Interpretation of The New Negro in Modernist Art

The Harlem Renaissance or New Negro Movement was instigated through Alain Locke. In March 1925 he edited an issue of the Survey Graphic magazine entitled Harlem: Mecca of the New Negro, followed by an anthology titled The New Negro: An Interpretation. This anthology was abounding with the illustrations of European artists such as Winold Reiss as well as African American artist Aaron Douglas. Writers who are considered a fundamental part of the black canon today: Langston Hughes and Zora Neale Hurston came of age during this period, a period where the New York Herald Tribune asserted America was 'on the edge, if not already in the midst, of what might not improperly be called a Negro renaissance.' Locke persuaded young African American artists to mimic the European modernist movement which was undeniably influenced by African art. Locke acknowledged that ‘by being modern’ that the black artists were inherently ‘being African’, a comment intended to strengthen their African cultural identity.

Locke’s Vision for Racial Identity

Locke’s ideology was rooted in politics, he was convinced that -through the high-level production of art by young black creatives that -there would be a 're-evaluation by white and black alike.' In turn this re-evaluation would lead to an awakening within the negro community, with hopes they would gain momentum in their demand for civil rights, as well as social and economic equality. Unfortunately, due to the 1929 stock market crash the growth of the ‘negro’s cultural adolescence’ was interrupted and ultimately suspended.

Critical Perspectives on the Harlem Renaissance

Historically, scholars have been reluctant to evaluate the ‘Harlem Renaissance’ positively. The Harlem renaissance was criticised and interpreted as “pandering to white taste in the form of primitive depictions of black sensuality and hedonism in the literature, art, music and dance”. Harlem was a site for culture, Langston Hughes asserted that it “was like a great magnet for the Negro intellectual pulling him from everywhere. Once in New York, he had to live in Harlem.” These intellectuals intended to transform the banal image of the African American as merely a descendant of slavery, one who is biologically inferior and ‘environmentally unfit for mechanised modernity and its cosmopolitan forms of fluid identity’ to people who recognise their own branch of culture. Motley is effective in his interpretation of this ‘New Negro’.

Archibald John Motley Jr.: A Visual Celebration

Nightlife (1943) an oil on canvas painting by Archibald John Motley Jr. illustrates a club setting filled with thirty well-dressed African American people. The eyes are immediately drawn to a couple dancing in the middle of the canvas, a woman dressed in a bright coloured orange dress and her male counterpart dressed in a purple suit. To the right of them is another African American couple sat at a round table in conversation, both are holding drinks in their hand whilst the man simultaneously smokes a cigarette. Motley pays close attention to the varying hues of black skin and is careful to adjust the males skin tone according to the lighting of the nightclub similarly the woman’s dress is shadowed along the breast. The addition of the pearls emphasises the general status of the patrons, from their accessories to high heels to suits, these are people who take pride in their appearance.

The Atmosphere of Joyfulness and Freedom

Motley’s stunning use of colour and movement, the warmth of the colours and the curved lines used give the impression of a relaxed, joyful and spirited atmosphere where people are having fun. There is perceived depth to the painting as Motley also pays close attention to the sizing and placement of the patrons further away from the viewer, extending the dance floor as far as the eye can see. In addition to the accessories, Motley also pays close attention to detail through other aspects; this is illustrated through the clock in the top left corner that appears to have struck one AM, this while not prominent is intrinsic to the holistic quality of the artwork. Motley’s technique is effective; he uses thick yet smooth brush strokes whilst simultaneously outlining each figure with intention; each individual is valuable to the story of the painting. Whether in the foreground or background - from patron slumped over bar counter to tasking bartender – they are central to robustness and commitment of piece as well as modernist context in which he works.

The Cultural Shift Amidst Social Challenges

In wake world-war one United States embroiled climate suspicion xenophobia; despite there still ‘unprecedented prosperity rapid rise global economic leadership’. With prosperity came ‘burgeoning mass culture leisure entertainment’ which ‘epitomises Jazz Age 1920s’. African- Americans were not immune epidemic it ripple on decades come from ‘movies radio records mass circulation magazines tabloid newspapers’, modernity had transformed now shift old negro ‘New Negro’. With migration many blacks racist south north where there illusion sanctuary economic opportunity social equity freedom repressive climate humiliation degradation terrorism Locke endeavours instil racial pride self-respect vitality African American art. New Negro endeavours transform “‘old’ Negro slavery segregation. They challenge hateful racism demeaning separatism Jim Crow positive spirit emphasises African American self-determination contributions contemporary American culture.

The Essence of Alain Locke's Contribution

Alain Locke, Howard University professor philosopher published The New Negro 1925; defined shift from old new cultural artistic terms. Jazz Age reflected Nightlife offers glimpse into African American community immersing themselves enjoyment fun. With rampant segregation extended restaurants bars clubs well many public places participating separatist ideas ‘colored’ or ‘whites only’. During climate becomes essential shift narrative solemn sombre joyfulness. Motley’s work willingness find inspiration black nightlife depict spaces where black bodies given agency unwind direct stark contrast day day oppressive anxiety ridden norm. In these spaces African Americans able themselves without fear ostracisation judgement.

Contrasting Views on Harlem Renaissance Success

Although Motley’s work elicits hope politics behind Harlem Renaissance Nathan Huggins' work asserts it failed due limits locality. Its representatives accepted race territory forge new African American identity; however Huggins' suggests rather their ‘patria nativity’ American citizens far more essential. Conversely David Levering Lewis attributes renaissance’s failings ‘wide ambitious delusional striving’ part intellectuals. Lewis describes workings Alain Locke's anthology: thirty-four Afro-American contributors (four white) included almost all future Harlem Renaissance regulars-an incredibly small band artists poets writers upon base Locke's conviction race's 'more immediate hope rests revaluation white black alike Negro terms artistic endowments cultural contributions past prospective.' To suppose few superior people would not filled Liberty Hall quorum Ernestine Rose's 135th Street library were lead ten million Afro-Americans era opportunity justice seemed irresponsibly delusional.

The Role of Art as Hope for Progress

Both critics conclude that African Americans turned art during 1920s because confined placing second homeland suffocating white America art seemed offer only means advancement colour one’s skin restrictive. The African American excluded ‘politics education profitable challenging areas professions brutalised all American economic arrangements; adopted arts domain hope area possible progress.

Toni Morrison's Complex Protagonists

Critics argue it Toni Morrison succeeds creating three-dimensional African American protagonist. Jazz (1926) illustrates character whose destiny informed environment well actions; uses background Harlem inform voice sharp critique old well using inform new. Morrison's message informs warning it only when artists today speak city's 'loud voice make sound human,' there progress.