David Driskell: African Inheritance

David Driskell: Icons of Nature and History is on view through January 9, 2022.

David Driskell was introduced to African art by pioneering artist and art historian James A. Porter at Howard University. Sojourns to Africa in 1969–70 and 1972 deepened his understanding and connection to West African art. In 1973 he addressed this influence directly: “I have turned my attention to images that reflect the exciting expression that is based in the iconography of African art. In so doing, I am not attempting to create African art, instead, I am interested in keeping alive some of the potent symbols that have significant meaning for me as a person of African descent.”

Driskell became a scholar of African art during his tenure at Fisk University in Nashville, where he oversaw an extensive African art collection. Integral to his life, African art graced the artist’s home and his studios. The role of African art in Driskell’s work is rarely one of direct quotation but rather a source of cultural memory and ancestral legacy.

David Driskell, Memories of a Distant Past, 1975, Egg tempera, gouache, and collage on paper, 21 1/2 x 16 in., Private collection © Estate of David C. Driskell

Memories of a Distant Past exemplifies the collage painting method Driskell favored in the late 1960s and 70s, achieving a harmonious orchestration of content and form, paint and collage. Pictorial collage fragments, deployed for pattern and shape, came from commercial print materials (Look magazine was a favorite), fabric, painted paper, and his own uneditioned prints. This painting repurposes material published in the January 7, 1969, edition of Look—a special issue: The Blacks and the Whites. Driskell used pictorial imagery from the essay titled “Black America’s African Heritage.”

David Driskell, Shango, 1972, Egg tempera and gouache on paper, 24 × 18 in., Collection of the Estate of David C. Driskell, Maryland © Estate of David C. Driskell. Photograph by Stephen Bates

Shango reimagines a Yoruba ritual object, specifically a carved dance wand (oshe shango), as a medieval or Byzantine icon. One of the principal Yoruba deities, Shango, who was known for a fiery temper, controlled thunder and lightning. The double-edged ax that appears above the figure’s head (and on carved dance wands) represents Shango’s lightning. Driskell was intimately familiar with Yoruba iconography from historical studies during his residency at the University of Ife (now Obafemi Awolowo University) in Ile-Ife, Nigeria, in 1970.

DC-area educators respond to Alma Thomas (Part II)

Alma Thomas taught art at Shaw Junior High School for 35 years. She said: “I devoted my life to children and they loved me.” To honor and connect to Thomas’s career as a teacher, we asked DC-area educators to respond to works of art in Alma W. Thomas: Everything Is Beautiful . These educators participated in the Phillips’s 2021 Summer Teacher Institute, exploring ways to adapt arts-integrated lessons to their students. Read their perspectives on how they personally connected to Thomas’s artworks.

Read more responses in Part I

Alma W. Thomas, Three Wise Men, 1966, Acrylic on canvas, 36 1/2 x 23 1/2 in., The Harmon and Harriet Kelley Foundation for the Arts

Gratitude. Purpose. Learning. These are the three most valuable points that resonate in me when I look at this painting. The wise men are the carrier of three beautiful gifts.
Gratitude. As I wake up each day, there are so many things that I am thankful for. Foremost, is the gift of LIFE, especially during these tragic times when many people all over the world are dying.
Purpose. In 2015, I had a major car accident while I was seven weeks pregnant. Miraculously, I did not have a single bruise or cut. Since then my purpose of having a second life is making people know that there’s an omnipotent power above us. That experience led me to prioritize making great memories with my family and friends.
Learning. Knowing that this world is so vast and limitless gives us the chance to explore and learn. In this lifetime, it is important to embrace our own beauty, develop our courage, enhance our relationships, and live our life with passion.

What are you hoping to gain from the three wise men?

—Irene De Leon, Service Coordinator / Early Childhood Special Educator, Judy P. Hoyer Early Childhood Center

 

Alma W. Thomas, Wind Sparkling Dew and Green Grass, 1973, Acrylic on canvas, 69 x 50 in., Fort Wayne Museum of Art, Indiana, Gift of Vincent Melzac, 1976.04

This expressionist abstract painting about nature connects us to a feeling of calm and peacefulness. “Sparkling dew” recalls memories of walking across a dew-filled morning lawn, while “wind” associates memories of raindrops running down a window pane. Irregular dabs of blues and greens further add to the qualities of tranquility. An educator by profession, Alma Thomas developed her iconic style in the 1960s, at the age of 69. She was fascinated by her observations of shifting light in her garden. She was also influenced by Claude Monet’s paintings. In her own words, her artwork was meant to evoke “the heavens and stars.” Thomas serves as an inspiring role model, reminding us that educators who are also artists can do both, and thrive, in any stage of life.

—Eileen Cave, Grades PK-6, Visual Art & Arts Integration Lead Teacher, Rosa L. Parks Elementary School

DC-area educators respond to Alma Thomas (Part I)

Alma Thomas taught art at Shaw Junior High School for 35 years. She said: “People always want to cite me for my color paintings, but I would much rather be remembered for helping to lay the foundation of children’s lives.” To honor and connect to Thomas’s career as a teacher, we asked DC-area educators to respond to works of art in Alma W. Thomas: Everything Is Beautiful . These educators participated in the Phillips’s 2021 Summer Teacher Institute, exploring ways to adapt arts-integrated lessons to their students. Read their perspectives on how they personally connected to Thomas’s artworks.

Read more responses in Part II

Alma W. Thomas, Cover of a birthday card, early 1960s, Watercolor on paper, Closed: 7 × 5 in., The Columbus Museum, Gift of Miss John Maurice Thomas in memory of her parents, John H. and Amelia W. Cantey Thomas and her sister Alma Woodsey Thomas, G.1994.20.141

How do you select a greeting card—by image outside or by message inside? If you are like me, I am drawn to the image first. The image strikes my eye with a message of its own.

This small watercolor illusion of a bouquet of flowers has been carefully arranged by Thomas, as if the flowers are laid out, waiting to be placed in a vase. Notice how she carefully layers her bleeding colors starting with a background of blotches of yellow, then greenish grey, and topped by red. Black streaks give structure to the blotches making the flower illusion hold.

What kind of card would you select this painting for? Birthday? Mother’s Day? Sympathy? What do you think is the written message inside? Who did Alma Thomas have in mind when she painted it? What message is she sending you?

Mary Beth Bauernschub, School Librarian, Beltsville PK-8 Academy

 

Alma W. Thomas, Falling Leaves, Love Wind Orchestra, 1977, Acrylic on canvas, 21 1/2 x 27 1/2 in., Private collection

When leaves seem unembarrassed and stubbornly brave to show their ruby color on bright bold days, I know that nature calls us in a whisper to say, “Don’t fear your evolution. Everything must change.” So I dance with abandon as the gentle wind blows. I will not fear change. I will let it all flow. I will trust in the process, this journey, this life. I will trust in the cycles, the beauty of life.

Colie Aziza, Early Childhood Special Educator, Pre-K, Frances Early Childhood Center

 

Alma W. Thomas, Sea of Tranquility, c. 1971, Watercolor on paper, 22 x 30 in., Alex and Lissette Stancioff

Gazing at this beautiful masterpiece of Alma Thomas reminds me of my own journey migrating from the Pearl of the Orient Seas to the Land of the Free. The challenges of migration offer opportunities for growth and resilience. Migrants have varying circumstances and make a move for different reasons, including economic, socio-political, and environmental factors. Initially, for me, it was the call to liberate myself from the hostile working environment back home, an experience that adversely affected my mental health and well-being.

Walking in the Manila Bay area in the Philippines on a sunny day, I had an epiphany. It was time to embrace change and pick up the broken pieces of my inner self. Luckily, I was offered employment in the United States, and after a few years of service, I was nominated for a countywide recognition. It’s also in this country where I found my lifetime partner, and we have been blessed with a miracle baby girl. Nowadays, I am making the time to explore what truly makes me better, greater, and happier. I knew if I did not take the risk, I would never have reached my own “Sea of Tranquility.”  Are you ready to find and explore yours?

Irene De Leon, Service Coordinator / Early Childhood Special Educator, Judy P. Hoyer Early Childhood Center