Riffs and Relations: Loïs Mailou Jones and Maurice Utrillo

While The Phillips Collection is closed, The Experiment Station will be sharing some of the great artwork featured in Riffs and Relations: African American Artists and the European Modernist Tradition, now on view through January 3, 2021.

Loïs Mailou Jones, Place du Tertre, 1938, Oil on canvas, 18 1/4 x 22 5/8 in., The Phillips Collection, Acquired 1944

During 1937–38, Loïs Mailou Jones (b. 1905, Boston, Massachusetts; d. 1998, Washington, DC), funded by a fellowship, took a sabbatical from teaching art at Howard University to study at the prestigious Académie Julian in Paris. There, she befriended Post-Impressionist painter Émile Bernard, who encouraged her work. As with Henry Ossawa Tanner and other African American artists before her, Jones exhibited at the Paris salons, specifically the Société des Artistes Français and the Société des Artistes Independants. Her training in Europe gave her a sense of freedom that was still unknown to her in Washington, DC, in the 1930s.

Jones painted in her studio and in the streets of Paris. Place du Tertre captures a popular square in the 18th arrondissement, only a few streets away from the hilltop church towers on Montmartre. She explained: “I would set up my [easel] on location. By 11 am I would have my scene, blocked in with a brush drawing. . . . Working as an impressionist I would sometimes have to return to the same spot several times. . . . I always had many spectators.” Museum Founder Duncan Phillips admired Jones’s modernist aesthetic. He acquired two paintings by the artist, which he exhibited at the museum and also lent to local institutions like the Howard University Gallery of Art and the Barnett Aden Gallery, the first black-owned commercial art space in the US.

Maurice Utrillo, Place du Tertre, 1911, Oil on cardboard, 21 3/8 x 28 7/8 in., The Phillips Collection, Acquired 1953

Growing up in the milieu of Edgar Degas, Pierre-Auguste Renoir, and Henri de Toulouse-Lautrec, Maurice Utrillo (b. 1883, Paris, France; d. 1955, Dax, France) took up painting to chronicle bohemian life and the urban landscape of Paris. In 1909–10, he began a series known as his White Period, which featured views of Gothic churches and street scenes derived from postcards. Over a sketch he used a palette knife and a brush to apply heavy layers of opaque paint on hard, thick cardboard.

By 1912, he had earned the admiration of avant-garde artists and had exhibited with Paul Cézanne, André Derain, Matisse, and Picasso. In 1926, Duncan Phillips took interest in Utrillo’s White Period pictures. Fond of this site, he acquired Utrillo’s impression of Place du Tertre for his museum, almost 10 years after he purchased Loïs Mailou Jones’s interpretation, which shows the same square from a different vantage point.

Norman Lewis’s Abstract Works

Eliza Lafferty, an intern with the Major Gifts and Director’s Office, discusses the abstract works of Norman Lewis, an artist featured in Riffs and Relations: African American Artists and the European Modernist Tradition, on view at The Phillips Collection through January 3, 2021. This post is based on a seminar paper with Professor Elizabeth Prelinger at Georgetown University and was awarded the Misty Dailey Award in Art, Diversity, and Healing.

Norman Lewis (1909-1979) is one of the few African American artists who sustained a career in abstraction. Riffs and Relations features Lewis and creates space to integrate the work of African American artists into the Western canon. Lewis’s abstract works—which are forms of Black activism—must be absorbed into public memory surrounding his greater contributions to the style.

Riffs and Relations curator Dr. Adrienne L. Childs remarks how Lewis “was not absorbed into it [Abstract Expressionism] in terms of the history of the movement.” Riffs and Relations is in conversation with curator Dr. Ruth Fine’s Procession: The Art of Norman Lewis at the Pennsylvania Academy of the Fine Arts in 2015, which uniquely highlighted Lewis’s abstract works. Dr. Childs recognizes that the Lewis exhibit “was a way of beginning to rectify the absences in the record.”[1] Procession noted Lewis’s activism, particularly as the founding president of the Spiral group of African American artists during the Civil Rights movement. Lewis used abstraction to chronicle significant moments and people in the fight for Black empowerment.

Norman Lewis, Processional, 1964, Oil on canvas, private collection

Featured in Dr. Fine’s Procession and also in a Spiral collective show, where all the work had to be in black and white, is Lewis’s Processional from 1964. Its interlocking shapes echo the “improvisational brilliance in undulating cadences, despite the twisting effects of the fight for human rights.”[2] With a black background, the vertical and diagonal brush strokes relay a sense of dynamism and movement. Lewis forms what appears to be a crowd of people moving forward. Stepping closer and examining the corners of the composition, viewers may seek to connect forms: a circle as the illusion of a head, the line as a body form, the sharp rectangles as protest signs. The shape appears to be moving forward—although it is not achieved without struggle among the crowd. As evidenced by Processional, Lewis’s work leverages abstraction as a means to elevate the struggle for civil rights.

Riffs and Relations exhibits Lewis’s Landscape (Land Echoes) from 1955. Landscape, created prior to Spiral’s founding, captures another form of inspiration for abstraction. Lewis employs patriotic colors with gray-blues, hazy whites, and muted red tones—all framed with deep black strokes. One of the categorical organizers of Dr. Fine’s Procession is the “Rhythm of Nature,” that reveals Lewis’s interest in the organic, natural shapes of the world.[3] Landscape, with the potential allusion to the America’s national colors, moreover demonstrates Lewis’s tendency to document the world around him through abstract figuration.

Norman Lewis, Landscape (Land Echoes), 1955, Oil on canvas, 50 x 40 in., Courtesy of Michael Rosenfeld Gallery LLC, New York

Lewis’s work reveals an intersection, although sometimes subtle, between identity and abstract art. The paintings’ titles, political context for creation, and Lewis’s artist statements often confirm his intention to intersect activism and abstraction. As viewers, learners, and scholars, we must continue to honor the intersection between art and activism, and recognize their co-informative nature. Lewis’s accounts of the American Civil Rights Movement should contribute to the greater, Western canon of art.

 

[1] Adrienne L. Childs, Riffs and Relations: African American Artists and the European Modernist Tradition (Washington, DC: The Phillips Collection; New York: Rizzoli Electa, 2020), 156

[2] Ruth Fine, Procession: The Art of Norman Lewis (Philadelphia: Pennsylvania Academy of the Fine Arts; Berkeley: University of California Press, 2015), 177.

[3] “Procession: The Art of Norman Lewis,” Pennsylvania Academy of the Fine Arts, accessed September 26, 2019. https://www.pafa.org/museum/exhibitions/procession-art-norman-lewis.

Romare Bearden’s Abstract Works

Eliza Lafferty, an intern with the Major Gifts and Director’s Office, discusses the abstract works of Romare Bearden, an artist featured in Riffs and Relations: African American Artists and the European Modernist Tradition, on view at The Phillips Collection through January 3, 2021. This post is based on a seminar paper with Professor Elizabeth Prelinger at Georgetown University and was awarded the Misty Dailey Award in Art, Diversity, and Healing.

Romare Bearden (1911-1988) is highly acclaimed for his collages from the American Civil Rights movement. Although a celebrated African American artist, scholarship often forgets to account for the entirety of his art historical contributions—including his abstract works that do not directly engage his race. The omission of Bearden’s abstract paintings from the Western canon is a result of systemic racism in the art world; many abstract paintings by African American artists are forgotten, unsuccessful in the art market, or assumed to reference trauma and/or racial struggle. To combat the common erasure of abstract works by African American artists, scholarship must engage Bearden’s abstract works in conjunction with his collages.

Collages are Bearden’s signature style and elevated him to fame from 1963 and 1964. His use of the collage began simultaneously with his involvement in the Spiral group of African American artists operating during the Civil Rights Movement. Bearden’s collages address narratives surrounding Black movement, migration, and diaspora. Riffs displays two collages by the artist—Mecklenburg Autumn: Heat Lightning Eastward (1983) and Odysseus: Poseidon, The Sea God-Enemy of Odysseus (1977). Mecklenburg Autumn echoes Edouard Manet’s Luncheon on the Grass (1862) and depicts a black couple, with the woman’s face as an African mask, picnicking outside a Southern home.[1] Odysseus adapts Homer’s Odyssey to chronicle the Great Migration. Elements of the collages are abstract: in Mecklenburg Autumn, Bearden paints nebulous foliage in the background and simple blocks of gray and red to detail the house; Bearden also employs a variety of shapes and vibrant color blocks in Odysseus. Still, the figuration in the collages contrasts the purely abstract canvases Bearden painted earlier in his career.

(LEFT) Romare Bearden, Odysseus: Poseidon, The Sea God-Enemy of Odysseus, 1977, Collage on fiberboard, 43 3/8 x 31 3/8 in., The Thompson Collection, Indianapolis, IN; (RIGHT) Romare Bearden, Mecklenburg Autumn: Heat Lightning Eastward, 1983, Collage and oil on fiberboard, 31 x 40 in., Collection of Ginny and Conner Searcy

While scholarship aptly recognizes Bearden’s collages, it rarely acknowledges his work that does not engage identity, including his abstract creations from 1950-1964. Bearden’s Old Poem from 1960 divorces Black narratives and instead finds inspiration from Chinese Zen paintings. During an interview in 1972, Bearden remarked how he found inspiration in Chinese classical painters’ use of space to direct gazes across the canvas. He adopted the technique in Old Poem and provided vacant, warm, yellow space near the bottom horizontal line of the canvas.[2] Old Poem is one of Bearden’s many abstract pieces—all of which are moreover forgotten from public memory. In 2017, The Neuberger Museum of Art in New York hosted the first public showing of many of Bearden’s abstract watercolor paintings, mixed media collages, and stain paintings; prior to the exhibition, most paintings were in storage.[3] Bearden’s abstract works, which disengage his identity, should be absorbed into the greater conversation of his career.

Romare Bearden, Old Poem, 1960, Oil on linen, Private collection

Analysis of Bearden’s portfolio reveals the expectation for African American artists to create narrative, identity-specific pieces. His fame is predicated on attaching raced identity to artists, creating “African American Art.” While Bearden chose to engage and disengage his Blackness in certain works, we must seek to understand the whole artist—not just the parts that appeal to Western expectations. Modern scholars should address Bearden’s wide-ranging portfolio. Memory of Bearden’s work must not flatten his contributions but engage his dynamic shifts in style and inspiration, and in the process, reimagine the depths of his contributions to the Western artistic canon.

 

[1] Adrienne L. Childs, Riffs and Relations: African American Artists and the European Modernist Tradition (Washington, DC: The Phillips Collection; New York: Rizzoli Electa, 2020), 106.

[2] Mary Schmidt Campbell and Sharon F. Patton, Memory and Metaphor the Art of Romare Bearden, 1940-1987 (New York: Studio Museum in Harlem, 1991), 36.

[3] Natalie Espinosa, “Romare Bearden: Abstraction,” American Federation of Arts, October 4, 2019, https://www.amfedarts.org/romare-bearden-abstraction/.