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The Complete Jacob Lawrence: Over the Line: The Art and Life of Jacob Lawrence AND Jacob Lawrence: Paintings, Drawings, and Murals (1935-1999), A Catalogue Raisonne
This two-volume set, including Over the The Art and Life of Jacob Lawrence and Jacob Paintings, Drawings, and Murals (1935-1999), A Catalogue Raisonne , is the definitive publication on the work of artist Jacob Lawrence. The result of six years of research by the Jacob Lawrence Catalogue Raisonne Project, led by Peter T. Nesbett and Michelle DuBois, the books identify, authenticate, and document over 900 paintings, drawings, and murals created by Jacob Lawrence between 1935 and 1999―over half of them discovered by the project. Over the Line includes essays by eight distinguished art historians considering the ways in which Lawrence’s art speaks so powerfully to different audiences and examining for the first time the breadth and depth of his output.
Intimate in scale and bold in content, Lawrence’s candid portrayals of life in Harlem during the Depression and his epic multi-panel series painted in the late 1930s and early 1940s are the cornerstones of his aesthetic production. His paintings, drawings, and murals depict both critical moments in history and poignant struggles of everyday life. The subject matter ranges from unforgiving portrayals of racial injustice to compassionate scenes of family life, from unnerving images of nuclear annihilation to visual celebrations of such heroic individuals as Frederick Douglass and Harriet Tubman. His use of the series format and his attention to pressing social issues accord him a unique position in the history of American modernism.
Born in 1917, Jacob Lawrence spent his childhood in New York City, attending classes at the Harlem Community Art Center and the American Artists School, and later working for the Federal Art Project. While still in his twenties Lawrence exhibited his paintings at major museums across the country, including the Phillips Collection, the Metropolitan Museum of Art, the Art Institute of Chicago, and the Museum of Modern Art in New York, where he became the first African American artist to have work represented in the permanent collection. He lived, painted, and taught in New York City until 1971, when he joined the faculty of the University of Washington. He is the recipient of numerous awards including the National Medal of Arts.
The contributors to Over the Line include Lizzetta LaFalle Collins; Patricia Hills, Boston University; Elizabeth Hutton-Turner, the Phillips Collection; Paul Karlstrom, West Coast Archives of American Art; Leslie King-Hammond, Maryland Institute; Richard Powell, Duke University; Lowery Stokes Sims, Studio Museum in Harlem; and Elizabeth Steele, the Phillips Collection.
Intimate in scale and bold in content, Lawrence’s candid portrayals of life in Harlem during the Depression and his epic multi-panel series painted in the late 1930s and early 1940s are the cornerstones of his aesthetic production. His paintings, drawings, and murals depict both critical moments in history and poignant struggles of everyday life. The subject matter ranges from unforgiving portrayals of racial injustice to compassionate scenes of family life, from unnerving images of nuclear annihilation to visual celebrations of such heroic individuals as Frederick Douglass and Harriet Tubman. His use of the series format and his attention to pressing social issues accord him a unique position in the history of American modernism.
Born in 1917, Jacob Lawrence spent his childhood in New York City, attending classes at the Harlem Community Art Center and the American Artists School, and later working for the Federal Art Project. While still in his twenties Lawrence exhibited his paintings at major museums across the country, including the Phillips Collection, the Metropolitan Museum of Art, the Art Institute of Chicago, and the Museum of Modern Art in New York, where he became the first African American artist to have work represented in the permanent collection. He lived, painted, and taught in New York City until 1971, when he joined the faculty of the University of Washington. He is the recipient of numerous awards including the National Medal of Arts.
The contributors to Over the Line include Lizzetta LaFalle Collins; Patricia Hills, Boston University; Elizabeth Hutton-Turner, the Phillips Collection; Paul Karlstrom, West Coast Archives of American Art; Leslie King-Hammond, Maryland Institute; Richard Powell, Duke University; Lowery Stokes Sims, Studio Museum in Harlem; and Elizabeth Steele, the Phillips Collection.
Hardcover
First published January 1, 2000
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Displaying 1 - 3 of 3 reviews
June 4, 2013
This is a beautifully produced art book with many insightful essays about Jacob Lawrence's work. I have admired this artist's work for many years, but didn't know much about him, so the essays in this volume helped me to understand his background and the context of his paintings. Excellent, interesting reading and beautiful reproductions.
January 19, 2012
The essays were just too dry and full of academic jargon for me to read for fun, but the art! wow, beautifully reproduced bright colors and patterns. I'd seen his paintings one or two at a time, but seeing so many at once is great and lets you see how his style developed. Some paintings are spare and emotional, like Munch or other expressionaists, others are fractured and as dynamic as the futurists. Most of them are of people, and tiny details really make them come alive.
November 2, 2020
I've been fascinated by the work of Jacob Lawrence for years: the strong narrative series he created at an early age (“The Migration of the Negro”, “The Life of Toussaint L'Ouverture”, etc.) as well as the cubist styles of his later work such as the “Builders” series of paintings. This book discusses his life, his art, and his place in American art history.
His sudden fame at a young age thrust him into the art world as the principal Black artist of his day (in the late 1930s), a position that startled him and which his quiet demeanor was unsuited to. However, he continued to develop his art while holding fast to the basic techniques he learned in Harlem.
The essays in this book explain his progress and development, lavishly illustrated by his paintings. The book reads like a good museum showcase, simultaneously telling and showing its points. The last chapter dives deeply into his techniques and how he changed his use of paint over time, perhaps because as he gained resources he could branch out from the early, cheaper paints readily available to him in Harlem.
His sudden fame at a young age thrust him into the art world as the principal Black artist of his day (in the late 1930s), a position that startled him and which his quiet demeanor was unsuited to. However, he continued to develop his art while holding fast to the basic techniques he learned in Harlem.
The essays in this book explain his progress and development, lavishly illustrated by his paintings. The book reads like a good museum showcase, simultaneously telling and showing its points. The last chapter dives deeply into his techniques and how he changed his use of paint over time, perhaps because as he gained resources he could branch out from the early, cheaper paints readily available to him in Harlem.
Displaying 1 - 3 of 3 reviews