This book analyzes the experiences and works of six African American artists who lived and worked in Paris during the Jazz Age. More than 120 works of art are analyzed, many never before published. The author argues that it was study abroad that won these artists critical acclaim, establishing their reputations as some of the most significant leaders of the New Negro movement in the visual arts. She begins her study with a history of the debut of African American artists in Paris, 1830-1914 ...
This book analyzes the experiences and works of six African American artists who lived and worked in Paris during the Jazz Age. More than 120 works of art are analyzed, many never before published. The author argues that it was study abroad that won these artists critical acclaim, establishing their reputations as some of the most significant leaders of the New Negro movement in the visual arts. She begins her study with a history of the debut of African American artists in Paris, 1830-1914 ...
2015 CHOICE Outstanding Academic Title Longlisted for the 2015 American Library in Paris Book Award During the Jazz Age, France became a place where an African American woman could realize personal freedom and creativity, in narrative or in performance, in clay or on canvas, in life and in love. These women were participants in the life of the American expatriate colony, which included F. Scott Fitzgerald, Gertrude Stein, and Cole Porter, and they commingled with bohemian avant-garde writers and artists like Picasso, Breton, Colette, and Matisse. Bricktop's Paris introduces the reader to twenty-five of these women and the city they encountered. Following this nonfiction account, T. Denean Sharpley-Whiting provides a fictionalized autobiography of Ada "Bricktop" Smith, which brings the players from the world of nonfiction into a Paris whose elegance masks a thriving underworld.
"Avant-garde artists and writers courted black personalities such as Josephine Baker, Henry Crowder and Langston Hughes for their sense of 'otherness', Picasso, Brancusi, Giacometti, Leger, Man Ray, Sonia Delaunay, Bataille, Apollinaire and Nancy Cunard, among many others, enthusiastically collected African sculptures, wore tribal jewelry and clothes, and adopted black forms in their work. Their 'African' style influenced a larger audience anxious to be in vogue."--Jacket.
This academic study uses accounts from more than 60 African American writers--Countee Cullen, James Baldwin, Chester Himes et al.--to explain why they were more readily accepted socially in Paris than in America. Fabre (The Unfinished Quest of Richard Wright) shows that French/black American affinity started in pre-Civil War New Orleans (and not, as the title suggests, in Harlem), when illegitimate mulattos with inheritances from French slave-owners sent their children to Paris to be educated. The book concludes that acceptance and appreciation of black Americans were based largely of French distaste both for white Americans, whom the French found egotistical, and for black Africans, with whom the French had a bitter "mutual colonial history."
Although he was the first African American fighter pilot, Eugene J. Bullard is still a relative stranger in his homeland. An accomplished professional boxer, musician, club manager, and impresario of Parisian nightlife between the world wars, Bullard found in Europe a degree of respect and freedom unknown to blacks in America. There, for twenty-five years, he helped define the expatriate experience for countless other African American artists, writers, performers, and athletes. This is the first biography of Bullard in thirty years and the most complete ever. It follows Bullard's lifelong search for respect from his poor boyhood in Jim-Crow Georgia to his attainment of notoriety in Jazz-Age Paris and his exploits fighting for his adopted country, for which he was awarded the Croix de Guerre. Drawing on a vast amount of archival material in the United States, Great Britain, and France, Craig Lloyd unfolds the vibrant story of an African American who sought freedom overseas. Lloyd provides a new look at the black expatriate community in Paris, taking readers into the cabarets where Bullard rubbed elbows with Josephine Baker, Louis Armstrong, and even the Prince of Wales. Lloyd also uses Bullard's life as a lens through which to view the racism that continued to dog him even in Europe in his encounters with traveling Americans. When Hitler conquered France, Bullard was wounded in action and then escaped to America. There, his European successes counted for little: he spent his last years in obscurity and hardship but continued to work for racial justice. Eugene Bullard, Black Expatriate in Jazz-Age Paris offers a fascinating look at an extraordinary man who lived on his own terms and adds a new facet to our understanding of the black diaspora.
Chronicles the vibrant partnership between literary and visual African American artists that resulted in the image of the New Negro. In the process, demonstrates that commercial illustration represents the largest and, in some cases, most progressive body of visual art associated with the Harlem Renaissance.
This Companion authoritatively points to the main areas of enquiry within the subject of African American art history. This book will be of interest to graduate students, researchers and professors and may be used in African American art, visual culture, and culture classes.
