Zora Neale Hurston was very interested in preserving African heritage and identity through art and music during the Harlem Renaissance. Art during this time reflected the desire to use music to keep African heritage alive. Jacob Lawrence’s painting Jazz typifies the growing expression of music in African American communities, especially through jazz. The rhythms and beats of jazz were unique to African America roots in tribal music and gave them an individual voice. August Christine Savage’s bronze cast Lift Every Voice and Sing (1939),built for the World’s Fair, was based on the African American National Anthem, also titled “Lift Every Voice and Sing, written by James Weldon Johnson. This sculpture was a physical representation for the song, created to enhance the message and give hope to the black community. The painting Aspects of Negro Life: From Slavery Through Reconstruction (1934) by Aaron Douglas is part of a series of wall paintings that depict different aspects of black history. This painting is an example of how African Americans were building a new identity after the reconstruction. The painting shows the shift in the place of African Americans in society, from slavery to emancipation. Douglas depicts the emancipated slaves as celebrating their triumph through music and dance. This painting provides an example of how African Americans use music to celebrate and continue their heritage. Together, these paintings exhibit the Hurston’s desire to keep the African heritage and identity alive through the use of music.
Florence was a crucial locus for developments in Italian art throughout the peninsula in the period between 1300 and 1600, and so this bibliography will concern itself with art created in the city rather than by Florentine artists working outside of Florence. To a considerable degree, the pervasive influence of Giorgio Vasari’s (1550, 1568) affected all later historiography, which followed the patriotic Florentine in his claims that everything of importance throughout the Renaissance originated in the city and spread from there elsewhere. That myth was challenged only in the latter part of the 20th century. Nevertheless, no matter how Vasari exaggerated Florence’s importance, the city was a major center. It was wealthy particularly from the wool trade and through dominance in banking throughout Europe, and the city’s humanists early advised private and corporate patrons about the advantages to their reputations and to that of the city of commissioning art and architecture. Although in the 14th century, Florence was governed as a guild republic, and the major guilds commissioned most of the major works of art, by 1434, Cosimo de’ Medici rose to power, and thereafter except for brief intervals (1494–1512; 1527–1530), the Medici family controlled the city. In the mid-16th century, the family consolidated its power and ruled over all of Tuscany as grand dukes, and changed the nature of commissions to those flattering its rule.
Art in Renaissance Florence - Renaissance and …
Zora Neale Hurston is considered to be one of the most influential contributors to the Harlem Renaissance period. She was an established American anthropologist, folklorist, and novelist who was not only an inspiration to those surrounding her, but she affected aspiring creators all across the country. She is perhaps most known for producing the magazine Fire!, which featured and showcased numerous writers from the Harlem Renaissance. Through the production of the literary magazine, Hurston inspired and encouraged other novelists to be courageous and embark on a personal journey to reveal individual identity.
Men with Breasts – Michelangelo’s women 2 | Jill …
Alfredo Martinez from NY, originally from Puerto Rico, , is the Basquiat faker who claimed that the forging of art work was a piece of art in itself.
One of his biggest claims to fame is that he knew Jean-Michel Basquiat (all but fleetingly) in the 1980’s when both were involved in the Soho art scene. In the early 2000’s, over the course of five years, Martinez perfectly copied countless numbers of Basquiat’s works in a clever con, as well as making dozens of fake originals in his style, which he deliberately faked to pass them off as authentic. He even faked Certificates of authenticity to support their legitimacy. Martinez also borrowed original paintings and certificates from friends in New York who owned legitimate works, copied them and returned the fakes to the owners.
Eventually, Martinez was set up by the FBI with investigators An For that, he and he was latterly sentenced to a full five years in prison.