta Vaux Warrick Fuller, May Howard Jackson, Malvin Gray Johnson, Sargent Johnson, Samella Lewis, James Porter, Elizabeth Prophet, Augusta Savage, Henry Ossawa Tanner. [Exhibition traveled to Montgomery Museum of Fine Arts, AL, June 22-Sept. 10; Wichita Art Museum, KS, Oct. 22, 1995-Jan. 7, 1996; National Academy of Design, Feb. 15-May 5, 1996.] MORRISON, ALLAN. Women in the Arts. 1966. In: Ebony 21, no. 10 (August, 1966):90-94. Includes 16 artists with photos of five: Augusta Savage, Selma Burke, Barbara Chase-Riboud, Geraldine McCullough, Laura Wheeler Waring; mentions Meta Warrick Fuller, Edmonia Lewis. Elizabeth Catlett, May Howard Johnson, Georgette Seabrook, Betty Blayton, Vivian Browne, Norma Morgan, performers such as Josephine Baker, dancers and others. 4to, wraps. MOSS, CARLTON [Dir. and prod.]. Portraits in Black: Paul Lawrence Dunbar; Two Centuries of Black American Art; Gift of the Black Folk (Video). Pyramid Film & Video, 1987. Three separate films on one video. 1. Paul Laurence Dunbar (1978). Produced and directed by William Hurtz and Carlton Moss. Readings and dramatizations from the poetry and other writings of Paul Laurence Dunbar. 2. Two Centuries of Black American Art (1976). Presents many of the works shown in the exhibition Two centuries of Black American art, with brief biographical sketches of some of the artists included [segments by artists Aaron Douglas, Selma Burke, Romare Bearden, Alma Thomas, John Rhoden, Lois M. Jones, Jacob Lawrence, Richmond Barthé and Charles White.] 3. Portrays the lives and accomplishments of Frederick Douglass, Harriet Tubman and Denmark Vesey in their fight against slavery. VHS-NTSC: color; sd; 60 min. Previously released individually as 16 mm. motion pictures, 1976-1978. MYERS, CAROL L., compiled and ed. Black Power in the Arts. Flint (MI): Flint Board of Education, 1970. ix, 105 pp., illus. 8vo (21 cm.), wraps. NEW ORLEANS (LA). Amistad Research Center and the New Orleans Museum of Art. Beyond the Blues: Reflections of Africa America in the Fine Arts Collection of the Amistad Research Center. April 11-July 11, 2010. 188 pp., 316 illus. (302 in color). This publication serves both as a catalogue of the exhibition and also as documentation of the majority of works in the Amistad's collection. Foreword by David C. Driskell; texts by curator Margaret Rose Vendryes, Lowery Stokes Sims, Michael D. Harris, and Renee Ater. See exhibition checklist: http://www.amistadresearchcenter.org/beyond_the_blues/works.html. 4to, boards. Ed. of 1000. NEW YORK (NY).. The New York Public Library African American Desk Reference. Wiley, 1999. Includes a short and dated list of the usual 110+ artists, with a considerable New York bias, and a random handful of Haitian artists, reflecting the collection at the Schomburg: architect Julian Francis Abele. Josephine Baker, Edward M. Bannister, Amiri Baraka, Richmond Barthé, Jean-Michel Basquiat, Romare Bearden, John T. Biggers, Camille Billops, Bob Blackburn, Betty Blayton, Frank Bowling, Grafton Tyler Brown, Selma Burke, Margaret Burroughs, David Butler, Elizabeth Catlett, Barbara Chase-Riboud, Edward Clark, Robert Colescott, Ernest Crichlow, Emilio Cruz, William Dawson, Roy DeCarava, Beauford Delaney, Joseph Delaney, Aaron Douglas, John Dowell, Robert S. Duncanson, John Dunkley, William Edmondson, Melvin Edwards, Minnie Evans, Meta Vaux Warrick Fuller, Sam Gilliam, Henry Gudgell, David Hammons, James Hampton, William A. Harper, Bessie Harvey, Isaac Hathaway, Albert Huie, Eugene Hyde, Jean-Baptiste Jean, Florian Jenkins, Sargent Johnson, William H. Johnson, Joshua Johnston, Lois Mailou Jones, Lou Jones, Napoleon Jones-Henderson, Ronald Joseph, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Georges Liautaud, Seresier Louisjuste, Richard Mayhew, Jean Metellus, Oscar Micheaux, David Miller, Scipio Moorhead, Archibald J. Motley, Abdias do Nascimento, Philomé Obin, Joe Overstreet, Gordon Parks, David Philpot, Elijah Pierce, Howardena Pindell, Horace Pippin, James A. Porter, David Pottinger, Harriet Powers, Martin Puryear, Gregory D. Ridley, Faith Ringgold, Sultan Rogers, Leon Rucker, Alison Saar, Betye Saar, Raymond Saunders, Augusta Savage, William Edouard Scott, Senegalese filmmaker Ousmane Sembene, Ntozake Shange, Philip Simmons, Lorna Simpson, Moneta J. Sleet, Vincent D. Smith, Micius Stéphane, Renée Stout, SUN RA, Alma Thomas, Neptune Thurston, Mose Tolliver (as Moses), Bill Traylor, Gerard Valcin, James Vanderzee, Melvin Van Peebles. Derek Walcott, Kara Walker, Eugene Warburg, Laura Wheeler Waring, James W. Washington, Barrington Watson, Carrie Mae Weems, James Lesesne Wells, Charles White, Jack Whitten, Lester Willis, William T. Williams, John Wilson, Hale Woodruff, Richard Yarde. 8vo (9.1 x 7.5 in.), cloth, d.j. NEW YORK (NY). City College, CUNY. The Evolution of Afro-American Artists; 1800-1950. 1967. 70 pp., 47 full-page b&w illus., biogs. and checklist of works exhibited. Co-curated by Romare Bearden and Carroll Greene, Jr. Includes: 6 works of African heritage art and 54 artists: Joshua Johnson (as Johnston), Edward M. Bannister, Edmonia Lewis, Robert S. Duncanson, William Simpson, Henry Ossawa Tanner, Meta Warrick Fuller, Aaron Douglas, Richmond Barthé, Palmer Hayden, Hale Woodruff, Archibald Motley, Augusta Savage, William E. Scott, Albert Smith, James A. Porter, Allan Rohan Crite, Malvin Gray Johnson, William H. Johnson, O. Richard Reid, Laura Waring, William E. Braxton, James L. Wells, Edwin A. Harleston, Lois Mailou Jones, Hughie Lee-Smith, Fred Flemister, John T. Biggers, Jacob Lawrence, Romare Bearden, Charles Alston, Charles White, John Wilson, Elizabeth Catlett, William Artis, William Edmondson (as Edmonson), Horace Pippin, Earle Richardson (as Earl), Claude Clark, Ernest Crichlow, Ellis Wilson, Robert Blackburn, Robert S. Pious, Norman Lewis, Beauford Delaney, Joseph Delaney, Selma Burke, Eldzier Cortor, Ronald Joseph, Humbert Howard, Heywood Rivers, Richard Mayhew, Merton D. Simpson, and John Farrar. NEW YORK (NY). Clocktower Gallery, P.S.1. Progressions: A Cultural Legacy. February 13-March 15, 1986. 20 pp. exhib. cat. Sponsored by Women's Caucus for Art. A tribute to black women pioneers in the visual arts and their many talented descendants. 5 b&w illus., checklist of 31 works by 31 different artists. Curated by Julia Hotten, Vivian Browne, Emma Amos. An exhibition sponsored by the WCA to celebrate the centennial anniversary of the Statue of Liberty and Black History Month. Groundbreaking exhibition of work by black women artists. Included: Emma Amos, Selma Burke, Vivian Browne, Nanette Carter, Maren Hassinger, Cynthia Hawkins, Janet Henry, Robin Holder, Lois Mailou Jones, Fern Logan, Sandra Payne, Janet Taylor Pickett, Howardena Pindell, Faith Ringgold, et al. 12mo, stapled wraps. First ed. NEW YORK (NY). Downtown Gallery. American Negro Art, 19th and 20th Centuries. December 9, 1941-January 3, 1942. Exhib. cat. The first show of African American art held at a mainstream commercial gallery, the exhibition, curated by gallery owner Edith Halpert, was sponsored by a committee of prominent white patrons including Mayor Fiorello La Guardia, Archibald MacLeish, A. Philip Randolph, and Eleanor Roosevelt. Among its aims were to raise money for the Negro Art Fund, to promote museum acquisitions of work by Black artists, and to encourage galleries to represent the living participants. In addition to providing its facilities, the Downtown Gallery donated all sales commissions to the Negro Art Fund and added Jacob Lawrence to its roster of artists at this time. Artists included: 19th century: Edward Bannister, Robert Duncanson, Edwin Harleston, William H. Simpson, Henry O. Tanner; 20th century: Charles Alston, Henry Avery, Romare Bearden, Samuel J. Brown, William S. Carter, Elizabeth Catlett, Felton Coleman, Eldzier Cortor, Cleo Crawford, Ernest Crichlow, Allan Crite, Charles Davis, Beauford Delaney, Joseph Delaney, Palmer Hayden, Malvin Gray Johnson, William H. Johnson, Ron Joseph, Paul Keene, Joseph Kersey, Jacob Lawrence, Norman Lewis, Elba Lightfoot, Archibald Motley, Frederick Perry, Horace Pippin, Charles Sebree, George N. Victory, Charles White, Ellis Wilson, Hale Woodruff. Printmakers: Robert Blackburn, John Borican, Claude Clarke, Wilmer Jennings, Bryant Pringle, Raymond Steth, Dox Thrash, James L. Wells. Sculptors: William Artis, Richmond Barthé, Selma Burke, William Edmondson, Sargent Johnson, Martha Manning, Augusta Savage, John Henry Smith. [See copy of catalogue in National Museum of American Art, Smithsonian, vertical files.] [Listed in Magazine of Art 34 (Nov. 1941):497 with incorrect dates. Review in Art Digest, December 15, 1941, praises the show, but in exceedingly demeaning racist language: "The American Negro has at last spoken in art -- firmly and distinctively, his voice having as definite an intonation with colors as his soul has in singing and dancing. His choice of dazzling colors is just as typical as his exaggerated sense of humor, his strut and guffaw; his concern with the burdened just as characteristic as his pleading songs to his Maker." NEW YORK (NY). Ebony Editors. Ebony Handbook. Chicago: Johnson Publisnt Company Pub., 1974. Of historical interest only. Includes over 150 artists, more than double the number who were included in Ebony's Negro Handbook of 1966. Nonetheless, this represents a very limited selection compared with the St. Louis Index (1972) and Cederholm (1973) which had been published in the two years immediately preceeding this revision. Includes: Charles Alston, Eileen Anderson, Ralph Arnold, William E. Artis, Kwasi Asante, Richmond Barthé, Romare Bearden, Sherman Beck, Ben Bey, Michelle C. Bey, John T. Biggers, Gloria Bohanon, Lorraine Bolton, Shirley Bolton, Elmer Brown, Samuel J. Brown, Herbert Bruce, Joan Bryant, Selma Burke, Calvin Burnett, Margaret Burroughs, Nathaniel Bustion, William S. Carter, Elizabeth Catlett, Barbara Chase-Riboud, Benjamin Clark, Claude Clark, Irene V. Clark, Floyd Coleman, Eldzier Cortor, Samuel Countee, G. C. Coxe, Ernest Crichlow, Allan Rohan Crite, Alonzo J. Davis, Charles C. Dawson, Richard Dempsey, J. Brooks Dendy, Jeff Donaldson, Harold S. Dorsey, Aaron Douglas, Annette Ensley, Marion Epting, P. Fernand (listed only in this publication), Frederick C. Flemister, Ausbra Ford, Leroy Foster, Meta Vaux Fuller, Rex Goreleigh, Joseph E. Grey, J. Eugene Grigsby, John W. Hardrick, Oliver Harrington, Frank Hayden, Palmer Hayden, Vertis C. Hayes, Eselean Henderson, Alvin C. Hollingsworth, Humbert Howard, Kenneth Howard (in this publication only), Richard Hughes, Richard Hunt, J.D. Jackson, Wilmer Jennings, Lester L. Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Ben Jones, Lawrence Jones, Lois Maillou Jones, Mark Jones, Charles Keck, James E. Kennedy, Joseph Kersey, Henri Umbaji King, Omar Lama, Jacob Lawrence, Clifford Lee, Hughie Lee-Smith, Leon Leonard, Edmonia Lewis, Norman Lewis, Edward L. Loper, Anderson Macklin, William Majors, Stephen Mayo, Geraldine McCullough, Eva Hamlin Miller, Rosetta Dotson Minner, Corinne Mitchell, James Mitchell, Norma Morgan, Jimmie Mosely, Archibald J. Motley, Dindga McCannon, David Normand, Hayward Oubre, Sandra Peck, Marion Perkins, Alvin Phillips, Delilah Pierce, Horace Pippin, James A. Porter, Georgette Seabrooke Powell, Leo Twiggs, Al Tyler, Anna Tyler, Steve Walker, John Wilson, Hale Woodruff, Kenneth V. Young, et al. NEW YORK (NY). Gallery 62, National Urban League. Golden Opportunity. September 18-November 30, 1978. Unpag. (6 pp.) exhibition brochure, 1 b&w front panel illus. (Motley, The Jockey Club, Paris, c.1929), checklist of 26 works by 15 artists (loaned from the Schomburg Center, Terry Dintenfass Gallery, Merton D. Simpson Gallery, and Just Above Midtown Gallery). Includes: Charles Alston (1 work), Richmond Barthé (2 works), Romare Bearden (1 work), William Braxton (1 work), Selma Burke (1 work), Aaron Douglas (Cathedral, Port au Prince, 1938; Coll. Mr. & Mrs. Henry Lee Moon), Palmer Hayden (2 works), Jacob Lawrence (2 works), Archibald Motley (1 work), Augusta Savage (3 works), William E. Scott (1 work), Albert A. Smith (4 works), Henry O. Tanner (4 works), Charles White (1 work), Hale Woodruff (The Card Players, 1978; Coll. artist). A show of artists whose work appeared in the pages of Opportunity: Journal of Negro Life from 1923-1949. The inaugural exhibition of this important midtown venue for Black art during the 1970s and 1980s. Single bi-fold sheet (8.5 x 24 in.), printed on both sides. NEW YORK (NY). Kenkeleba House. Unbroken Circle: Exhibition of African American Artists of the 1930's and 1940's. 1986. 36 pp., 55 b&w illus., checklist of work by 56 artists (including 10 women artists). Intro. Corinne Jennings; text by David C. Driskell, and beautiful memoir by curator / artist Vincent D. Smith. Well-chosen examples of each artist's work. Includes: Charles Alston, Richmond Barthé, Romare Bearden, John Biggers, Robert Blackburn, William Braxton, Selma Burke, Samuel J. Brown, Elizabeth Catlett, Claude Clark, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Beauford Delaney, Joseph Delaney, Richard Dempsey, Reba Dickerson-Hill, Aaron Douglas, Elton Fax, Charlotte White Franklin, Meta Fuller, Herbert Gentry, Rex Goreleigh, Palmer Hayden, Humbert L. Howard, May Howard Jackson, Wilmer A. Jennings, Malvin G. Johnson, William H. Johnson, Lois Mailou Jones, Paul Keene, Jacob Lawrence, Hughie Lee-Smith, James Lewis, Norman Lewis, Joan Maynard, Archibald Motley, Delilah Pierce, Robert Pious, Georgette Powell, Daniel Pressley, Donald Reid, John Rhoden, Charles Sebree, Thomas Sills, Alma Thomas, Dox Thrash, Masood A. Warren, James Wells, Charles White, Walter Williams, Ed Wilson, Ellis Wilson, John Wilson, Hale Woodruff. Text includes discussion of some additional artists: Robert Duncanson, Edmonia Lewis, Henry Tanner, Valerie Maynard, James Porter. 4to, stapled wraps. First ed. NEW YORK (NY). Lever House. Sculpture '81. February 18-March 16, 1981. Exhib. cat., illus., biogs. Intro. by Doris McKelvy and Jack E. Jordan. Group exhibition curated by Bertina Hunter. Included: Richmond Barthé, Camille Billops (photo), Selma Burke, Betty Blayton, Elizabeth Catlett, James Denmark, Mel Edwards, Inge Hardison, Richard Hunt, Myra Ivory, Jack Jordan, Robert W. Kelly, Jerome B. Meadows, Arnold Prince, Tyrone Mitchell, John Rhoden, Lloyd Toone, Bo Walker, Masood Ali Warren, Frank Wimberley, Estella V. Wright. NEW YORK (NY). McMillen Inc. Negro Art: Contemporary. October 16-November 7, 1941. 4 pp. exhib. cat., checklist of 50 paintings and 6 sculptures. Includes three works by Selma Burke, and more than one work by each of the following: Joseph Delaney, Lorraine Williams, Ramon Gabriel, Beauford Delaney, William Carter, Romare Bearden, Eldzier Cortor, William H. Johnson, Norman Lewis, Joseph Artur Kersey, Charles Sebree, along with numerous others such as John Carlis, Ernest Crichlow, Charles T. Haig, Ronald Joseph. [Review: James W. Lane, "Afro-American Art on Both Continents: The Great Contribution of the Artistic Negro," Art News 40 (October 15, 1941):25.] 8vo, blue paper wraps. First ed. NEW YORK (NY). Michael Rosenfeld Gallery. African American Art, 20th century Masterworks, VI. January 14-March 6, 1999. 60 pp., 41 color plates, 36 b&w illus. Foreword by Michael Rosenfeld. Artists include: Charles Alston, Benny Andrews, Richmond Barthé, Romare Bearden, Selma Burke, Elizabeth Catlett, Eldzier Cortor, Harold Cousins, Allan Rohan Crite, Beauford Delaney, Sam Gilliam, Palmer Hayden, Richard Hunt, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Betye Saar, William Edouard Scott, Henry Ossawa Tanner, Bob Thompson, Bill Traylor, James VanDerZee, Charles White and Hale Woodruff. [Traveled to Flint Institute of Art, Flint, MI.] 8vo (23 cm.; 8.5 x 6 in.), pictorial stiff wraps. First ed. NEW YORK (NY). Michael Rosenfeld Gallery. African-American Art: 20th Century Masterworks, VII. Educating our children. January 13-March 4, 2000. 70 pp., color illus., bibliog. Charles Alston, Benny Andrews, William E. Artis, Richmond Barthé, Romare Bearden, John Biggers, Selma Burke, Elizabeth Catlett, Eldzier Cortor, Harold Cousins, Beauford Delaney, Joseph Delaney, Palmer Hayden, Sargent Johnson, William H. Johnson, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Edward Loper, Marion Perkins, Horace Pippin, Betye Saar, Albert Alexander Smith, Henry Ossawa Tanner, Alma Thomas, Bob Thompson, Bill Traylor, James VanDerZee, Laura Wheeler Waring, Charles White, Ellis Wilson, Hale Woodruff. [Traveled to Appleton Museum, Florida State University, Ocala, FL.] 8vo (23 cm., 8.5 x 6 in.), pictorial stiff wraps. First ed. NEW YORK (NY). Schomburg Center for Research in Black Culture. Augusta Savage and the Art Schools of Harlem. October 9, 1988-January 28, 1989. 27 pp. exhib. cat., 19 b&w illus. (including cover photo of artist at work), notes, exhib. checklist of 76 works by Savage and her students, plus 20 photographs and artifacts. Curated by Dierdre L. Bibby; texts by Bibby, Juanita Marie Holland (detailed chronology of the artist's art and life (1892-1962). Her students and close colleagues include: Charles Alston, William Artis, Henry Bannarn, Romare Bearden, Selma Burke, Edward Christmas, Ernest Crichlow, Elton Fax, Ronald Joseph, Gwendolyn Knight, Jacob Lawrence, Norman Lewis, Francisco P. Lord, George J. A. Murray, Robert Pious, Georgette Seabrooke Powell, Marvin Smith, Morgan Smith, James Lesesne Wells, Ellis Wilson. An accomplished sculptor in her own right, Savage was considered the most influential artist in Harlem during the 1930s. Her art classes, Federal Art Project work, directorship of the Harlem Contemporary Art Center and the Salon of American Negro Art, and many more activities contributed immeasurably to the advance of African American art in this century. 4to, wraps. First ed. NEW YORK (NY). Schomburg Center for Research in Black Culture. Black New York Artists of the 20th Century: Selections from the Schomburg Center Collections. November 19, 1998-March 31, 1999. 96 pp. exhib. cat., 127 illus. (36 in color), bibliog. Ed. and text by curator Victor N. Smythe. Includes 125 artists: Tina Allen, Charles Alston, Emma Amos, Benny Andrews, Ellsworth Ausby, Abdullah Aziz, Xenobia Bailey, Ellen Banks, Richmond Barthé, Romare Bearden, Camille Billops, Bob Blackburn, Kabuya Bowens, William E. Braxton, Kay Brown, Selma Burke, Carole Byard, Elmer Simms Campbell, Nanette Carter, Elizabeth Catlett, Violet Chandler, Colin Chase, Schroeder Cherry, Ed Clark, Houston Conwill, Eldzier Cortor, Ernest Crichlow, Emilio Cruz, Michael Cummings, Diane Davis, Lisa Corinne Davis, Francks Francois Deceus, Avel C. DeKnight, Beauford Delaney, Joseph Delaney, Louis Delsarte, James Denmark, Aaron Douglas, Taiwo Duvall, Melvin Edwards, Elton Fax, Tom Feelings, Robert T. Freeman, Herbert Gentry, Rex Goreleigh, Theodore Gunn, Inge Hardison, Oliver Harrington, Verna Hart, Palmer Hayden, Carl E. Hazlewood, Alvin C. Hollingsworth, Manuel Hughes, Bill Hutson, Harlan Jackson, Laura James, Wadsworth Jarrell, Jamillah Jennings, M.L.J. Johnson, Malvin Gray Johnson, Oliver Johnson, Gwen Knight, Jacob Lawrence, Cecil Lee, Hughie Lee-Smith, Richard Leonard, Norman Lewis, Bell Earl Looney, Valerie Maynard, Dindga McCannon, Sam Middleton, Onaway K. Millar, Louis E. Mimms, Tyrone Mitchell, Mark Keith Morse, George J.A. Murray, Sr., Sana Musasama, Otto Neals, Jide Ojo, Ademola Olugebefola, James Phillips, Anderson Pigatt, Robert S. Pious, Rose Piper, Georgette Seabrooke Powell, Debra Priestly, Ronald Okoe Pyatt, Abdur-Rahman, Patrick Reason, Donald A. Reid, Earle Richardson, Faith Ringgold, Winfred J. Russell, Alison Saar, Augusta Savage, Charles Searles, Charles Sebree, James Sepyo, Milton Sherrill, Danny Simmons, Deborah Singletary, Albert Alexander Smith, Mei Tei Sing-Smith, Vincent Smith, Tesfaye Tessema, Dox Thrash, Haileyesus Tilahun, Bo Walker, Arlington Weithers, James Lesesne Wells, Charles White, Emmett Wigglesworth, Billy Doe Williams, Grace Williams, Michael Kelly Williams, Walter H. Williams, William T. Williams, Ellis Wilison, George Wilson, Ron and Addelle Witherspoon, Hale Woodruff. as well as work by members of the collectives Spiral and Weusi and the early '70s exhibit by black women artists called Where We At, and dozens more. 4to (28 x 22 cm.), pictorial wraps. First ed. NEW YORK (NY). Studio Museum in Harlem. Challenge of the Modern: African American Artists, 1925-1946. January 23-March 30, 2003. 125 pp., illus. (many in color), bibliog. Texts by Lowery Stokes Sims, Rocio Aranda-Alvarado, Leronn Brooks, Leslie King-Hammond and Helen Shannon. Artists include: James Latimer Allen, Charles Alston, William Artis, Richmond Barthé, Romare Bearden, Robert Blackburn, Samuel Joseph Brown, Jr., Selma Burke, Albert I. Cassell, Elizabeth Catlett, Eldzier Cortor, Stuart Davis, Beauford Delaney, Aaron Douglas, William Edmondson, Louis Fry, Palmer Hayden, Clementine Hunter, Sargent Johnson, William H. Johnson, Lois Mailou Jones, Anna Russell Jones, Wifredo Lam, Jacob Lawrence, Norman Lewis, Howard Mackey, Edna Manley, Robert McNeil, Archibald Motley, Bruce Nugent, Philomé Obin, Hayward Oubré, Horace Pippin, Elizabeth Prophet, Winnold Reiss (white), Hilyard Robinson, Charles Sebree, Morgan and Marvin Smith, James Vanderzee, Carl Van Vechten (white), James Lesesne Wells, Charles White, Ellis Wilson, Clarence "Cap" Wigington, Hale Woodruff. 4to (11 x 8.5 in.; 30 cm.), wraps. First ed. NEWARK (DE). University Gallery, University of Delaware. Uncommon Bonds: Expressing African American Identity. January 15-March 7, 1999. 17 artists including 7 African American artists: James VanderZee, Romare Bearden, Selma Burke, Allan Rohan Crite, Lonnie Holley, Adrian Piper, Lorna Simpson. Exhibition mounted in conjunction with a six-hour public television series entitled, "I'll Make Me a World," produced by Blackside, Inc. NEWARK (DE). University Museum, University of Delaware. A Century of African American Art: The Paul R. Jones Collection. New Brunswick: Rutgers University Press, 2004. 259 pp., mostly color plates throughout, artists' biogs., bibliog., notes on contributors, index. Ed. by Amalia Amaki, curator of the collection, with additional texts by Sharon Pruitt, Ann E. Gibson, Ikem Stanley Okoye, Marcia R. Cohen and Diana McClintock, Carla Williams, Winston Kennedy. Artists include: Jim Alexander, William J. Anderson, Benny Andrews, Heman Kofi Bailey, Romare Bearden, Camille Billops, Frank Bowling, Benjamin Britt, Selma Burke, Margaret Burroughs, Doughba H. Caranda-Martin, Nanette Carter, Elizabeth Catlett, David Driskell, Michael Ellison, John W. Feagin, Reginald Gammon, Samuel Guilford, Earl J. Hooks, Margo Humphrey, Bill Hutson, Amos "Ashanti" Johnson, P.R. Jones, Jacob Lawrence, Samella Lewis, James Little, Lionel Lofton, Edward Loper, Aimee Miller, Jimmie Lee Mosely, Ming Smith Murray, Ayokunle Odeleye, Harper T. Phillips, Howardena Pindell, Prentice H. Polk, Alvin Smith, Cedric Smith, Henry Ossawa Tanner, Leo Twiggs, James Vanderzee, Carrie Mae Weems, Charles White, John Wilson, Hale Woodruff, et al. [Traveled to numerous venues including: Spelman College Museum of Art, Atlanta, GA, September 8-December 10, 2005; Hilliard University Art Museum, Lafayette, LA, September 7-December 29, 2007.] 4to (29 cm.), cloth, d.j. First ed. NEWARK (DE). University of Delaware. African American Art: The Paul R. Jones Collection. February 11-April 4, 1993. 24 pp., 20 b&w illus., 4 color plates, biogs., bibliog., notes, checklist of 74 items by 53 artists, mostly prints, drawings, and photographs. Text by William I. Homer. Artists include: Amalia Amaki, William Anderson, Benny Andrews, Trena Banks, Romare Bearden, Camille Billops, Frank Bowling, Beverly Buchanan, Selma Burke, Margaret T. Burroughs, Nanette Carter, William Carter, Elizabeth Catlett, Roy DeCarava, Edwin Augustus Harleston, Wadsworth Jarrell, Jacob Lawrence, James Little, Lev Mills, Evelyn Mitchell, Sister Gertrude Morgan, Heyward Oubré, Howardena Pindell, P. H. Polk, John Riddle, Betye Saar, Addison Scurlock, Jewel Simon, Freddie L. Styles, Henry Ossawa Tanner, Leo Twiggs, Charles White, Jack Whitten, Hale Woodruff. 4to, stapled wraps. First ed. NORFOLK (VA). Norfolk Museum of Arts and Sciences. Contemporary Sculpture: 16 Americans: Exhibition. International Business Machines Corporation, 1949. [8] pp. exhib. cat. 16 works exhibited, artists' biogs. Exhibition drawn from the IBM Collection. Half of the artists are African American: Charles Alston, William E. Artis, Henry W. Bannarn, Richmond Barthé, Selma Burke, Sargent Johnson, Clarence Lawson, Marion Perkins. 8vo, wraps. OAKLAND (CA). Ebony Museum of Art. In Celebration of the African-American Artist, Expo 1989. 1989. Unpag. (52 pp.), illus. Includes: Betye Saar, Selma Burke, Richmond Barthé, Jacob Lawrence, Alma Thomas, and dozens of others. Sq. 8vo (21 cm.; 7.75 x 7.75 in.), wraps. OPITZ, GLENN B. ed. Dictionary of American Sculptors: 18th Century to the Present. Poughkeepsie: Apollo, 1984. 656 pp. Includes: Charles Alston, William Artis, Annabelle Baker, Richmond Barthé, Edward Bereal, John Biggers, Leslie Bolling, Selma Burke, Elizabeth Catlett, Barbara Chase-Riboud, Harold Cousins, Frederick Eversley, Florville Foy, Charlotte White Franklin, James Hampton, Richard Hunt, May Howard Jackson, Daniel LaRue Johnson, Lester Johnson, Sargent Johnson, Edmonia Lewis, Juan Logan, Lester Nathan Matthews, Valerie Maynard, Ned [Brown], Daniel G. Olney, Hayward Oubré, Curtis Patterson, Elliott Pinkney, Nancy Elizabeth Prophet, Martin Puryear, John Rhoden, Faith Ringgold, Betye Saar, Jewel Woodard Simon, Robert J. Stull, Bill Taylor (William Badley Taylor], Rod Allen Taylor, Dox Thrash, Eugene Warburg, Meta Vaux Warrick [Fuller], James W. Washington, Jr., and Todd Williams. OTFINOSKI, STEVEN. African Americans in the Visual Arts. New York: Facts on File, 2003. x, 262 pp., 50 b&w photos of some artists, brief 2-page bibliog., index. Part of the A to Z of African Americans series. Lists over 170 visual artists (including 18 photographers) and 22 filmmakers with brief biographies and token bibliog. for each. An erratic selection, far less complete than the St. James Guide to Black Artists, and inexplicably leaving out over 250 artists of obvious historic importance (for ex.: Edwin A. Harleston, Grafton Tyler Brown, Charles Ethan Porter, Wadsworth Jarrell, John Outterbridge, Noah Purifoy, William Majors, Camille Billops, Whitfield Lovell, Al Loving, Ed Clark, John T. Scott, Maren Hassinger, Lorraine O'Grady, Winnie Owens-Hart, Adrienne Hoard, Oliver Jackson, Frederick Eversley, Glenn Ligon, Sam Middleton, Ed Hamilton, Pat Ward Williams, etc. and omitting a generation of well-established contemporary artists who emerged during the late 70s-90s. [Note: a newly revised edition of 2012 (ten pages longer) has not rendered it a worthy reference work on this topic.] 8vo (25 com), laminated papered boards. PARIS (France). Presence Africaine. Présence Africaine n.s. 26 (juin/juillet, 1959). 1959. Includes: Elton Fax, "Puissance inouie du peintre et du sculpteur":268-74. In French. Includes: Charles Alston, Edward M. Bannister, John T. Biggers, Selma Burke, Elizabeth Catlett, Ernest Crichlow, Robert S. Duncanson, Joshua Johnson, Jacob Lawrence, Horace Pippin, Henry Ossawa Tanner, Charles White, John Wilson, Hale Woodruff. PHILADELPHIA (PA). African American Museum in Philadelphia. 3 Generations of African American Women Sculptors: a study in paradox. March-September, 1996. 70 pp., checklist of 74 works by 10 artists, all illus. (including 10 large color plates), chronol., bibliog. Curated by Leslie King-Hammond and Tritobia Hayes Benjamin. Includes: May Howard Jackson, Edmonia Lewis, Meta Warrick Fuller, Augusta Savage, Nancy Prophet, Selma Burke, Elizabeth Catlett, Geraldine McCullough, Beulah Woodard, Barbara Chase-Riboud. A beautiful production. [Traveled to Equitable Gallery, NY, November 21, 1996-January 11, 1997; Center for the Study of African American Life and Culture, Smithsonian Institution, Washington, DC, March-August 1998; and other venues.] Large sq. 4to (31 x 31 cm.), wraps. First ed. PHILADELPHIA (PA). African American Museum in Philadelphia. Beyond the Lines: Prints From the Collection. 2003-April 24, 2004. Group exhibition. features serigraphs, silkscreens, woodcuts, linocuts, lithographs, etchings and carborundum prints by Benny Andrews, Romare Bearden, John Biggers, Selma Burke, Elizabeth Catlett, Kerry Coppin, Allan Rohan Crite, John E. Dowell, Jr., James Dupree, Allan Freelon, Rex Goreleigh, Curlee Raven Holton, Hughie Lee-Smith, Nefertiti, John Rozelle, Dox Thrash, Ellen Powell Tiberino, Andrew Turner, James Lesesne Wells, Gilberto Wilson, and Hale Woodruff. PHILADELPHIA (PA). Black History Museum. 9 to the Universe: Black Artists. 1983. 89 pp. text including 24 symposium papers, tributes, and a few poems by artists and critics, a few b&w illus., bibliog. An important publication. Contributors include: Elton Fax, Ansel Adams, Beuford Smith, Betty J. Curtis, Leandra Jackson, James G. Spady, Floyd J. Coleman, Freida Jones, et al. Cover design by Isaac Foy. Includes: Selma Burke, Roy DeCarava, Elton Fax, Tom Feelings, Isaac Foy, Milton S. James, Charles S. Johnson, Virginia J. Kiah, Laura Wheeler Waring. 4to, stapled wraps. Original cover drawing design by Isaac Foy. PHILADELPHIA (PA). School District and Museum of the Philadelphia Civic Center. Afro-American Artists, 1800-1969. December 5-29, 1969. 40 pp., list of over 100 artists. Important exhibition juried by Al Hollingsworth, Reginald Gammon and Louis Sloan. Intro. by curator Randall J. Craig mentions many artists not in the exhibition. Exhibition includes: Emma Amos, Benny Andrews, Ralph Arnold, James Ayers, Frederick Bacon, Joseph C. Bailey, Janette Banks, Edward M. Bannister, Richmond Barthé, Harry W. Bayton, Romare Bearden, Betty Blayton, James Brantley, Arthur Britt, Charles E. Brown, Samuel J. Brown, Reginald Bryant, Barbara Bullock, Selma Burke, Calvin Burnett, Margaret Burroughs, Frederick Campbell, Barbara Chase-Riboud, LeRoy Clarke, Louise Clement, Eldzier Cortor, R. J. Craig, Nicholas Davis, William Day, Avel DeKnight, J. Brooks Dendy, James Denmark, Reba Dickerson (a.k.a. Reba Dickerson-Hill), Thomas Dickerson Jr., Robert Duncanson, Walter Edmonds, Cliff Eubanks Jr., Charlotte White Franklin, Allan Freelon, Reginald Gammon, Charles W. Gavin, Ranson Z. Gaymon, Walter S. Gilliam, Marvin Hardin, Bernard Harmon, Palmer Hayden, Barkley Hendricks, Alvin Hollingsworth, Humbert Howard, Alfonzo Hudson, Leroy Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Joshua Johnson, Lois M. Jones, Cliff Joseph, Paul Keene, Columbus P. Knox, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, James Lewis, Norman Lewis, Tom Lloyd, Geraldine McCullough, Charles McGee, Thomas A. McKinney, Lloyd McNeill, Juanita Miller, Robert C. Moore, Jimmie Mosely, Horace Pippin, James Porter, Simon D. Prioleau, Nancy Elizabeth Prophet, Ed J. Purnell, Percy Ricks, Anita B. Riley, Faith Ringgold, Raymond Saunders, Charles Searles, Michael Shelton, Thomas Sills, John Simpson, Merton Simpson, Louis Sloan, Carl R. Smith, Dolphus Smith, Philippe Smith, Frank Stephens, Mary L. Stuckey, Eldridge Suggs III, Henry Ossawa Tanner, Mary Alice Taylor, Russ Thompson, Dox Thrash, Ellen Powell Tiberino, Lloyd Toone, John Wade, Cranston Oliver Walker, Laura Wheeler Waring, Howard Watson, John Brantley Wilder, Earl A. Wilkie, Ed Wilson, Hale Woodruff, Charles E. Yates, Hartwell Yeargans. 4to (26 cm.), wraps. First ed. PHILADELPHIA (PA). Woodmere Art Museum. In Search of Missing Masters: The Lewis Tanner Moore Collection of African American Art. September 28, 2008-February 22, 2009. 119 pp. exhib. cat., 133 color plates (most full-page) and several b&w illus., checklist of 135 paintings, sculptures, and works on paper by 92 artists. Texts by Lewis Tanner Moore, Curlee Raven Holton, Margaret Rose Vendryes; brief biogs. by W. Douglas, Paschall. Includes: Henry Ossawa Tanner, Amelia Amaki, Emma Amos, James Atkins, Edward M. Bannister, Richmond Barthé, Romare Bearden, Cleveland Bellow, Bob Blackburn, Berrisford Boothe, James Brantley, Benjamin Britt, Moe Brooker, Samuel Joseph Brown, Barbara Bullock, Selma urke, Calvin Burnett, Margaret Burroughs, Charles Burwell, Donald Camp, James Camp, William S. Carter, Elizabeth Catlett, Barbara Chase-Riboud, Claude Clark, Irene V. Clark, Nanette Clark, Kevin Cole, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Roy Crosse, Joseph Delaney, Marita Dingus, David C. Driskell, James Dupree, Walter Edmonds, Allan Edmunds, James Edwards, Melvin Edwards, Allan Freelon, Reginald Gammon, Herbert Gentry, Sam Gilliam, Rex Goreleigh, Barkley Hendricks, Curley Holton, Humbert Howard, Edward Ellis Hughes, Bill Hutson, Leroy Johnson, Martina Joshnson-Allen, Lois Mailou Jones, Ron H. Jones, Paul Keene, Glenn F. Kellum, Columbus Knox, Jacob Lawrence, Hughie Lee-Smith, Ed Loper, Al Loving, Deryl Daniel Mackie, Ulysses Marshall, Richard Mayhew, John McDaniel, Thaddeus G. Mosley, Frank Neal, George Neal, Hayward Oubre, Carlton Parker, Janet Taylor Pickett, Howardena Pindell, Charles Pridgen, Faith Ringgold, Leo Robinson, Qaaim Salik, Raymond Saunders, Charles Searles, Charles Sebree, Sterling Shaw, Louis Sloan, Raymond Steth, Phil Sumpter, Dox Thrash, Ellen Powell Tiberino, Andrew Turner, Howard Watson, Richard Watson, James Lesesne Wells, William T. Williams, Ellis Wilson, John Wilson, and Hale Woodruff. 4to, self-wraps. First ed. PLOSKI, HARRY A. and ERNEST KAISER, eds. AFRO USA: A Reference Wok on the Black Experience. New York: Bellwether Co., 1971. [x], 1110 pp., 14 b&w illus. of art and visual artists, bibliog., index. Massive encyclopedic reference work with small section (pp. 702-723) devoted to visual art. Includes entries on Charles Alston, Robert Bannister, Richmond Barthe, Romare Bearden, John Biggers, William Carter, Dana Chandler, Ernest Crichlow, Aaron Douglas, Robert Duncanson, Meta Vaux Warrick Fuller, Alice Gafford, Sam Gilliam, Rose Green, David Hammons, William Harper, Isaac Hathaway, Hector Hill, Richard Hunt, May Howard Jackson, Jack Jordan, Jacob Lawrence, Hughie Lee Smith, Edmonia Lewis, Geraldine McCullough, Earl Miller, P'lla Mills, Joseph Overstreet, Horace Pippin, Augusta Savage, Vincent Smith, Henry Ossawa Tanner, Bob Thompson, Laura Wheeler Waring, Charles White, Jack Whitten, Beulah Woodard, and Hale Woodruff. The list of "Other Noted Negro Painters and Sculptors" includes: Benny Andrews, William E. Artis, Henry W. Bannarn, Eloise Bishop, Betty Blayton, Selma H. Burke, E. Simms Campbell, Elizabeth Catlett, Eldzier Cortor, Charles C. Dawson, Avel DeKnight, Joseph Delaney, William McKnight Farrow, Fred C. Flemister, Allan R. Freelon, Reginald Gammon, William Giles (?), Rex Gorleigh, Stephen Greene (white artist?), Edward A. Harleston, Palmer Hayden, Felrath Hines, Al Hollingsworth, Sargent C. Johnson, William H. Johnson, Ben Jones, Henry B. Jones, Lois Mailou Jones, Larry Lewis, Norman Lewis, Tom Lloyd, Edward L. Loper, Leon Meeks, Archibald Motley, Marion Perkins, James A. Porter, Elizabeth Prophet, William Edouard Scott, Charles Sebree, Thelma Johnson Streat, James L. Wells, Jack White and John Wilson. Scipio Moorhead and Malcolm Bailey mentioned in passing. Large stout 4to, cloth. (First revised enlarged edition. (Previously pub. as Negro Almanac). PORTER, JAMES A. Modern Negro Art. New York: Dryden Press, 1943. 200 pp. text and indices, bibliog, index of names, plus 76 pp. illus. (4 colorplates.) Foundation reference work from which many others still take their information. Includes: John Henry Adams, Jr., Charles Alston, William E. Artis, Henry A. Avery, Henry (Mike) Bannarn, Edward Mitchell Bannister, Richmond Barthé, Romare Bearden, Gwendolyn Bennett, Edmund Bereal, Bob Blackburn, Leslie G. Bolling, David Bustill Bowser, William Ernest Braxton, Elmer Brown, Hilda Brown (also listed as Hilda Wilkerson), Richard L. Brown, Samuel J. Brown, Selma Burke, John P. Burr, E. Simms Campbell, John Carlis, Jr., Fred Carlo, William S. Carter, Elizabeth Catlett, John G. Chaplin, Samuel O. Collins, William Arthur Cooper, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Robert Crump, Charles Davis, Thomas Day, Charles C. Davis, Beauford Delaney, Joseph Delaney, Elba Lightfoot DeReyes, Joseph C. DeVillis, Frank J. Dillon, Aaron Douglas, Robert S. Duncanson, William Edmondson, William M. Farrow, Slave of Thomas Fleet, Frederick C. Flemister, B.E. Fountaine (as Fontaine), Allan Freelon, Meta Vaux Warrick Fuller, John W. Gore, Rex Goreleigh, Bernard Goss, Henry Gudgell, John Hailstalk, Clark Hampton, John W. Hardrick, John T. Hailstalk, Edwin A. Harleston, William A. Harper, Oliver Harrington (as Henry), Marcellus Hawkins, Palmer Hayden, Vertis Hayes, James V. Herring, G. W. Hobbs (now known to have been a white artist), Charles F. Holland, Fred Hollingsworth, Julien Hudson, George Hulsinger, Thomas W. Hunster, Sterling V. Hykes, Zell Ingram, John Spencer Jackson, May Howard Jackson, Wilmer Jennings, Everett Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Joshua Johnston, Allen Jones, Henry B. Jones, Lois Mailou Jones, Ronald Joseph, Joseph Kersey, Jacob Lawrence, Clarence Lawson, Bertina Lee, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Robert H. Lewis, Gerrit Loguen, Edward Loper, Scipio Moorhead, Lenwood Morris, Lottie E. Moss, Archibald J. Motley, Jr., George E. Neal, Robert L. Neal, Alexandre Pickhil, Horace Pippin, Georgette Seabrooke Powell, Pauline Powell, Nelson A. Primus, Elizabeth Prophet, Patrick Reason, Earle W. Richardson, William Ross, Winfred Russell, Charles L. Sallee, Augusta Savage, William E. Scott, Charles Sebree, William Simpson, Albert A. Smith, William E. Smith, Ella Spencer, Teresa Staats, Edward Stidum, Curtis E. Tann, Henry Ossawa Tanner, Dox Thrash, W.O. Thompson, Neptune Thurston, Thurmond Townsend, Vidal, Earl Walker, Daniel Warburg, Eugene Warburg, Laura Wheeler Waring, James Lesesne Wells, Aedina White, Charles White, James Williams, A.B. Wilson, Hale Woodruff. [Reprinted in 1969 with a new preface by Porter; and in 1992 in an important scholarly edition by Howard University Press with new introduction by David Driskell, a James A. Porter chronology by Constance Porter Uzelac, and including the prefaces to all prior editions.] 8vo, wraps. Reprint ed. READING, LEE and GRETCHEN O'REILLY (producers). African-American Art: Past and Present (Video). Wilton (CT): Reading and O'Reilly, 1992. Survey of African American art. Over 65 artists represented. The program is divided into three sections: African Art, 18th and 19th Century Fine Art Survey, and 20th Century Fine Art Survey: In the Artist's Words. Part 1: The heritage of African Art, the Decorative Arts of Seagrass Basketry, Pottery, Quiltmaking, Shotgun Houses, Ironwork and the 18th and 19th Century Fine Art Survey with artists Joshua Johnson, Robert S. Duncanson, Edmonia Lewis, Edward Bannister and Henry Ossawa Tanner. Part 2: The 20th Century Fine Art Survey. Some of the painters, sculptors and photographers included are: Malvin Gray Johnson, Aaron Douglas, Hale Woodruff, William Henry Johnson, Archibald Motley Jr., Palmer Hayden, Sargent Johnson, Horace Pippin, Lois Mailou Jones, Jacob Lawrence, Selma Burke, Romare Bearden, Alma Thomas, Gordon Parks, Elizabeth Catlett, Faith Ringgold, Howardena Pindell, John Biggers, Bob Thompson, Jean Michel Basquiat, Sam Gilliam, Richard Hunt, Alison Saar, Beverly Buchanan, and David Hammons. Part 3: A continuation of the 20th Century Fine Art Survey plus In the Artists Words - ten artists and educators talk about their lives, philosophy and art. VHS-NTSC: color; sd; 90 min. (3 videocassettes) RIGGS, THOMAS, ed. St. James Guide to Black Artists. Detroit: St. James Press, 1997. xxiv, 625 pp., illus. A highly selective reference work listing only approximately 400 artists of African descent worldwide (including around 300 African American artists, approximately 20% women artists.) Illus. of work or photos of many artists, brief descriptive texts by well-known scholars, with selected list of exhibitions for each, plus many artists' statements. A noticeable absence of many artists under 45, most photographers, and many women artists. Far fewer artists listed here than in Igoe, Cederholm, or other sources. Stout 4to (29 cm.), laminated yellow papered boards. First ed. SALZMAN, JACK, CORNEL WEST and DAVID LIONEL SMITH, eds. Encyclopedia of African American Culture and History. University of Michigan, 1996. 3203 pp. SMITH, JESSIE CARNEY, ed. Notable Black American Women Books I and II. Detroit: Gale Research, 1992; 1995. Book I: 1333 pp.; Book II: 775 pp., illus., indices. Artists who receive individual biographies in Book I: Phoebe Beasley, Camille Billops, Selma Burke, Margaret Burroughs, Elizabeth Catlett, Barbara Chase-Riboud, Charlotte White Franklin, Meta Warrick Fuller, Clementine Hunter, May Howard Jackson, Lois Mailou Jones, Elizabeth Keckly, Edmonia Lewis, Samella Lewis, Effie Lee Newsome, Elizabeth Prophet, Betye Saar, Augusta Savage, Alma Thomas, Laura Wheeler Waring. Many other artists mentioned in passing. Book II includes: Minnie Evans, Louise E. Jefferson, and Jeanne Moutoussamy-Ashe. Stout 4to (11.4 x 8.7 in.), cloth. SPRADLING, MARY MACE. In Black and White: Afro-Americans in Print. Kalamazoo: Kalamazoo Public Library, 1980. 2 vols. 1089 pp. Includes: John H. Adams, Ron Adams, Alonzo Aden, Muhammad Ali, Baba Alabi Alinya, Charles Alston, Charlotte Amevor, Benny Andrews, Ralph Arnold, William Artis, Ellsworth Ausby, Jacqueline Ayer, Calvin Bailey, Jene Ballentine, Casper Banjo, Henry Bannarn, Edward Bannister, Dutreuil Barjon, Ernie Barnes, Carolyn Plaskett Barrow, Richmond Barthé, Beatrice Bassette, Ad Bates, Romare Bearden, Phoebe Beasley, Roberta Bell, Cleveland Bellow, Ed Bereal, Arthur Berry, DeVoice Berry, Cynthia Bethune, Charles Bible, John Biggers, Camille Billops, Bob Blackburn, Irving Blaney, Bessie Blount, Gloria Bohanon, Leslie Bolling, Shirley Bolton, Charles Bonner, Michael Borders, John Borican, Earl Bostic, Augustus Bowen, David Bowser, David Bradford, Edward Brandford, Brumsic Brandon, William Braxton, Arthur Britt Sr., Benjamin Britt, Sylvester Britton, Elmer Brown, Fred Brown, Kay Brown, Margery Brown, Richard L. Brown, Samuel Brown, Vivian E. Browne, Henry Brownlee, Linda Bryant, Starmanda Bullock, Juana Burke, Selma Burke, Eugene Burkes, Viola Burley, Calvin Burnett, John Burr, Margaret Burroughs, Nathaniel Bustion, Sheryle Butler, Elmer Simms Campbell, Thomas Cannon, Nick Canyon, Edward Carr, Art Carraway, Ted Carroll, Joseph S. Carter, William Carter, Catti, George Washington Carver, Yvonne Catchings, Elizabeth Catlett, Mitchell Caton, Dana Chandler, Kitty Chavis, George Clack, Claude Clark, Ed Clark, J. Henrik Clarke, Leroy Clarke, Ladybird Cleveland, Floyd Coleman, Donald Coles, Margaret Collins, Paul Collins, Sam Collins, Dan Concholar, Arthur Coppedge, Wallace X. Conway, Leonard Cooper, William A. Cooper, Art Coppedge, Eldzier Cortor, Samuel Countee, Harold Cousins, William Craft, Cleo Crawford, Marva Cremer, Ernest Crichlow, Allan Crite, Jerrolyn Crooks, Harvey Cropper, Doris Crudup, Robert Crump, Dewey Crumpler, Frank E. Cummings, William Curtis, Mary Reed Daniel, Alonzo Davis, Charles Davis, Willis "Bing" Davis, Dale Davis, Charles C. Dawson, Juette Day, Thomas Day, Roy DeCarava, Paul DeCroom, Avel DeKnight, Beauford Delaney, Joseph Delaney, Richard Dempsey, Murry DePillars, Robert D'Hue, Kenneth Dickerson, Leo Dillon, Raymond Dobard, Vernon Dobard, Jeff Donaldson, Aaron Douglas, Emory Douglas, Robert Douglass, Glanton Dowdell, David Driskell, Yolande Du Bois, Robert Duncanson, Eugenia Dunn, John Dunn, Adolphus Ealey, Eugene Eda, Melvin Edwards, Gaye Elliington, Annette Ensley, Marion Epting, Minnie Evans, Frederick Eversley, James Fairfax, Kenneth Falana, Allen Fannin, John Farrar, William Farrow, Elton Fax, Muriel Feelings, Tom Feelings, Frederick Flemister, Mikelle Fletcher, Curt Flood, Thomas Floyd, Doyle Foreman, Mozelle Forte (costume and fabric designer), Amos Fortune, Mrs. C.R. Foster, Inez Fourcard (as Fourchard), John Francis, Miriam Francis, Allan Freelon, Meta Warrick Fuller, Stephany Fuller, Gale Fulton-Ross, Ibibio Fundi, Alice Gafford, Otis Galbreath, West Gale, Reginald Gammon, Jim Gary, Herbert Gentry, Joseph Geran, Jimmy Gibbez, Sam Gilliam, Robert Glover, Manuel Gomez, Russell Gordon, Rex Goreleigh, Bernard Goss, Samuel Green, William Green, Donald Greene, Joseph Grey, Ron Griffin, Eugene Grigsby, Henry Gudgell, Charles Haines, Clifford Hall, Horathel Hall, Wesley Hall, David Hammons, James Hampton, Phillip Hampton, Lorraine Hansberry, Marvin Harden, Arthur Hardie, Inge Hardison, John Hardrick, Edwin Harleston, William A. Harper, Gilbert Harris, John Harris, Maren Hassinger, Isaac Hathaway, Frank Hayden, Kitty Hayden, Palmer Hayden, Vertis Hayes, Wilbur Haynie, Dion Henderson, Ernest Herbert, Leon Hicks, Hector Hill, Tony Hill, Geoffrey Holder, Al Hollingsworth, Varnette Honeywood, Earl Hooks, Humbert Howard, James Howard, Raymond Howell, Julien Hudson, Manuel Hughes, Margo Humphrey, Thomas Hunster, Richard Hunt, Clementine Hunter, Norman Hunter, Orville Hurt, Bill Hutson, Nell Ingram, Tanya Izanhour, Ambrose Jackson, Earl Jackson, May Jackson, Nigel Jackson, Suzanne Jackson, Walter Jackson, Louise Jefferson, Ted Joans, Daniel Johnson, Lester L. Johnson, Jr., Malvin Gray Johnson, Marie Johnson, Sargent Johnson, William H. Johnson, Joshua Johnston, Barbara Jones, Ben Jones, Calvin Jones, Frederick D. Jones Jr., James Arlington Jones, Lawrence Jones, Lois Mailou Jones, Eddie Jack Jordan, Ronald Joseph, Lemuel Joyner, Paul Keene, Elyse J. Kennart, Joseph Kersey, Gwendolyn Knight, Lawrence Compton Kolawole, Oliver LaGrone, Artis Lane, Doyle Lane, Raymond Lark, Lewis H. Latimer, Jacob Lawrence, Clarence Lawson, Bertina Lee, Joanna Lee, Peter Lee, Hughie Lee-Smith, Leon Leonard, Curtis Lewis, Edmonia Lewis, James Edward Lewis, Norman Lewis, Samella Lewis, Charles Lilly, Henri Linton, Jules Lion, Romeyn Lippman, Tom Lloyd, Jon Lockard, Juan Logan, Willie Longshore, Ed Loper, Ed Love, Al Loving, Geraldine McCullough, Lawrence McGaugh, Charles McGee, Donald McIlvaine, James McMillan, William McNeil, Lloyd McNeill, David Mann, William Marshall, Helen Mason, Philip Mason, Winifred Mason, Calvin Massey, Lester (Nathan) Mathews, William Maxwell, Richard Mayhew, Valerie Maynard, Yvonne Meo, Sam Middleton, Onnie Millar, Aaron Miller, Eva Miller, Lev Mills, P'lla Mills, Evangeline J. Montgomery, Arthur Monroe, Frank Moore, Ron Moore, Scipio Moorhead, Norma Morgan, Ken Morris, Calvin Morrison, Jimmie Mosely, Leo Moss, Lottie Moss, Archibald Motley, Hugh Mulzac, Frank Neal, George Neal, Otto Neals, Shirley Nero, Effie Newsome, Nommo, George Norman, Georg Olden, Ademola Olugebefola, Conora O'Neal (fashion designer), Cora O'Neal, Lula O'Neal, Pearl O'Neal, Ron O'Neal, Hayward Oubré, John Outterbridge, Carl Owens, Lorenzo Pace, Alvin Paige, Robert Paige, William Pajaud, Denise Palm, Norman Parish, Jules Parker, James Parks, Edgar Patience, Angela Perkins, Marion Perkins, Michael Perry, Jacqueline Peters, Douglas Phillips, Harper Phillips, Delilah Pierce, Howardena Pindell, Horace Pippin, Julie Ponceau, James Porter, Leslie Price, Ramon Price, Nelson Primus, Nancy Prophet, Noah Purifoy, Teodoro Ramos Blanco y Penita, Otis Rathel, Patrick Reason, William Reid, John Rhoden, Barbara Chase-Riboud, William Richmond, Percy Ricks, Gary Rickson, John Riddle, Gregory Ridley, Faith Ringgold, Malkia Roberts, Brenda Rogers, Charles Rogers, George Rogers, Arthur Rose, Nancy Rowland, Winfred Russell, Mahler Ryder, Betye Saar, Charles Sallee, Marion Sampler, John Sanders, Walter Sanford, Raymond Saunders, Augusta Savage, William E. Scott, Charles Sebree, Thomas Sills, Carroll Simms, Jewel Simon, Walter Simon, Merton Simpson, William H. Simpson, Louis Slaughter, Gwen Small, Albert A. Smith, Alvin Smith, Hughie Lee-Smith, John Henry Smith, Jacob Lawrence, John Steptoe, Nelson Stevens, Edward Stidum, Elmer C. Stoner, Lou Stovall, Henry O. Tanner, Ralph Tate, Betty Blayton Taylor, Della Taylor, Bernita Temple, Herbert Temple, Alma Thomas, Elaine Thomas, Larry Thomas, Carolyn Thompson, Lovett Thompson, Mildred Thompson, Mozelle Thompson, Robert (Bob) Thompson, Dox Thrash, Neptune Thurston, John Torres, Nat Turner, Leo Twiggs, Bernard Upshur, Royce Vaughn, Ruth Waddy, Anthony Walker, Earl Walker, Larry Walker, William Walker, Daniel Warburg, Eugene Warburg, Carole Ward, Laura Waring, Mary P. Washington, James Watkins, Lawrence Watson, Edward Webster, Allen A. Weeks, Robert Weil, James Wells, Pheoris West, Sarah West, John Weston, Delores Wharton, Amos White, Charles White, Garrett Whyte, Alfredus Williams, Chester Williams, Douglas R. Williams, Laura Williams, Matthew Williams, Morris Williams, Peter Williams, Rosetta Williams (as Rosita), Walter Williams, William T. Williams, Ed Wilson, Ellis Wilson, Fred Wilson, John Wilson, Stanley Wilson, Vincent Wilson, Hale Woodruff, Bernard Wright, Charles Young, Kenneth Young, Milton Young. [Note the 3rd edition consists of two volumes published by Gale Research in 1980, with a third supplemental volume issued in 1985.] Large stout 4tos, red cloth. 3rd revised expanded edition. ST LOUIS (MO). St. Louis Public Library. An index to Black American artists. St. Louis: St. Louis Public Library, 1972. 50 pp. Also includes art historians such as Henri Ghent. In this database, only artists are cross-referenced. 4to (28 cm.) TAHA, HALIMA. Collecting African American Art: Works on Paper and Canvas. New York: Crown, 1998. xvi, 270 pp., approx. 150 color plates, brief bibliog., index, appendices of art and photo dealers, museums and other resources. Intro. by Ntozake Shange. Forewords by Dierdre Bibby and Samella Lewis. Text consists of a few sentences at best on most of the hundreds of listed artists. Numerous typos and other errors and misinformation throughout. 4to (29 cm.), laminated papered boards, d.j. THOMISON, DENNIS. The Black Artist in America: An Index to Reproductions. Metuchen: Scarecrow Press, 1991. Includes: index to Black artists, bibliography (including doctoral dissertations and audiovisual materials.) Many of the dozens of spelling errors and incomplete names have been corrected in this entry and names of known white artists omitted from our entry, but errors may still exist in this entry, so beware: Jesse Aaron, Charles Abramson, Maria Adair, Lauren Adam, Ovid P. Adams, Ron Adams, Terry Adkins, (Jonathan) Ta Coumba T. Aiken, Jacques Akins, Lawrence E. Alexander, Tina Allen, Pauline Alley-Barnes, Charles Alston, Frank Alston, Charlotte Amevor, Emma Amos (Levine), Allie Anderson, Benny Andrews, Edmund Minor Archer, Pastor Argudin y Pedroso [as Y. Pedroso Argudin], Anna Arnold, Ralph Arnold, William Artis, Kwasi Seitu Asante [as Kwai Seitu Asantey], Steve Ashby, Rose Auld, Ellsworth Ausby, Henry Avery, Charles Axt, Roland Ayers, Annabelle Bacot, Calvin Bailey, Herman Kofi Bailey, Malcolm Bailey, Annabelle Baker, E. Loretta Ballard, Jene Ballentine, Casper Banjo, Bill Banks, Ellen Banks, John W. Banks, Henry Bannarn, Edward Bannister, Curtis R. Barnes, Ernie Barnes, James MacDonald Barnsley, Richmond Barthé, Jean-Michel Basquiat, Daniel Carter Beard, Romare Bearden, Phoebe Beasley, Falcon Beazer, Arthello Beck, Sherman Beck, Cleveland Bellow, Gwendolyn Bennett, Herbert Bennett, Ed Bereal, Arthur Berry, Devoice Berry, Ben Bey, John Biggers, Camille Billops, Willie Birch, Eloise Bishop, Robert Blackburn, Tarleton Blackwell, Lamont K. Bland, Betty Blayton, Gloria Bohanon, Hawkins Bolden, Leslie Bolling, Shirley Bolton, Higgins Bond, Erma Booker, Michael Borders, Ronald Boutte, Siras Bowens, Lynn Bowers, Frank Bowling, David Bustill Bowser, David Patterson Boyd, David Bradford, Harold Bradford, Peter Bradley, Fred Bragg, Winston Branch, Brumsic Brandon, James Brantley, William Braxton, Bruce Brice, Arthur Britt, James Britton, Sylvester Britton, Moe Brooker, Bernard Brooks, Mable Brooks, Oraston Brooks-el, David Scott Brown, Elmer Brown, Fred Brown, Frederick Brown, Grafton Brown, James Andrew Brown, Joshua Brown, Kay Brown, Marvin Brown, Richard Brown, Samuel Brown, Vivian Browne, Henry Brownlee, Beverly Buchanan, Selma Burke, Arlene Burke-Morgan, Calvin Burnett, Margaret Burroughs, Cecil Burton, Charles Burwell, Nathaniel Bustion, David Butler, Carole Byard, Albert Byrd, Walter Cade, Joyce Cadoo, Bernard Cameron, Simms Campbell, Frederick Campbell, Thomas Cannon (as Canon), Nicholas Canyon, John Carlis, Arthur Carraway, Albert Carter, Allen Carter, George Carter, Grant Carter, Ivy Carter, Keithen Carter, Robert Carter, William Carter, Yvonne Carter, George Washington Carver, Bernard Casey, Yvonne Catchings, Elizabeth Catlett, Frances Catlett, Mitchell Caton, Catti, Charlotte Chambless, Dana Chandler, John Chandler, Robin Chandler, Barbara Chase-Riboud, Kitty Chavis, Edward Christmas, Petra Cintron, George Clack, Claude Clark Sr., Claude Lockhart Clark, Edward Clark, Irene Clark, LeRoy Clarke, Pauline Clay, Denise Cobb, Gylbert Coker, Marion Elizabeth Cole, Archie Coleman, Floyd Coleman, Donald Coles, Robert Colescott, Carolyn Collins, Paul Collins, Richard Collins, Samuel Collins, Don Concholar, Wallace Conway, Houston Conwill, William A. Cooper, Arthur Coppedge, Jean Cornwell, Eldzier Cortor, Samuel Countee, Harold Cousins, Cleo Crawford, Marva Cremer, Ernest Crichlow, Norma Criss, Allan Rohan Crite, Harvey Cropper, Geraldine Crossland, Rushie Croxton, Doris Crudup, Dewey Crumpler, Emilio Cruz, Charles Cullen (White artist), Vince Cullers, Michael Cummings, Urania Cummings, DeVon Cunningham, Samuel Curtis, William Curtis, Artis Dameron, Mary Reed Daniel, Aaron Darling, Alonzo Davis, Bing Davis, Charles Davis, Dale Davis, Rachel Davis, Theresa Davis, Ulysses Davis, Walter Lewis Davis, Charles C. Davis, William Dawson, Juette Day, Roy DeCarava, Avel DeKnight, Beauford Delaney, Joseph Delaney, Nadine Delawrence, Louis Delsarte, Richard Dempsey, J. Brooks Dendy, III (as Brooks Dendy), James Denmark, Murry DePillars, Joseph DeVillis, Robert D'Hue, Kenneth Dickerson, Voris Dickerson, Charles Dickson, Frank Dillon, Leo Dillon, Robert Dilworth, James Donaldson, Jeff Donaldson, Lillian Dorsey, William Dorsey, Aaron Douglas, Emory Douglas, Calvin Douglass, Glanton Dowdell, John Dowell, Sam Doyle, David Driskell, Ulric S. Dunbar, Robert Duncanson, Eugenia Dunn, John Morris Dunn, Edward Dwight, Adolphus Ealey, Lawrence Edelin, William Edmondson, Anthony Edwards, Melvin Edwards, Eugene Eda [as Edy], John Elder, Maurice Ellison, Walter Ellison, Mae Engron, Annette Easley, Marion Epting, Melvyn Ettrick (as Melvin), Clifford Eubanks, Minnie Evans, Darrell Evers, Frederick Eversley, Cyril Fabio, James Fairfax, Kenneth Falana, Josephus Farmer, John Farrar, William Farrow, Malaika Favorite, Elton Fax, Tom Feelings, Claude Ferguson, Violet Fields, Lawrence Fisher, Thomas Flanagan, Walter Flax, Frederick Flemister, Mikelle Fletcher, Curt Flood, Batunde Folayemi, George Ford, Doyle Foreman, Leroy Foster, Walker Foster, John Francis, Richard Franklin, Ernest Frazier, Allan Freelon, Gloria Freeman, Pam Friday, John Fudge, Meta Fuller, Ibibio Fundi, Ramon Gabriel, Alice Gafford, West Gale, George Gamble, Reginald Gammon, Christine Gant, Jim Gary, Adolphus Garrett, Leroy Gaskin, Lamerol A. Gatewood, Herbert Gentry, Joseph Geran, Ezekiel Gibbs, William Giles, Sam Gilliam, Robert Glover, William Golding, Paul Goodnight, Erma Gordon, L. T. Gordon, Robert Gordon, Russell Gordon, Rex Goreleigh, Bernard Goss, Joe Grant, Oscar Graves, Todd Gray, Annabelle Green, James Green, Jonathan Green, Robert Green, Donald Greene, Michael Greene, Joseph Grey, Charles Ron Griffin, Eugene Grigsby, Raymond Grist, Michael Gude, Ethel Guest, John Hailstalk, Charles Haines, Horathel Hall, Karl Hall, Wesley Hall, Edward Hamilton, Eva Hamlin-Miller, David Hammons, James Hampton, Phillip Hampton, Marvin Harden, Inge Hardison, John Hardrick, Edwin Harleston, William Harper, Hugh Harrell, Oliver Harrington, Gilbert Harris, Hollon Harris, John Harris, Scotland J. B. Harris, Warren Harris, Bessie Harvey, Maren Hassinger, Cynthia Hawkins (as Thelma), William Hawkins, Frank Hayden, Kitty Hayden, Palmer Hayden, William Hayden, Vertis Hayes, Anthony Haynes, Wilbur Haynie, Benjamin Hazard, June Hector, Dion Henderson, Napoleon Jones-Henderson, William Henderson, Barkley Hendricks, Gregory A. Henry, Robert Henry, Ernest Herbert, James Herring, Mark Hewitt, Leon Hicks, Renalda Higgins, Hector Hill, Felrath Hines, Alfred Hinton, Tim Hinton, Adrienne Hoard, Irwin Hoffman, Raymond Holbert, Geoffrey Holder, Robin Holder, Lonnie Holley, Alvin Hollingsworth, Eddie Holmes, Varnette Honeywood, Earl J. Hooks, Ray Horner, Paul Houzell, Helena Howard, Humbert Howard, John Howard, Mildred Howard, Raymond Howell, William Howell, Calvin Hubbard, Henry Hudson, Julien Hudson, James Huff, Manuel Hughes, Margo Humphrey, Raymond Hunt, Richard Hunt, Clementine Hunter, Elliott Hunter, Arnold Hurley, Bill Hutson, Zell Ingram, Sue Irons, A. B. Jackson, Gerald Jackson, Harlan Jackson, Hiram Jackson, May Jackson, Oliver Jackson, Robert Jackson, Suzanne Jackson, Walter Jackson, Martha Jackson-Jarvis, Bob James, Wadsworth Jarrell, Jasmin Joseph [as Joseph Jasmin], Archie Jefferson, Rosalind Jeffries, Noah Jemison, Barbara Fudge Jenkins, Florian Jenkins, Chester Jennings, Venola Jennings, Wilmer Jennings, Georgia Jessup, Johana, Daniel Johnson, Edith Johnson, Harvey Johnson, Herbert Johnson, Jeanne Johnson, Malvin Gray Johnson, Marie Johnson-Calloway, Milton Derr (as Milton Johnson), Sargent Johnson, William H. Johnson, Joshua Johnston, Ben Jones, Calvin Jones, Dorcas Jones, Frank A. Jones, Frederick D. Jones, Jr. (as Frederic Jones), Henry B. Jones, Johnny Jones, Lawrence Arthur Jones, Leon Jones, Lois Mailou Jones, Nathan Jones, Tonnie Jones, Napoleon Jones-Henderson, Barbara Jones-Hogu, Jack Jordan, Cliff Joseph, Ronald Joseph, Lemuel Joyner, Edward Judie, Michael Kabu, Arthur Kaufman, Charles Keck, Paul Keene, John Kendrick, Harriet Kennedy, Leon Kennedy, Joseph Kersey; Virginia Kiah, Henri King, James King, Gwendolyn Knight, Robert Knight, Lawrence Kolawole, Brenda Lacy, (Laura) Jean Lacy, Roy LaGrone, Artis Lane, Doyle Lane, Raymond Lark, Carolyn Lawrence, Jacob Lawrence, James Lawrence, Clarence Lawson, Louis LeBlanc, James Lee, Hughie Lee-Smith, Lizetta LeFalle-Collins, Leon Leonard, Bruce LeVert, Edmonia Lewis, Edwin E. Lewis, Flora Lewis, James E. Lewis, Norman Lewis, Roy Lewis, Samella Lewis, Elba Lightfoot, Charles Lilly [as Lily], Arturo Lindsay, Henry Linton, Jules Lion, James Little, Marcia Lloyd, Tom Lloyd, Jon Lockard, Donald Locke, Lionel Lofton, Juan Logan, Bert Long, Willie Longshore, Edward Loper, Francisco Lord, Jesse Lott, Edward Love, Nina Lovelace, Whitfield Lovell, Alvin Loving, Ramon Loy, William Luckett, John Lutz, Don McAllister, Theadius McCall, Dindga McCannon, Edward McCluney, Jesse McCowan, Sam McCrary, Geraldine McCullough, Lawrence McGaugh, Charles McGee, Donald McIlvaine, Karl McIntosh, Joseph Mack, Edward McKay, Thomas McKinney, Alexander McMath, Robert McMillon, William McNeil, Lloyd McNeill, Clarence Major, William Majors, David Mann, Ulysses Marshall, Phillip Lindsay Mason, Lester Mathews, Sharon Matthews, William (Bill) Maxwell, Gordon Mayes, Marietta Mayes, Richard Mayhew, Valerie Maynard, Victoria Meek, Leon Meeks, Yvonne Meo, Helga Meyer, Gaston Micheaux, Charles Mickens, Samuel Middleton, Onnie Millar, Aaron Miller, Algernon Miller, Don Miller, Earl Miller, Eva Hamlin Miller, Guy Miller, Julia Miller, Charles Milles, Armsted Mills, Edward Mills, Lev Mills, Priscilla Mills (P'lla), Carol Mitchell, Corinne Mitchell, Tyrone Mitchell, Arthur Monroe, Elizabeth Montgomery, Ronald Moody, Ted Moody, Frank Moore, Ron Moore, Sabra Moore, Theophilus Moore, William Moore, Leedell Moorehead, Scipio Moorhead, Clarence Morgan, Norma Morgan, Sister Gertrude Morgan, Patricia Morris, Keith Morrison, Lee Jack Morton, Jimmie Mosely, David Mosley, Lottie Moss, Archibald Motley, Hugh Mulzac, Betty Murchison, J. B. Murry, Teixera Nash, Inez Nathaniel, Frank Neal, George Neal, Jerome Neal, Robert Neal, Otto Neals, Robert Newsome, James Newton, Rochelle Nicholas, John Nichols, Isaac Nommo, Oliver Nowlin, Trudell Obey, Constance Okwumabua, Osira Olatunde, Kermit Oliver, Yaounde Olu, Ademola Olugebefola, Mary O'Neal, Haywood Oubré, Simon Outlaw, John Outterbridge, Joseph Overstreet, Carl Owens, Winnie Owens-Hart, Lorenzo Pace, William Pajaud, Denise Palm, James Pappas, Christopher Parks, James Parks, Louise Parks, Vera Parks, Oliver Parson, James Pate, Edgar Patience, John Payne, Leslie Payne, Sandra Peck, Alberto Pena, Angela Perkins, Marion Perkins, Michael Perry, Bertrand Phillips, Charles James Phillips, Harper Phillips, Ted Phillips, Delilah Pierce, Elijah Pierce, Harold Pierce, Anderson Pigatt, Stanley Pinckney, Howardena Pindell, Elliott Pinkney, Jerry Pinkney, Robert Pious, Adrian Piper, Horace Pippin, Betty Pitts, Stephanie Pogue, Naomi Polk, Charles Porter, James Porter, Georgette Powell, Judson Powell, Richard Powell, Daniel Pressley, Leslie Price, Ramon Price, Nelson Primus, Arnold Prince, E. (Evelyn?) Proctor, Nancy Prophet, Ronnie Prosser, William Pryor, Noah Purifoy, Florence Purviance, Martin Puryear, Mavis Pusey, Teodoro Ramos Blanco y Penita, Helen Ramsaran, Joseph Randolph; Thomas Range, Frank Rawlings, Jennifer Ray, Maxine Raysor, Patrick Reason, Roscoe Reddix, Junius Redwood, James Reed, Jerry Reed, Donald Reid, O. Richard Reid, Robert Reid, Leon Renfro, John Rhoden, Ben Richardson, Earle Richardson, Enid Richardson, Gary Rickson, John Riddle, Gregory Ridley, Faith Ringgold, Haywood Rivers, Arthur Roach, Malkia Roberts, Royal Robertson, Aminah Robinson, Charles Robinson, John N. Robinson, Peter L. Robinson, Brenda Rogers, Charles Rogers, Herbert Rogers, Juanita Rogers, Sultan Rogers, Bernard Rollins, Henry Rollins, Arthur Rose, Charles Ross, James Ross, Nellie Mae Rowe, Sandra Rowe, Nancy Rowland, Winfred Russsell, Mahler Ryder, Alison Saar, Betye Saar, Charles Sallee, JoeSam., Marion Sampler, Bert Samples, Juan Sanchez, Eve Sandler, Walter Sanford, Floyd Sapp, Raymond Saunders, Augusta Savage, Ann Sawyer, Sydney Schenck, Vivian Schuyler Key, John Scott (Johnny) , John Tarrell Scott, Joyce Scott, William Scott, Charles Searles, Charles Sebree, Bernard Sepyo, Bennie Settles, Franklin Shands, Frank Sharpe, Christopher Shelton, Milton Sherrill, Thomas Sills, Gloria Simmons, Carroll Simms, Jewell Simon, Walter Simon, Coreen Simpson, Ken Simpson, Merton Simpson, William Simpson, Michael Singletary (as Singletry), Nathaniel Sirles, Margaret Slade (Kelley), Van Slater, Louis Sloan, Albert A. Smith, Alfred J. Smith, Alvin Smith, Arenzo Smith, Damballah Dolphus Smith, Floyd Smith, Frank Smith, George Smith, Howard Smith, John Henry Smith, Marvin Smith, Mary T. Smith, Sue Jane Smith, Vincent Smith, William Smith, Zenobia Smith, Rufus Snoddy, Sylvia Snowden, Carroll Sockwell, Ben Solowey, Edgar Sorrells, Georgia Speller, Henry Speller, Shirley Stark, David Stephens, Lewis Stephens, Walter Stephens, Erik Stephenson, Nelson Stevens, Mary Stewart, Renée Stout, Edith Strange, Thelma Streat, Richard Stroud, Dennis Stroy, Charles Suggs, Sharon Sulton, Johnnie Swearingen, Earle Sweeting, Roderick Sykes, Clarence Talley, Ann Tanksley, Henry O. Tanner, James Tanner, Ralph Tate, Carlton Taylor, Cecil Taylor, Janet Taylor Pickett, Lawrence Taylor, William (Bill) Taylor, Herbert Temple, Emerson Terry, Evelyn Terry, Freida Tesfagiorgis, Alma Thomas, Charles Thomas, James "Son Ford" Thomas, Larry Erskine Thomas, Matthew Thomas, Roy Thomas, William Thomas (a.k.a. Juba Solo), Conrad Thompson, Lovett Thompson, Mildred Thompson, Phyllis Thompson, Bob Thompson, Russ Thompson, Dox Thrash, Mose Tolliver, William Tolliver, Lloyd Toone, John Torres, Elaine Towns, Bill Traylor, Charles Tucker, Clive Tucker, Yvonne Edwards Tucker, Charlene Tull, Donald Turner, Leo Twiggs, Alfred Tyler, Anna Tyler, Barbara Tyson Mosley, Bernard Upshur, Jon Urquhart, Florestee Vance, Ernest Varner, Royce Vaughn, George Victory, Harry Vital, Ruth Waddy, Annie Walker, Charles Walker, Clinton Walker, Earl Walker, Lawrence Walker, Raymond Walker [a.k.a. Bo Walker], William Walker, Bobby Walls, Daniel Warburg, Eugene Warburg, Denise Ward-Brown, Evelyn Ware, Laura Waring, Masood Ali Warren, Horace Washington, James Washington, Mary Washington, Timothy Washington, Richard Waters, James Watkins, Curtis Watson, Howard Watson, Willard Watson, Richard Waytt, Claude Weaver, Stephanie Weaver, Clifton Webb, Derek Webster, Edward Webster, Albert Wells, James Wells, Roland Welton, Barbara Wesson, Pheoris West, Lamonte Westmoreland, Charles White, Cynthia White, Franklin White, George White, J. Philip White, Jack White (sculptor), Jack White (painter), John Whitmore, Jack Whitten, Garrett Whyte, Benjamin Wigfall, Bertie Wiggs, Deborah Wilkins, Timothy Wilkins, Billy Dee Williams, Chester Williams, Douglas Williams, Frank Williams, George Williams, Gerald Williams, Jerome Williams, Jose Williams, Laura Williams, Matthew Williams, Michael K. Williams, Pat Ward Williams, Randy Williams, Roy Lee Williams, Todd Williams, Walter Williams, William T. Williams, Yvonne Williams, Philemona Williamson, Stan Williamson, Luster Willis, A. B. Wilson, Edward Wilson, Ellis Wilson, Fred Wilson, George Wilson, Henry Wilson, John Wilson, Stanley C. Wilson, Linda Windle, Eugene Winslow, Vernon Winslow, Cedric Winters, Viola Wood, Hale Woodruff, Roosevelt Woods, Shirley Woodson, Beulah Woodard, Bernard Wright, Dmitri Wright, Estella Viola Wright, George Wright, Richard Wyatt, Frank Wyley, Richard Yarde, James Yeargans, Joseph Yoakum, Bernard Young, Charles Young, Clarence Young, Kenneth Young, Milton Young. TRENTON (NJ). New Jersey State Museum. Selected Works: Art by African Americans in the Museum's Collection. September 22, 2007-March 20, 2008. Group exhibition. Among the works included in this exhibition are paintings by Frank Bowling, Alma Thomas, Hale Woodruff, Benny Andrews, Rex Goreleigh and Hughie Lee-Smith; prints by Jacob Lawrence and Emma Amos; collages by Romare Bearden; photographs by Gordon Parks, Milton J. Hinton and Chuck Stewart; and sculpture by Mel Edwards and Selma Hortense Burke. WASHINGTON (DC). Archives of American Art, Smithsonian Institution. Federal Art Project. Photographic Division Collection 1935-1942. 1930s. Among the papers are photographs taken by the Federal Art Project Photographic Division, primarily in New York City, to document activities of artists working on the Federal Art Project under the Work Projects Administration's Federal Project No 1. The papers include photographs of artists Charles Alston, Henry W. Bannarn, Richmond Barthé, Selma Burke, John S. Glenn, Oliver LaGrone, Jacob Lawrence, Francisco P. Lord, Augusta Savage, and Georgette Seabrook, as well as photographs of art exhibits by black artists (Microfilm reel 1177). Microfilm, WASHINGTON (DC). Barnett Aden Gallery. Exhibition of Religious Paintings and Prints by James L. Wells & Sculpture by Selma Burke. 1959. Exhib. cat. Foreword by Foreword by Jacob Kainen and Alonzo Aden. WASHINGTON (DC). Galerie Myrtis. Inaugural Exhibition. October, 2006. The gallery's first show, a group exhibition featuring works by African American and African artists including: Selma Burke, Ed Love, Folusho Akomlede, Sylvester Mubayi, Joseph Holston, William Tolliver, Edward Chiwawa, Velphia Mzimba, Lois Mailou Jones, Danny Simmons, Ben Macala, Hargreaves Ntukwana, Viola Burley Leak, Charles Sebree, Thokozani Mathobela, Winston Saoli, Samella Lewis, Ellen Powell Tibernio, and David Mbele. WASHINGTON (DC). Howard University Gallery of Art. American Art from the Howard University Collection. Howard University, 2000. Narration by Tritobia Benjamin. A selection from the collection at Howard University of over 4500 works. Includes primarily 19th and 20th-century (pre-1950) African American art. The works selected address one or more of the following themes: Forever Free: Emancipation Visualized, The First Americans, Training the Head, Hand and the Heart, The American Portrait Gallery, American Expressionism, and Modern Lives, Modern Impulses. A production on CD-ROM by Howard University Television (WHUT-TV), Howard University Radio (WHUR-FM) and Information Systems and Services. Black artists include: William Artis, Edward M. Bannister, Richmond Barthé, Romare Bearden, Skunder Boghossian, Hilda Wilkinson Brown, Samuel J. Brown, Selma Burke, Elizabeth Catlett, Eldzier Cortor, Allan Rohan Crite, Charles C. Davis, Aaron Douglas, David Driskell, Robert Duncanson, Sam Gilliam, Isaac Hathaway, May Howard Jackson, Malvin Johnson, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Archibald J. Motley, Lenwood Morris, Horace Pippin, James Porter, Faith Ringgold, John Robinson, Charles Sallee, Augusta Savage, Charles Sebree, William H. Simpson, Albert A. Smith, William E. Smith, Henry Ossawa Tanner, Dox Thrash, Laura Wheeler Waring, James Weeks, James Lesesne Wells, Charles White, Franklin White, Walter J. Williams, George L. Wilson, Hale Woodruff. CD-ROM WASHINGTON (DC). Howard University Gallery of Art. New Vistas in American Art. March-April, 1961. 24 pp., 25 b&w plates, 3 photos (of the prize-winning artists Selma Burke, Meta Fuller, John Rhoden), cover illus., checklist of 117 works. Text by James A. Porter. Jury includes Hughie Lee-Smith and James Lesesne Wells. Painters in exhibition include: Frank Allison, Margaret Burroughs, Ernest Crichlow, Richard Dempsey, David Driskell, Eugenia Dunn, Rex Goreleigh, Phillip J. Hampton, Humbert Howard, Harlan Jackson, Lois Mailou Jones, Alan Junier, Paul Keene, Hughie Lee-Smith, Edward Loper, Charles McGee, Jimmie Mosely, J. Dallas Parks, Delilah Pierce, Harper Phillips, James Porter, Percy Ricks, Jewel Simon, Alma Thomas, Mildred Thompson, James Watkins, James Wells, Ellis Wilson, William White; sculptors include: William Artis, Elizabeth Catlett, Earl Hooks, Sargent Johnson, Jack Jordan, James E. Lewis, Marion Perkins, Gregory Ridley, Charles Stallings, William (Bill) Taylor. Graphic artists included A. B. Jackson, James E. Lewis, Norma Morgan, Harper T. Phillips, Charles Stallings, James Lesesne Wells, Charles White. 8vo, stapled pictorial wraps. WELD, ALISON, ed. Art by African Americans in the Collection of the New Jersey State Museum. Trenton: The New Jersey State Museum, 1998. 159 pp., b&w and color illus., chronology of Black America (by Larry Greene), selected general bibliog., checklist of 170 works. Foreword by David C. Driskell; individual biographical texts (some with footnotes) and full-page color plate for each of the 60 artists by Alison Weld (curator), Sharon Patton, Margaret Rose Vendryes, Tritobia H. Benjamin, James Smalls, Carl E. Hazlewood, Calvin Reid, and Ronne Hartfield. Artists included in this selection: Uthman Ibn Abdur-Rahmen, Terry Adkins, Emma Amos, Benny Andrews, Edward Mitchell Bannister, Anthony Barboza, Romare Bearden, Frank Bowling, Wendell T. Brooks, James Andrew Brown, Selma Burke, Willie Cole, Allan Rohan Crite, Victor Davson, Roy DeCarava, Nadine DeLawrence, Thornton Dial, Sr., Robert S. Duncanson, William Edmondson, Melvin Edwards, Minnie Evans, Sam Gilliam, Rex Goreleigh, Gladys Grauer, Renée Green, Larry Hilton, Milton Hinton, Lonnie Holley, Diane Horn, Manuel Hughes, Richard Hunt, Joshua Johnson, Ben Jones, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, James Little, Tom Lloyd, Al Loving, Thomas Malloy, John Moore, Sister Gertrude Morgan, Joe Overstreet, Lorenzo Pace, Gordon Parks, Janet T. Pickett, Horace Pippin, P.H. Polk, Alison Saar, Betye Saar, Mei Tei-Sing Smith, Chuck Stewart, Alma Thomas, Bob Thompson, Dox Thrash, Bill Traylor, James VanDerZee, Shawn Walker, Charles White, and Hale Woodruff. An exhibition of the same name (September 19-December 31, 1998) was organized to accompany publication of the catalogue. 4to (28 cm.), wraps. First ed. WEST NYACK (NY). Rockland Center for the Arts. African-American Printmaking, 1838 to the Present. October 8-November 19, 1995. 26 pp. exhib. cat., 9 b&w illus., brief but substantial biogs. of each artist, full exhib. checklist. Text by Harry Henderson. Group exhibition. Co-curated by Cynthia Hawkins and Lena Hyun. Included 74 works by 46 artists: Benny Andrews, Romare Bearden, John T. Biggers, Camille Billops, Bob Blackburn, Marvin Brown, Vivian E. Browne, Selma Burke, Margaret Burroughs, Nanette Carter, Elizabeth Catlett, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Melvin Edwards, Elton Fax, Allan R. Freelon, Robin Holder, Margo Humphrey, Wilmer Jennings, Sargent Johnson, William H. Johnson, Ronald Joseph, Mohammad Omer Khalil, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Alvin D. Loving, William Majors, Richard Mayhew, Stephanie Pogue, Patrick Reason, Faith Ringgold, Aminah Brenda L. Robinson, Albert A. Smith, Vincent D. Smith, Raymond Steth, Henry Ossawa Tanner, Mildred Thompson, Dox Thrash, James Lesesne Wells, Charles White, Michael Kelly Williams, William T. Williams, John Wilson, and Hale Woodruff. Oblong 8vo, stapled pictorial wraps. First ed. WINSTON-SALEM (NC). Benton Convention Center. Reflections: the Afro-American artist: an exhibit of paintings, sculpture, and graphics. October 8-15, 1972. Unpag. (14 pp.) exhib. cat., illus. Group exhibition. Presented by the Winston-Salem Alumnae Chapter, Delta Sigma Theta, Inc. Included: Charles Alston, William E. Artis, Edward Bannister, Richmond Barthé, Romare Bearden, John T. Biggers, Ann Brewer, Francis H. Brown, Samuel J. Brown, Selma Burke, Elizabeth Catlett, Claude Clark, Sr., Eldzier Cortor, Barbara Collins-Eure, James Diggs, Aaron Douglas, David Driskell, Robert S. Duncanson, Adolphus Ealey, John Farrar, Elton Fax, Frederick C. Flemister, James Everette Funches, Jefferson Grigsby, Ethel D. Guest, Edwin A. Harleston, William A. Harper, Janie R. Harrington, Palmer C. Hayden, Esther Page Hill, Earl J. Hooks, Rennick C. Hoyle, Richard Hunt, Joshua Johnson, Lemuel L. Johnson, Malvin Gray Johnson, Robert H. Johnson, William H. Johnson, Lemuel L. Johnson, Lois Mailou Jones, Joseph Kersey, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Sam Middleton, Eva Hamlin Miller, Scipio Moorhead, Archibald J. Motley, Hayward Oubre, Delilah Pierce, Stephanie Pogue, James A. Porter, John Rhoden, Gregory D. Ridley, Irvin Riley, Charles D. Rogers, Arthur Rose, Augusta Savage, William E. Scott, Charles Sebree, Thomas Sills, Henry Ossawa Tanner, Alma Thomas, Mercedes Thompson, Leo Twiggs, Laura Wheeler Waring, Roland S. Watts, James Lesesne Wells, Glenda Wharton-Little, Charles White, Walter H. Williams, Ellis Wilson, John Wilson, Hale Woodruff, Alpha Worthy, Gilbert E. Young. 4to (11 x 8 in.), wraps. WINSTON-SALEM (NC). Diggs Gallery, Winston-Salem State University. Ascension: Works by African American Artists of North Carolina. June 19, 2004-April 2, 2005. Group exhibition. Included: Charles H. Alston, William E. Artis, Ernie E. Barnes, Jr., Romare Bearden, John Biggers, James Converse Biggers, Samuel Joseph Brown, Francis "Sonny" Brown, Beverly Buchanan, Selma Hortense Burke, William Arthur Cooper, Chandra Cox, Michael Cunningham, David Driskell, James D. Diggs, Barbara Eure, Minnie Evans, J. Eugene Grigsby, Jr., Michael D. Harris, Vandorn Hinnant, Malvin Gray Johnson (perhaps not in the exhibition), Lois Mailou Jones, Norman Lewis, Willie Little, Juan Logan, Vester Amos Lowe, Beverly McIver, Hayward Oubré, Stephanie Pogue, Haywood Bill Rivers, Ce Scott, Thomas Sills, Michelle Tejoula Turner, William T. Williams, Melvin Leon Woods. WINSTON-SALEM (NC). Diggs Gallery, Winston-Salem State University. WSSU: A Legacy in Fine Art. Thru March 31, 2001. Group exhibition of alumni and current and former faculty of Winston-Salem State University. African American artists included: Marvette Aldrich, Selma Burke, James T. Diggs, Eva Miller, Michael Cunningham, Arcenia Davis, Jerry Lee Hanes, Ricardo Lewis, Vandorn Hinnant, James Huff, Jim McMillan, Henry Sumpter, Lloyd Bennett, Roland Watts. [Hayward Oubré who is listed in advance publicity declined to participate.] The Farm Security Administration (FSA) was a New Deal agency created in 1937 to combat rural poverty during the Great Depression in the United States. It succeeded the Resettlement Administration (1935–1937).[1] The FSA is famous for its small but highly influential photography program, 1935–44, that portrayed the challenges of rural poverty. The photographs in the FSA/Office of War Information Photograph Collection form an extensive pictorial record of American life between 1935 and 1944. This U.S. government photography project was headed for most of its existence by Roy Stryker, who guided the effort in a succession of government agencies: the Resettlement Administration (1935–1937), the Farm Security Administration (1937–1942), and the Office of War Information (1942–1944). The collection also includes photographs acquired from other governmental and nongovernmental sources, including the News Bureau at the Offices of Emergency Management (OEM), various branches of the military, and industrial corporations.[2] In total, the black-and-white portion of the collection consists of about 175,000 black-and-white film negatives, encompassing both negatives that were printed for FSA-OWI use and those that were not printed at the time. Color transparencies also made by the FSA/OWI are available in a separate section of the catalog: FSA/OWI Color Photographs.[2] The FSA stressed "rural rehabilitation" efforts to improve the lifestyle of very poor landowning farmers, and a program to purchase submarginal land owned by poor farmers and resettle them in group farms on land more suitable for efficient farming. Reactionary critics, including the Farm Bureau, strongly opposed the FSA as an alleged experiment in collectivizing agriculture—that is, in bringing farmers together to work on large government-owned farms using modern techniques under the supervision of experts. After the Conservative coalition took control of Congress, it transformed the FSA into a program to help poor farmers buy land, and that program continues to operate in the 21st century as the Farmers Home Administration. Origins Walker Evans portrait of Allie Mae Burroughs (1936) Arthur Rothstein photograph "Dust Bowl Cimarron County, Oklahoma" of a farmer and two sons during a dust storm in Cimarron County, Oklahoma (1936) Dorothea Lange photograph of an Arkansas squatter of three years near Bakersfield, California (1935) The projects that were combined in 1935 to form the Resettlement Administration (RA) started in 1933 as an assortment of programs tried out by the Federal Emergency Relief Administration. The RA was headed by Rexford Tugwell, an economic advisor to President Franklin D. Roosevelt.[3] However, Tugwell's goal moving 650,000 people into 100,000,000 acres (400,000 km2) of exhausted, worn-out land was unpopular among the majority in Congress.[3] This goal seemed socialistic to some and threatened to deprive powerful farm proprietors of their tenant workforce.[3] The RA was thus left with only enough resources to relocate a few thousand people from 9 million acres (36,000 km2) and build several greenbelt cities,[3] which planners admired as models for a cooperative future that never arrived.[3] The main focus of the RA was to now build relief camps in California for migratory workers, especially refugees from the drought-stricken Dust Bowl of the Southwest.[3] This move was resisted by a large share of Californians, who did not want destitute migrants to settle in their midst.[3] The RA managed to construct 95 camps that gave migrants unaccustomed clean quarters with running water and other amenities,[3] but the 75,000 people who had the benefit of these camps were a small share of those in need and could only stay temporarily.[3] After facing enormous criticism for his poor management of the RA, Tugwell resigned in 1936.[3] On January 1, 1937,[4] with hopes of making the RA more effective, the RA was transferred to the Department of Agriculture through executive order 7530.[4] On July 22, 1937,[5] Congress passed the Bankhead-Jones Farm Tenant Act.[5] This law authorized a modest credit program to assist tenant farmers to purchase land,[5] and it was the culmination of a long effort to secure legislation for their benefit.[5] Following the passage of the act, Congress passed the Farm Security Act into law. The Farm Security Act officially transformed the RA into the Farm Security Administration (FSA).[3] The FSA expanded through funds given by the Bankhead-Jones Farm Tenant Act.[3] Relief work One of the activities performed by the RA and FSA was the buying out of small farms that were not economically viable, and the setting up of 34 subsistence homestead communities, in which groups of farmers lived together under the guidance of government experts and worked a common area. They were not allowed to purchase their farms for fear that they would fall back into inefficient practices not guided by RA and FSA experts.[6] The Dust Bowl in the Great Plains displaced thousands of tenant farmers, sharecroppers, and laborers, many of whom (known as "Okies" or "Arkies") moved on to California. The FSA operated camps for them, such as Weedpatch Camp as depicted in The Grapes of Wrath. The RA and the FSA gave educational aid to 455,000 farm families during the period 1936-1943. In June, 1936, Roosevelt wrote: "You are right about the farmers who suffer through their own fault... I wish you would have a talk with Tugwell about what he is doing to educate this type of farmer to become self-sustaining. During the past year, his organization has made 104,000 farm families practically self-sustaining by supervision and education along practical lines. That is a pretty good record!"[7] The FSA's primary mission was not to aid farm production or prices. Roosevelt's agricultural policy had, in fact, been to try to decrease agricultural production to increase prices. When production was discouraged, though, the tenant farmers and small holders suffered most by not being able to ship enough to market to pay rents. Many renters wanted money to buy farms, but the Agriculture Department realized there already were too many farmers, and did not have a program for farm purchases. Instead, they used education to help the poor stretch their money further. Congress, however, demanded that the FSA help tenant farmers purchase farms, and purchase loans of $191 million were made, which were eventually repaid. A much larger program was $778 million in loans (at effective rates of about 1% interest) to 950,000 tenant farmers. The goal was to make the farmer more efficient so the loans were used for new machinery, trucks, or animals, or to repay old debts. At all times, the borrower was closely advised by a government agent. Family needs were on the agenda, as the FSA set up a health insurance program and taught farm wives how to cook and raise children. Upward of a third of the amount was never repaid, as the tenants moved to much better opportunities in the cities.[8] The FSA was also one of the authorities administering relief efforts in the U.S. Virgin Islands and Puerto Rico during the Great Depression. Between 1938 and 1945, under the Puerto Rico Reconstruction Administration, it oversaw the purchase of 590 farms with the intent of distributing land to working and middle-class Puerto Ricans.[9] Modernization The FSA resettlement communities appear in the literature as efforts to ameliorate the wretched condition of southern sharecroppers and tenants, but those evicted to make way for the new settlers are virtually invisible in the historic record. The resettlement projects were part of larger efforts to modernize rural America. The removal of former tenants and their replacement by FSA clients in the lower Mississippi alluvial plain—the Delta—reveals core elements of New Deal modernizing policies. The key concepts that guided the FSA's tenant removals were: the definition of rural poverty as rooted in the problem of tenancy; the belief that economic success entailed particular cultural practices and social forms; and the commitment by those with political power to gain local support. These assumptions undergirded acceptance of racial segregation and the criteria used to select new settlers. Alternatives could only become visible through political or legal action—capacities sharecroppers seldom had. In succeeding decades, though, these modernizing assumptions created conditions for Delta African Americans on resettlement projects to challenge white supremacy.[10] FSA and its contribution to society The documentary photography genre describes photographs that would work as a time capsule for evidence in the future or a certain method that a person can use for a frame of reference. Facts presented in a photograph can speak for themselves after the viewer gets time to analyze it. The motto of the FSA was simply, as Beaumont Newhall insists, "not to inform us, but to move us."[citation needed] Those photographers wanted the government to move and give a hand to the people, as they were completely neglected and overlooked, thus they decided to start taking photographs in a style that we today call "documentary photography." The FSA photography has been influential due to its realist point of view, and because it works as a frame of reference and an educational tool from which later generations could learn. Society has benefited and will benefit from it for more years to come, as this photography can unveil the ambiguous and question the conditions that are taking place.[11] Photography program The RA and FSA are well known for the influence of their photography program, 1935–1944. Photographers and writers were hired to report and document the plight of poor farmers. The Information Division (ID) of the FSA was responsible for providing educational materials and press information to the public. Under Roy Stryker, the ID of the FSA adopted a goal of "introducing America to Americans." Many of the most famous Depression-era photographers were fostered by the FSA project. Walker Evans, Dorothea Lange, and Gordon Parks were three of the most famous FSA alumni.[12] The FSA was also cited in Gordon Parks' autobiographical novel, A Choice of Weapons. The FSA's photography was one of the first large-scale visual documentations of the lives of African-Americans.[13] These images were widely disseminated through the Twelve Million Black Voices collection, published in October 1941, which combined FSA photographs selected by Edwin Rosskam and text by author and poet Richard Wright. Photographers Fifteen photographers (ordered by year of hire) would produce the bulk of work on this project. Their diverse, visual documentation elevated government's mission from the "relocation" tactics of a Resettlement Administration to strategic solutions which would depend on America recognizing rural and already poor Americans, facing death by depression and dust. FSA photographers: Arthur Rothstein (1935), Theodor Jung (1935), Ben Shahn (1935), Walker Evans (1935), Dorothea Lange (1935), Carl Mydans (1935), Russell Lee (1936), Marion Post Wolcott (1936), John Vachon (1936, photo assignments began in 1938), Jack Delano (1940), John Collier (1941), Marjory Collins (1941), Louise Rosskam (1941), Gordon Parks (1942) and Esther Bubley (1942). With America's entry into World War II, FSA would focus on a different kind of relocation as orders were issued for internment of Japanese Americans. FSA photographers would be transferred to the Office of War Information during the last years of the war and completely disbanded at the war's end. Photographers like Howard R. Hollem, Alfred T. Palmer, Arthur Siegel and OWI's Chief of Photographers John Rous were working in OWI before FSA's reorganization there. As a result of both teams coming under one unit name, these other individuals are sometimes associated with RA-FSA's pre-war images of American life. Though collectively credited with thousands of Library of Congress images, military ordered, positive-spin assignments like these four received starting in 1942, should be separately considered from pre-war, depression triggered imagery. FSA photographers were able to take time to study local circumstances and discuss editorial approaches with each other before capturing that first image. Each one talented in her or his own right, equal credit belongs to Roy Stryker who recognized, hired and empowered that talent. John Collier Jr. John Collier Jr. Jack Delano Jack Delano Walker Evans Walker Evans Dorothea Lange Dorothea Lange Russell Lee Russell Lee Carl Mydans Carl Mydans Gordon Parks Gordon Parks Arthur Rothstein Arthur Rothstein John Vachon John Vachon Marion Post Wolcott Marion Post Wolcott These 15 photographers, some shown above, all played a significant role, not only in producing images for this project, but also in molding the resulting images in the final project through conversations held between the group members. The photographers produced images that breathed a humanistic social visual catalyst of the sort found in novels, theatrical productions, and music of the time. Their images are now regarded as a "national treasure" in the United States, which is why this project is regarded as a work of art.[14] Photograph of Chicago's rail yards by Jack Delano, circa 1943 Together with John Steinbeck's The Grapes of Wrath (not a government project) and documentary prose (for example Walker Evans and James Agee's Let Us Now Praise Famous Men), the FSA photography project is most responsible for creating the image of the Depression in the United States. Many of the images appeared in popular magazines. The photographers were under instruction from Washington, DC, as to what overall impression the New Deal wanted to portray. Stryker's agenda focused on his faith in social engineering, the poor conditions among tenant cotton farmers, and the very poor conditions among migrant farm workers; above all, he was committed to social reform through New Deal intervention in people's lives. Stryker demanded photographs that "related people to the land and vice versa" because these photographs reinforced the RA's position that poverty could be controlled by "changing land practices." Though Stryker did not dictate to his photographers how they should compose the shots, he did send them lists of desirable themes, for example, "church", "court day", and "barns". Stryker sought photographs of migratory workers that would tell a story about how they lived day-to-day. He asked Dorothea Lange to emphasize cooking, sleeping, praying, and socializing.[15] RA-FSA made 250,000 images of rural poverty. Fewer than half of those images survive and are housed in the Prints and Photographs Division of the Library of Congress. The library has placed all 164,000 developed negatives online.[16] From these, some 77,000 different finished photographic prints were originally made for the press, plus 644 color images, from 1600 negatives. Documentary films The RA also funded two documentary films by Pare Lorentz: The Plow That Broke the Plains, about the creation of the Dust Bowl, and The River, about the importance of the Mississippi River. The films were deemed "culturally significant" by the United States Library of Congress and selected for preservation in the National Film Registry. World War II activities During World War II, the FSA was assigned to work under the purview of the Wartime Civil Control Administration, a subagency of the War Relocation Authority. These agencies were responsible for relocating Japanese Americans from their homes on the West Coast to Internment camps. The FSA controlled the agricultural part of the evacuation. Starting in March 1942 they were responsible for transferring the farms owned and operated by Japanese Americans to alternate operators. They were given the dual mandate of ensuring fair compensation for Japanese Americans, and for maintaining correct use of the agricultural land. During this period, Lawrence Hewes Jr was the regional director and in charge of these activities.[17] Reformers ousted; Farmers Home Administration After the war started and millions of factory jobs in the cities were unfilled, no need for FSA remained.[citation needed] In late 1942, Roosevelt moved the housing programs to the National Housing Agency, and in 1943, Congress greatly reduced FSA's activities. The photographic unit was subsumed by the Office of War Information for one year, then disbanded. Finally in 1946, all the social reformers had left and FSA was replaced by a new agency, the Farmers Home Administration, which had the goal of helping finance farm purchases by tenants—and especially by war veterans—with no personal oversight by experts. It became part of Lyndon Johnson's war on poverty in the 1960s, with a greatly expanded budget to facilitate loans to low-income rural families and cooperatives, injecting $4.2 billion into rural America.[18] The Great Depression The Great Depression began in August 1929, when the United States economy first went into an economic recession. Although the country spent two months with declining GDP, the effects of a declining economy were not felt until the Wall Street Crash in October 1929, and a major worldwide economic downturn ensued. Although its causes are still uncertain and controversial, the net effect was a sudden and general loss of confidence in the economic future and a reduction in living standards for most ordinary Americans. The market crash highlighted a decade of high unemployment, poverty, low profits for industrial firms, deflation, plunging farm incomes, and lost opportunities for economic growth.[19]
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PicClick Insights - African American Artist Selma Burke Roosevelt Photo Sculpture President Truman PicClick Exclusive
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