Book contents
- African American Literature in Transition, 1900–1910
- African American Literature in Transition
- African American Literature in Transition, 1900–1910
- Copyright page
- Contents
- Figures
- Contributors
- Preface
- Acknowledgments
- Chronology, 1900–1910
- Introduction
- Part I Transitions in African American Authorship, Publishing, and the Visual Arts
- Chapter 1 Black Bibliographers and the Category of Negro Authorship
- Chapter 2 Transitions in African American Book Publishing and Print Culture
- Chapter 3 Reevaluating African American Art before the Harlem Renaissance
- Part II New Negro Aesthetics and Transitions in Genre and Form
- Part III Modernist Masculinities and Transitions in Black Leadership
- Part IV Remapping the Turn of the Twentieth Century
- Index
Chapter 3 - Reevaluating African American Art before the Harlem Renaissance
from Part I - Transitions in African American Authorship, Publishing, and the Visual Arts
Published online by Cambridge University Press: 29 April 2021
- African American Literature in Transition, 1900–1910
- African American Literature in Transition
- African American Literature in Transition, 1900–1910
- Copyright page
- Contents
- Figures
- Contributors
- Preface
- Acknowledgments
- Chronology, 1900–1910
- Introduction
- Part I Transitions in African American Authorship, Publishing, and the Visual Arts
- Chapter 1 Black Bibliographers and the Category of Negro Authorship
- Chapter 2 Transitions in African American Book Publishing and Print Culture
- Chapter 3 Reevaluating African American Art before the Harlem Renaissance
- Part II New Negro Aesthetics and Transitions in Genre and Form
- Part III Modernist Masculinities and Transitions in Black Leadership
- Part IV Remapping the Turn of the Twentieth Century
- Index
Summary
This chapter revisits one of the most recognized African American artists of the period, Henry Ossawa Tanner, and reveals not only that Tanner was an exemplar of African American education, art, and cultural achievement but that he was also part of a cadre of artists who were engaged in the professionalization and internationalization of African American art at the turn of the century. They were not, as Alain Locke had asserted, merely a transitional generation whose main contribution was to quell public skepticism about Black technical competencies in the visual arts. Rather, as shown in this chapter, this cohort of Black artists, including William A. Harper and William Edouard Scott, opened new imaginative spaces through their international travels and cosmopolitanism.
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- Information
- African American Literature in Transition, 1900–1910 , pp. 73 - 96Publisher: Cambridge University PressPrint publication year: 2021