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Wearing a tweed jacket and turtleneck, Lawrence sits in a relaxed pose with his right arm resting on a metal patio table, while his left, holding a cigarette, extends over the top of his chair. A second chair, out of focus, is behind him and the background is a leafy hedge. He gazes directly at the camera, with a pleasant smile on his face. His short hair is gray, an indication of his seventy years.
By the time of this visit to Reynolda House, Lawrence was retired from the University of Washington and had already been a recognized artist for nearly fifty years. Precocious, he had gained early attention for his series of slave narratives, rendered in his individualistic, flattened, cubist-derived style. Throughout his career he was an advocate for African-American rights, often choosing themes revolving around education and work: the vehicles that he believed would uplift his fellow blacks.
Lawrence had visited Reynolda House six years earlier, in 1981, for a Contemporary American Art Seminar. He was a panelist with poet Maya Angelou and discussed with her the special role of African-American artists. “As to the obligation to maintain a certain integrity—I think we [ethnic artists] are put under a tremendous burden.” Five years later, after Reynolda House purchased Builders No. 2, 1968, for the collection, he wrote to Barbara Millhouse, explaining the painting’s theme. He concluded: “I do remember my visit to Reynolda House. To me it was a very rewarding and informative experience…seeing its collection of art works and having the pleasure of meeting many of its staff. I wish Reynolda House continued success in the very fine work it is accomplishing and in its contribution to the community.” [1]
Notes:
[1] Lawrence, panel discussion March 24, 1981, transcript, and Lawrence to Barbara B. Millhouse, November 16, 1986, archives Reynolda House Museum of American Art.
ProvenanceFrom 1993
Reynolda House Museum of American Art, Winston-Salem, NC, given by the artist in December 1993. [1]
Notes:
[1] Email from artist, June 13, 2006, object file.
Exhibition History2006
Self/Image: Portraiture from Copley to Close
Reynolda House Museum of American Art, Winston-Salem, NC (8/30/2006-12/30/2006)
Published References
DepartmentAmerican Art
Jacob Lawrence
Artist
Susan Mullally
(born 1947)
Subject
Jacob Lawrence
(1917 - 2000)
Date1987
Mediumsilver gelatin print
DimensionsFrame: 14 1/4 x 14 1/4 in. (36.2 x 36.2 cm)
Image: 7 5/8 x 7 3/4 in. (19.4 x 19.7 cm)
SignedSusan Mullally Clark 1987
Credit LineGift of the Artist
Copyright© Susan Mullally
Object number1987.2.7
DescriptionServing as photographer-in-residence at Reynolda House, Susan Mullally was assigned to document the visits of such notable figures as Jacob Lawrence (1917–2000). She frequently shot them outdoors, with available light, which allowed for greater informality. She captured Lawrence at ease, taking a smoke break.Wearing a tweed jacket and turtleneck, Lawrence sits in a relaxed pose with his right arm resting on a metal patio table, while his left, holding a cigarette, extends over the top of his chair. A second chair, out of focus, is behind him and the background is a leafy hedge. He gazes directly at the camera, with a pleasant smile on his face. His short hair is gray, an indication of his seventy years.
By the time of this visit to Reynolda House, Lawrence was retired from the University of Washington and had already been a recognized artist for nearly fifty years. Precocious, he had gained early attention for his series of slave narratives, rendered in his individualistic, flattened, cubist-derived style. Throughout his career he was an advocate for African-American rights, often choosing themes revolving around education and work: the vehicles that he believed would uplift his fellow blacks.
Lawrence had visited Reynolda House six years earlier, in 1981, for a Contemporary American Art Seminar. He was a panelist with poet Maya Angelou and discussed with her the special role of African-American artists. “As to the obligation to maintain a certain integrity—I think we [ethnic artists] are put under a tremendous burden.” Five years later, after Reynolda House purchased Builders No. 2, 1968, for the collection, he wrote to Barbara Millhouse, explaining the painting’s theme. He concluded: “I do remember my visit to Reynolda House. To me it was a very rewarding and informative experience…seeing its collection of art works and having the pleasure of meeting many of its staff. I wish Reynolda House continued success in the very fine work it is accomplishing and in its contribution to the community.” [1]
Notes:
[1] Lawrence, panel discussion March 24, 1981, transcript, and Lawrence to Barbara B. Millhouse, November 16, 1986, archives Reynolda House Museum of American Art.
ProvenanceFrom 1993
Reynolda House Museum of American Art, Winston-Salem, NC, given by the artist in December 1993. [1]
Notes:
[1] Email from artist, June 13, 2006, object file.
Exhibition History2006
Self/Image: Portraiture from Copley to Close
Reynolda House Museum of American Art, Winston-Salem, NC (8/30/2006-12/30/2006)
Published References
Status
Not on viewCollections