ethiopia awakening - meta warrick fuller

art section 4

when was ethiopia made

1921

what continent was one of the earliest non-western inspos for american art

asia

Starting in the (decade), (name), (name), and (name) started incorporating (country) visual strategies and motifs into their works.

1860s; James Abbott McNeill Whistler, Lila Cabot Perry, and John LaFarge; japanese

IMPRESSIONIST painters (name) and (name) also took compositional elements from Asian (blank), (blank), and (blank)

childe hassam and William Merritt chase; paintings, textiles, and decorative arts

after who displayed what in what year, did african influences begin to appear more in black and white American artists

alfred stieglitz 291 art gallery, African sculpture 1914

what movement began among the New Negro artists

pan African movement

the pan-african movement imagined shared (blank), (blank), and (blank) for African diasporic people in the (country) and the (country).

heritage, stories, symbolism; u.s. and caribbean

Archaeological digs in (continent) and (continent) also brought imagery of ancient civilizations to popular audiences.

africa and latin america

meta warrick fuller was one of the most important what in the 1920s

black sculptors

she was born in what year, state, type of family

1877 Philadelphia; large, affluent Black community

she learned sculpture where from what year to what year

paris in 1899-1903

who did she study with

auguste rodin

how did Auguste Rodin influence warrick

he had an interest in expressing human psychology through sculpture

After a brief career in (city), she married a (ethnicity) (occupation), (name), and they moved to (city), (state).

philadelphia; liberian doctor; Solomon fuller; Framingham, Massachusetts 

why did warrick experience the 1920s differently from other new negro artists

she was older than them and lived in a small city outside major artistic cities

why did black intellectual leaders still recognize warrick’s works

her works were often political and dealt with issues of class and racial struggle.

what was her most famous sculpture

ethiopia awakening

when did she pass away

1968

After the (blank), the Pan-African movement stressed the need for (blank) among people of African descent who, it was believed, shared common struggles against (blank) and (blank).

First World War; solidarity; racism and colonialism

Pan-Africanism sought to connect people from all over the Black Atlantic world, including those from (blank), the (blank), and (blank) and (blank).

africa, Caribbean, north and south america

who was a friend of warrick and leader of the pan-african movement

w.e.b. dubois

w.e.b. du Bois organized (what) starting in (year) and was buried in the (blank) nation of (country).

Pan-African Congresses; 1919; west African; ghana

who is it and what year

meta warrick fuller 1910

Europe and the United States were increasingly interested in the (blank) qualities of African art, particularly (blank) and (blank), which used (blank)

aesthetic; sculpture and masks; abstract

european artists like who plundered African and oceania arts just for its 

pablo picasso; visual elements

Black artists more intentionally incorporated African (blank) and (blank) as part of a move to reclaim and celebrate (blank)

motifs and visual styles; pan-african identities

(name), (name), (name) and (name) all incorporated motifs from African art into their works during the 1920s and 1930s.

Aaron Douglas, Palmer Hayden, Loïs Mailou Jones, and Sargent Claude Johnson; 1920s and 1930s.

The (blank) provided funding for Black American artists to visit the (blank) nation of (blank), a modern republic, which was founded by (blank) following an uprising against (ethnicity) colonial rule (year).

Rosenwald Fund; caribbean; haiti; formerly enslaved people; french; 1804

who is in it, what type of painting, year, material, what does it depict

Malvin Gray Johnson, Self-Portrait, 1934. Oil on canvas. Johnson’s portrait shows an image of several masks behind his shoulder.

art historian (name) writes, the adoption of African imagery in these years “symbolized a new radicalized black identity at the beginning of the (blank).”

Renée Ater; Harlem Renaissance

height of Ethiopia awakening

67 in talks around life-size

fuller’s original model was around what size

10-12 inches

There is at least one (blank) cast and one (blank) still in existence of Ethiopia awakening

bronze and plaster

plaster cast of Ethiopia awakening is painted (blank) and the bronze already has a (blank) color to symbolize what

black; brownish-gold patina; depict the race

As (name) has written, the traditional medium of white marble as a material for sculpture does not lend itself well to representing subjects with darker skin. Fuller’s selection of (blank) and (blank) help add to the sculpture’s (blank) and (blank).

Charmaine Nelson; material and coloring; presence and power

The work was commissioned by the (occupation) (name), an (position) for the (organization)

poet James Weldon Johnson; administrator for the National Association for the Advancement of colored people

what was the NAACP

National Association for the Advancement of Colored People (NAACP), a Black advocacy organization, for the 1921 America’s Making Exhibit.

the america’s making exhibit was held what year and where

1921 new york

what was exhibited at the america’s making exhibit

contributions of thirty-three different immigrant groups

according to planning documents, Black Americans were included as “(blank)”

honorary immigrants

(piece) was the centerpiece of the Black section of the show, where it spread important messages about (blank) and (blank)

Ethiopia Awakening; pan-africanism and black pride

ethiopia awakening depicts what

a black woman unwrapping herself with her right hand that is placed on her chest. her lower half is wrapped in bandages and she wears a nemes

what details reference ancient egypt and egyptomania

1) bandages wrapping lower half of statue body —> mummification

2) she wears a nemes

what hand rests on her chest

right hand

which hand holds the end of the bandage

right hand

the hand holding the bandage makes it seem like what

the statue is unwrapping itself

(name), an important magazine of the New Negro movement, had published several articles on recent (blank) in (country), (country), and (country)

crisis; archaeological digs; Egypt, Sudan, and Ethiopia

fuller wrote as she was compsong the sculpture that it was connected to what

the rule of the “negro kings” in egypt

the “negro kings” in egypt most likely reference to the (blank) pharaohs of the (century)-(century)

Kushite; 8th-7th century BCE

fuller’s sculpture intervened in what

a lonstanding debate on the racial identoty of ancient egyptians

european historians thought Egyptians were

white

the new archaeological evidence led Pan-African scholars to argue for “the (blank)” as part of an “(blank)”

blackness of the Egyptians; ancient and noble lineage

fuller states her opinion on the debate through her sculpture saying, (quote)

“Here was a group who had once made history and now after a long sleep was awakening, gradually unwinding the bandage of its mummified past.”

(country) and (country) were overlapping

and often interchangeable symbols of Black

power and history.

egypt and Ethiopia

Dating back to the (century), Black preachers had cited (verse) of the Christian Bible (which version): “(blank) shall come out of (country); (country) shall soon stretch out her hands unto God.”

19th; Psalm 68:31; King James Version; princes; egypt; ethiopia

psalm 68:31 was interpreted to refer to the (blank) in the (century) and, in the (century), to the (blank) and (blank) emancipation of modern Black people.

abolition of slavery; 19th century; 20th; spiritual and emotional

popular novel by (name), (book name) (year), also used (country) as a symbol of Black (blank) and (blank)

Casely Hayford; Ethiopia Unbound; 1911; ethiopia; political awakening, growing power

For many Americans, the modern nation of Ethiopia was a symbol of (blank) and (blank) to (blank), as the Ethiopians had expelled the (ethnicity) in (year).

resilience and resistance; colonial rule; Italians; 1896

who is the artist and what is the piece called and what is the year

Winold Reiss, African Phantasy: Awakening, 1925

Reiss was a (ethnicity) artist who did (blank) of important (blank) and provided several illustrations for (name) (year) compilation. He was the teacher of (name).

Swiss; portraits of important New Negro Movement figures; Locke’s 1925; Aaron Douglas.

where is this painting placed today

new york public library