What Was the Harlem Renaissance?

Also known as the New Black Activities, the Harlem Renaissance was a motion from the 1920s and 1930s, trying to redefine the black logo through literary works, songs, paint, digital photography and intellectual ideas. This is a direct reaction to adverse stereotypes, rising in American pop culture after the civil war. Until the 20th century, blacks portrayed Sanbos, creatures and specific people, appearing in everyday house items, and preferred home entertainment, intending to verify partitions. New Blacks as enlightened and social blacks directly deny these stereotypes.

As a major pioneer of the Harlem Renaissance, black activist and orator Frederick Douglass (1818-1895), determined the power of the picture and used his photos to deal with paranoia, becoming one of the favorite Americans of the 19th century. He intends to predict knowledge, resilience, and self-esteem, and asks for real photos of black people. But the Jim Crow legislation that ruled the South alone cannot be changed by favorable pictures.

Starting around 1916, African Americans began to evacuate the South, where they were unsafe due to physical violence and inequality. This excellent migration allowed about 1.5 million African Americans to move to the south and start a new life in northern cities, including New York City, Chicago, Philadelphia and Detroit. ShareCropping is the main helping blacks in the South, and is no better than slavery because the system has allowed Sharecroppers to take financial debts and pay the financial debts back to those who own the land they help. There are better commercial operations in the north. Black employees may meet the demand due to labor scarcity caused by the World War (1914-1918).

On the other hand, black experts designate the idea of ​​a brand new black individual who rejects racial stereotypes and needs to be fully involved in American culture. In 1925, writer and lecturer Alain Locke was often described as “Harling Renaissance Papa” New Black: Description This includes the work of the important black thinkers of the day. Locke created in his essay “New Blacks”: “Since the younger generation is full of vitality. A new spirit is sober in the masses, and in the eyes of expert bystanders, individuals turn seasonal trouble into a modern stage of modern black life.”

In the 1920s, blacks carried out huge activities on Harlem’s activities, with Manhattan’s top location covering 1.4 square miles known as the “New Black Capital.” Because of capital, aesthetic art flourishes. Pablo Picasso and Henri Matisse’s technology is changing, and influenced by African art, Locke inspires black musicians to do exactly the same to form a whole new social identity. When this moment, when the funds from the Art Earth moved from Paris to New York City, black musicians were still omitted by the mainstream. Instead of showing their operations in important galleries and galleries, they showcase them in consumers’ homes, churches and university fitness centers.

The Harmon structure helps to bring about a huge target market to understand the work of black musicians. With Locke’s assistance, Mary Beattie Brady led the charity, founded by white real estate programmer William E. Harmon. The structure respects the achievements of Black individuals in art, service, education and learning, literary works, songs, racial relations, spiritual solutions, and scientific research. Prizes awarded to musicians who actually win art honors are changing careers. They provided musicians for Hale Woodruff, Meta Warrick Richer, Aaron Douglas, Palmer Hayden, James A. Covsierge and Archibald Motley Jr.

Aaron Douglas is one of the most effective Harlem musicians at the moment, using African-type work to produce the same art as European modernists such as Picasso and Matisse. Douglas Condition He will definitely make the image later. “We are most likely to live, to gain a specific level of kindness and shadow, to recognize and use this understanding to build expressions of our lives,” he claimed.

At the urging of German portraitist Winold Reiss, Douglas began to work in the African style. By leveraging powerful geometric forms, paint shapes and squeezing his personality with African patterns, his work designates the aesthetic art of activities. Douglas’s All the elements of black life, His most famous work was produced in 1934. Each of the four panels of this work commemorates an element of the African-American story, aesthetically telling the Black travel from Africa to slavery to the Harlem Renaissance.

Augusta Savage is a straightforward musician who earned the Otter Kahn honor of Harmon Enstruct in famous sculptures throughout the Harlem Renaissance. Blackhead She carved well-known black figures, including the Internet Dubois. From 1929 to 1931, she studied La Grande Chaumière in Paris culture and showed off her activities at Hair Salon d’Automne. In 1934, she eventually became the first African-American to sign a contract with a national female painter and sculptor organization. Savage was a coach who eventually became the first director of the Harlem Neighborhood Arts Facilities, where she would certainly educate and coach by Jacob Lawrence.

James van der Zee was a Harlem Renaissance musician who revealed through digital photography how Harlem individuals flourished. Van der Zee’s workshop documented its importance. He is not a universal image, but the tableaux with very well organized props informs the story of the babysitter. Van der Zee’s image shows an image of himself.

The Harlem Revival had a wide impact on the social, social and intellectual life of black individuals. Black musicians create poems, stories, songs and art, test leading societies and bring together black individuals in the American art field. But most notably, they support civil liberties. This activity actually brings the knowledge and skills of black people to and influences future motions that require black people to have the same legal rights.