How Did the New Negro Movement Influence the Development of African American Art

Hashim Moore, Durelle Napier, Tejumade Adewole

Socio-Political Context

The Harlem Renaissance was the near influential move of African American literary history (Britannica), emerging in New York Urban center between the stop of the Globe State of war I and the 1929 stock-market crash. According to Richard Powell, information technology was a time period where black people were unshackled from self-uncertainty and began to be optimistic in their views. The Harlem Renaissance was the foundation for Black revolutionary thought in America and around the world; information technology sparked a new Black consciousness, one that was not subjected to white condescension.

The commencement of the new negro started with what we now know every bit the Harlem Renaissance. Powell gives a definition of the Harlem Renaissance, Powell seemed to exist establishing the harlem renaissance every bit the cultural and intellectual recreation of the new negro into modernistic society. The harlem renaissance was essentially the new Negroes platform to enter into the modern world. Blackness Filmmaker, Oscar Micheaux, produced a film that portrayed "New Negro"types leading away from sometime Negro visuals.

Fundamental Figures

Important figures associated with the Harlem Renaissance are Aaron Douglas (painter), Langston Hughes (author), Zora Neale Hurston (author), Duke Ellington and Billie Holiday (Jazz musicians). The musicians, artists, and writers from this fourth dimension period were not just life changing in their era bringing a black presence into the modern world, but their movements were blueprints for many of the fine art forms we accept today.

Visual Art — How Are They Continued to the Broader Statement?

Different art forms such as, music, dance, and writing were ways of achieving this liberation and hopefulness. Art acted as a ways of expressing said liberation. Visuals such equally paintings, photographs, or cinema were ways that Black artists were able to portray a new racial entity in modern lodge. All in attempt to gain attention towards a continually irresolute identity. The photograph from Richard Roberts showing two well dressed immature men can exist assumed to exist well educated and entrepreneurial. Substantially, not just reborn only self made.

For case, Aaron Douglas' Song of the Towers perfectly encompasses the experience of being black in America. In this painting, a man is continuing on a wheel and reaching up towards the heavens, equally if to accomplish up towards his goals. As he holds his saxophone, he is an "avatar of black creativity and self-expression" (Powell 24). There are two men on either side of the chief grapheme, showing two singled-out African American conditions in history — the Great Migration from the south towards northern cities (the human being is walking with luggage in his easily) and apprehension during the Slap-up Low (the man is fallen and seemingly disheveled). The cogwheel, a representation of the industrial rat race, is symbolic primarily due to the placement of all 3 men: one is on the come-up from the South and headed towards new opportunity, one is in prime position as a musician and able to express his new liberty, and the other is broken by the lack of economic opportunity due to the Depression (Powell 24).

In Miguel Covarrubias' Rhapsody in Blueish, creates an image that symbolizes the liberation that African Americans had during the Harlem Renaissance. With the help of the music that the jazz musicians are playing, she is able to exist free to sing and dance. When analyzing this photograph, information technology seems as if the blues vocalist feeds off of the musicians' energy and vice versa. The color scheme that Covarrubias chooses is unique in its own manner as well. The vivid teal colored apparel and aureate upper body of the adult female helps the audition recognize her as the spotlight of the image. Every bit Powell states, "the blue singer's gestures communicate a gendered response to music, beloved and life" (24). This clarification and image is an example in the development of African American emotion in America.

I was unable to observe the original photograph by Richard Roberts, but he portrayed a young black male holding a pistol equally a way to embody power showing the blackness male every bit transgressor and predator. Powell mentions that Roberts portrait is a, "precursor to today's gangsta rap videos showing the black male bravado". The portrait gives off an aggressive demeanor that stare into the face up of a white male dominated world. Painting the black male as the hunter and not the hunted giving him more than of a social presence.

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Source: https://commons.princeton.edu/enternewnegro/harlem-renaissance/

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