Volume 41, Number 14 · August 11, 1994
The Real Thing
By Garry Wills
WORKS DISCUSSED IN THIS ESSAY
I Tell My Heart: The Art of Horace Pippin January-April 1994; Art Institute of Chicago, April-July 1994; Cincinnati Art Museum, July 28-October 9, 1994; Baltimore Museum of Art, October 26-December 31, 1994; Metropolitan Museum of Art, New York, February 1-April 30, 1995
exhibition at the Pennsylvania Academy of the Fine Arts,
I Tell My Heart: The Art of Horace Pippin
catalog edited by Judith E. Stein
Pennsylvania Academy of the Fine Arts/Universe Books, 210 pp., $24.95 (paper)
Jacob Lawrence, The Migration Series Birmingham Museum, July 10-September 4, 1994; St. Louis Art Museum, September 30-November 27, 1994; Museum of Modern Art, New York, January 12-April 11, 1995; High Museum of Art, Atlanta, Georgia, April 25-June 25, 1995; Denver Art Museum, July 15-September 10, 1995; Chicago Historical Society, September 22-November 26, 1995
exhibition at the Phillips Collection, September 1993-January 1994;
Jacob Lawrence, The Migration Series
catalog edited by Elizabeth Hutton Turner
The Rappahannock Press/The Phillips Collection, 172 pp., $25.00 (paper)
Harriet and the Promised Land
by Jacob Lawrence
Simon and Schuster Books for Young Readers, $15.00
Jacob Lawrence: Thirty Years of Prints (1963-1993), A Catalogue Raisonné Washington
catalog of the exhibition at Francine Seders Gallery, Seattle,, essay by Patricia Hills, edited by Peter Nesbett
Francine Seders Gallery/University of Washington Press, 64 pp., $14.95 (paper)
A History of African-American Artists From 1792 to the Present
by Romare Bearden, by Harry Henderson
Pantheon, 718 pp., $65.00
The Emergence of the African-American Artist: Robert S. Duncanson, 1821-1872
by Joseph D. Ketner
University of Missouri Press, 233 pp., $27.50 (paper)
African American music and literature have always been appreciated since they draw on rich traditions of song, dance, and folk stories. But the visual arts had no such clear heritage, and recognition of great black sculptors and painters has been spotty until recent years, when the growth of black studies spurred a busy new trade in the work of African Americans—shows, auctions, and even forgeries. One knows that a school of art has arrived when crooks find it remunerative to create fakes by Romare Bearden or Horace Pippin.[1]
Review, 3486 words
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