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#harlem renaissance
fyblackwomenart · 11 days
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"Girl in Pink Dress" by Laura Wheeler Waring 1927
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iridessence · 4 months
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A girl act from the Harlem in Havana revue, 1940s, photographed by Garbo photography studio in Chicago.
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cyarsk52-20 · 14 days
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A FLASH BLACK MOMENT:
Harlem Debutante ball, 1940s………
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hotvintagepoll · 4 months
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Propaganda
Carman Newsome (Lying Lips)—the soulful eyes. the Vintage Mustache™. is he the hottest man ever? no. is he close? yes :)
Harold Lloyd (Safety First)—no propaganda submitted
This is round 1 of the bracket. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage man.
[propaganda photos submitted under the cut]
Harold Lloyd propaganda photo:
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Carman Newsome propaganda photo:
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blacklacerabbit · 1 year
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Cab Calloway circa 1933 ✨🤍
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the-posh-life · 8 months
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Palmer Hayden, The Janitor Who Paints, ca. 1930, repainted after 1940, oil on canvas.
Palmer Hayden was known for his paintings of the African-American scene. In a 1969 interview he described The Janitor Who Paints, created around 1930, as "a sort of protest painting" of his own economic and social standing as well as that of his fellow African-Americans.
The most immediate source for the element of protest that Hayden associated with the work, however, was his friendship with Cloyd Boykin, an older African-American painter who supported himself as a janitor: "I painted it because no one called Boykin the artist. They called him the janitor." Hayden incorporated details such as the beret and the subject of mother and child to reinforce the sense of artistic identity, while the clock alludes to the workman's schedule. (Smithsonian American Art Museum)
Details within the cramped apartment—the duster and the trashcan, for example—point to the janitor's profession; the figure's dapper clothes and beret, much like those Hayden himself wore, point to his artistic pursuits. Hayden's use of perspective was informed by modern art practices, which favored abstraction and simplified forms. He originally exaggerated the figure's facial features, which many of his contemporaries criticized as African-American caricatures, but later altered the painting. He maintained the janitor as the protagonist as it represented larger civil rights issues within the African-American community. (John Ott, "Labored Stereotypes: Palmer Hayden's 'The Janitor Who Paints,'" American Art 22, no.1, Spring 2008).
Photo: Smithsonian American Art Museum
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nobrashfestivity · 4 months
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Aaron Douglas
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usnatarchives · 2 months
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Charles Alston: A Luminary of the Harlem Renaissance and Beyond
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In the heart of the Harlem Renaissance of the 1920s and 1930s, Charles Alston emerged as a beacon of creativity and activism, blending the vibrancy of African American culture with profound social commentary. As a pioneering African American artist and educator, Alston’s legacy is celebrated for its dynamic impact on Black art and cultural expression during the 20th century. His work, which includes murals, illustrations, and sculptures, showcased his contributions to the Harlem Renaissance and his role in uplifting African American heroes through art.
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Alston’s murals, commissioned by the Federal Art Project of the New Deal-era Works Progress Administration, adorned public spaces, bringing the narratives of the African American experience to a broader audience. His role during World War II, creating illustrations for the Office of War Information, further exemplified his commitment to using art as a tool for advocacy.
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These illustrations, many of which are preserved in the National Archives, underscored the contributions of African Americans to the war effort, challenging the racial prejudices of the era. Alston also designed and painted murals at the Harlem Hospital and the Golden State Mutual Life Insurance Building. In 1990, Alston's bust of Martin Luther King Jr. became the first image of an African American displayed at the White House.
Beyond his artistic endeavors, Alston’s mentorship of future luminaries like Romare Bearden highlight his dedication to nurturing the next generation of artists. This mentorship underscored his belief in art’s power to foster community, inspire change, and bridge cultural divides in the United States. His influence extended to the civil rights movement, where his art continued to serve as a catalyst for social justice.
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Charles Alston’s work remains a testament to his visionary blend of art and activism. For those interested in exploring Alston’s enduring impact and the rich tapestry of the Harlem Renaissance, the National Archives offers a treasure trove of resources:
Fully Digitized Artworks: https://catalog.archives.gov/search?availableOnline=true&page=2&q=Charles%20Alston&typeOfMaterials=Photographs%20and%20other%20Graphic%20Materials
https://catalog.archives.gov/search?availableOnline=true&page=2&q=Charles%20Alston&typeOfMaterials=Photographs%20and%20other%20Graphic%20Materials
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artschoolglasses · 2 months
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Wedding Day, James Van Der Zee, 1926
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fyblackwomenart · 2 months
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Charles Alston (American, 1907–1977). Girl in a Red Dress, 1934
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frogteethblogteeth · 3 months
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Cab Calloway and his band in a sleeper car, 1933
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k-wame · 8 months
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Xavier Avila as 'Alex' & Ernesto Reyes as 'Beauty' SMOKE, LILIES AND JADE (2021) · Short Film · LGBTQ+ · Period Drama dir(s). Deondray Gossfield · Quincy LeNear Gossfield
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hotvintagepoll · 4 months
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Propaganda
John Barrymore (Grand Hotel, Sherlock Holmes)—the great profile
Paul Robeson (Showboat, The Emperor Jones)—this man's life was fucking wild [link to his Wikipedia]
This is round 1 of the bracket. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage man.
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iridessence · 1 year
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Black actress and activist Fredi Washington
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twixnmix · 2 years
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Vintage Wedding Portraits by James Van Der Zee
Untitled (Wedding Party) (1923)
Wedding Portrait (1923)
Wedding Day, Harlem (1926)
Bride and Groom (1927)
Beautiful Bride (c. 1930)
Love and Marriage (1932)
Wedding Couple (1934)
Formal Ties (1937)
Untitled (1938)
A Bride (1939)
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