Jacob Lawrence made African American families the subject of some of his art, but used those subjects to convey complex messages about family and society. “The Builders” shows a confident, well-dressed family, while “This is a Family Living in Harlem” portrays a family living in austerity and melancholy. While both paintings feature families, the paintings evoke moods that are starkly different. While “The Builders” does feature construction workers, the center of the painting is a family on a walk together. The workers and the lumber they are using serve to frame the family and make them the focal point of the work. The family is well-dressed; the father wears a suit and hat, the mother a dress and hat, and the children are similarly dressed. At first glance, one might assume they’re headed to church; however, the fact that construction workers labor behind them excludes church, since they would not be working on a Sunday. Therefore, it can be inferred that this family is prosperous, and this is simply how they dress. The painting is full of imagery that supports this idea of prosperity. The family moves together, all of them putting their right foot forward, while the builders are all building upward. The message of progress is clear – all the subjects in the painting are moving up and moving forward. The bright colors and absence of shadow support a vision of hope and success. A single white worker in the painting pauses in his work to turn and regard the family, as if to note their new and emerging status in the world. Indeed, the “builders” in the painting are actually the family, as they move forward to build a brighter future for their children and African Americans in general. In contrast, “This is a Family Living in Harlem” paints a bleaker picture. While the family in “Builders” strides forth, straight-backed and confident, the family in “Harlem” is stooped over, their heads hunched into their shoulders as if they bear a great weight. While the family in “Builders” is unified and together, the family in “Harlem” is separated by a table, suggesting that they are not as unified as they could be. They are dressed in the same colors as the family in “Builders” – blues, reds, yellows – yet the hues are subdued and dim. In contrast to the father in “Builders” in his suit, the father in “Harlem” wears the criss-crossed straps of overalls, the pants of the working class.
Heritage is one of the most important factors that represents where a person came from. In “Everyday Use” by Alice Walker, this short story characterizes not only the symbolism of heritage, but also separates the difference between what heritage really means and what it may be portrayed as. Throughout the story, it reveals an African-American family living in small home and struggling financially. Dee is a well-educated woman who struggles to understand her family's heritage because she is embarrassed of her mother and sister, Mama and Maggie. Unlike Dee, Mama and Maggie do not have an education, but they understand and appreciate their family's background. In “Everyday Use,” the quilts, handicrafts, and Dee’s transformation helps the reader interpret that Walker exposed symbolism of heritage in two distinctive point of views.
Did the five-generation family known as the Grayson’s chronicled in detail by Claudio Saunt in his non-fiction book, Black, White, and Indian: Race and the Unmaking of an American deny their common origins to conform to “America’s racial hierarchy?” Furthermore, use “America’s racial hierarchy as a survival strategy?” I do not agree with Saunt’s argument whole-heartedly. I refute that the Grayson family members used free will and made conscious choices regarding the direction of their family and personal lives. In my opinion, their cultural surroundings significantly shaped their survival strategy and not racial hierarchy. Thus, I will discuss the commonality of siblings Katy Grayson and William Grayson social norms growing up, the sibling’s first childbearing experiences, and the sibling’s political experience with issues such as chattel slavery versus kinship slavery.
The transition of being a black man in a time just after slavery was a hard one. A black man had to prove himself at the same time had to come to terms with the fact that he would never amount to much in a white dominated country. Some young black men did actually make it but it was a long and bitter road. Most young men fell into the same trappings as the narrator’s brother. Times were hard and most young boys growing up in Harlem were swept off their feet by the onslaught of change. For American blacks in the middle of the twentieth century, racism is another of the dark forces of destruction and meaninglessness which must be endured. Beauty, joy, triumph, security, suffering, and sorrow are all creations of community, especially of family and family-like groups. They are temporary havens from the world''s trouble, and they are also the meanings of human life.
The stories that the author told were very insightful to what life was like for an African American living in the south during this time period. First the author pointed out how differently blacks and whites lived. She stated “They owned the whole damn town. The majority of whites had it made in the shade. Living on easy street, they inhabited grand houses ranging from turn-of-the-century clapboards to historics”(pg 35). The blacks in the town didn’t live in these grand homes, they worked in them. Even in today’s time I can drive around, and look at the differences between the living conditions in the areas that are dominated by whites, and the areas that are dominated by blacks. Racial inequalities are still very prevalent In today’s society.
Gilbert Osofsky’s Harlem: The Making of a Ghetto paints a grim picture of inevitability for the once-exclusive neighborhood of Harlem, New York. Ososfky’s timeframe is set in 1890-1930 and his study is split up into three parts. His analysis is convincing in explaining the social and economic reasons why Harlem became the slum that it is widely infamous for today, but he fails to highlight many of the positive aspects of the enduring neighborhood, and the lack of political analysis in the book is troubling.
Further, throughout the book, Sadie and Bessie continuously reminds the reader of the strong influence family life had on their entire lives. Their father and mother were college educated and their father was the first black Episcopal priest and vice principal at St. Augustine Co...
Baldwin gives a vivid sketch of the depressing conditions he grew up on in Fifth Avenue, Uptown by using strong descriptive words. He makes use of such word choices in his beginning sentences when he reflects back to his house which is now replaced by housing projects and “one of those stunted city trees is snarling where our [his] doorway used to be” (Baldwin...
In the early 1900s, the American South had very distinctive social classes: African Americans, poor white farmers, townspeople, and wealthy aristocrats. This class system is reflected in William Faulkner’s novel, As I Lay Dying, where the Bundrens a poor, white family, are on a quest to bury their now deceased wife and mother, Addie in the town of Jefferson. Taking a Marxist criticism approach to As I Lay Dying, readers notice how Faulkner’s use of characterization reveals how country folk are looked down upon by the wealthy, upper class townspeople.
Jacob Lawrence's unique career has earned him a National Medal Of Arts , election to the National Academy of Arts and Letters and the National Academy of Design,a National Council of the Arts commisionership, and dozens of honorary degrees and awards, including the NAACP's Spingarn Medal. His paintings has been freatured in several major art exhibitions and many different museums. Lawrence's parents came from the south but they moved to Harlem where Lawrence grew up. Lawrence was born in 1917 and grew up in Harlem during the Great Depression. He had many extraordinary educational oppurtunities as well as his first employment as an artist. In the studio of his mentor, Charles Alston, young Lawrence painted while the Harlem Renaissance was blooming with a generation of young artists and writers. He studied at the Harlem Art Workshop from 1932-1937 and at the American Artists School from 1937-1939. In the 1930's there was two main art groups,realism art and abstractionism art. Lawrence rejected both of them and made up his own style of art. His paintings are alive with human figures, usually African Americans,engaged in all different types of activities. He dipicted the figures in his paintings with dignity and grace. He got his ideas from several different sources. He used repetitive paterns and a lot of different colors and design which are commonly found in a quilt or an African textile. He made up to as many as 60 paintings which are each telling a story and the messages are usually of human triumph over oppression and injustice. Although his paintings often relate to the history and experience of black people their themes are universal. Lawrence allso made murals for his story telling. Throughout most of the 20th century , art institutions within black communities were the only places that exhibited the work of black artists. If other galleries did have black exhibits they were singled out as "Negro artists" or "Negro Art". Without gallery exposure, they were rarely noticed by influential people or obtain appropriate prices. In 1941 Alain Locke, a friend of Lawrence's introduced Lawrence's Migration series to the owner New York's Downtown Gallery Edith Halpert. Edith immediately organized an exhibition for Lawrence's art work, and Lawrence joined the select few group of artists she presented, which included Stuart Davis, Charles Sheeler, and Ben Shahn. Lawrence's Migration series was purchased and divided between the Museum of Modern Art and the Phillip's Collection.
The twentieth century was a time of tremendous change that commenced with WWI and the Great Depression. While WWI brought countless deaths, the Great Depression affected both urban and rural Americans. Yet, underlying these devastating events was the abuse of black Americans. Both whites and blacks had to cope with the major occurrences of the time, but blacks also faced strife from whites themselves. During the early part of the twentieth century, white Americans Russell Baker and Mildred Armstrong Kalish gained kindred attributes from their families, especially in comparison to that of Richard Wright, a black American. The key differences between the experience of whites and blacks can be found within the mentality of the family, the extent to which they were influenced by their families in their respective lives, and the shielding from the outside world, or lack thereof, by their families. Through the compelling narrations of these three authors, readers can glimpse into this racially divided world from the perspective of individuals who actually lived through it.
The Great Migration influenced “White Houses” because it shows the displeasure and disappointment black felt after they found out that the North was not the paradise that they were searching for. It also shows how blacks were not as protected as whites were under the law.
George Saunders, a writer with a particular inclination in modern America, carefully depicts the newly-emerged working class of America and its poor living condition in his literary works. By blending fact with fiction, Saunders intentionally chooses to expose the working class’s hardship, which greatly caused by poverty and illiteracy, through a satirical approach to criticize realistic contemporary situations. In his short story “Sea Oak,” the narrator Thomas who works at a strip club and his elder aunt Bernie who works at Drugtown for minimum are the only two contributors to their impoverished family. Thus, this family of six, including two babies, is only capable to afford a ragged house at Sea Oak,
Lareau’s main argument in the text is that when children grow up in certain environments, parents are more likely to use specific methods of child rearing that may be different from other families in different social classes. In the text, Lareau describes how she went into the home of the McAllisters and the Williams, two black families leading completely different lives. Ms. McAllister lives in a low income apartment complex where she takes care of her two children as well as other nieces and nephews. Ms. McAllister never married the father of her two children and she relies on public assistance for income. She considers herself to be a woman highly capable of caring for all the children yet she still struggles to deal with the stress of everyday financial issues. The Williams on the other hand live in a wealthier neighborhood and only have one child. Mr. W...
A world of class and economic distinction emerged on a class of students from Harlem one day while on a trip with their teacher to FAO Schwartz Toy Store. Miss Moore intentionally targets expensive toys that are unobtainable for the children due to financial reasons; she does this in order to expose the children to what life is like for those who do not live in an oppressed community as them. This method of instruction has an impact so far on the children as they begin to contemplate the prices of extravagant items and the lifestyle of those who can afford these items: “Who are
In regards to the unpainted house: At the end of the book, only a corner of the house needs painting to be complete. It would have been very easy for our author to have completely finished in painting the house. However, that’s not what the premise nor the promise of the book contains. There is a big difference in completing a challenge, and being successful. Although life’s problems and challenges are never ending, the success in dealing with a challenge has more to do with the way it is done than in its completion. ‘The joy is certainly in the journey’ when reading the novel, ‘A Painted House’.