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] 'Chester' 1931: portrait of an African-american boy, differs sharply from most portraits in its classic simplicity and in the thoughtfulness of the subject. It appeared in the 1931 Harmon exhibition. (Terra-cotta, 10 7/8" H.) San Francisco Museum of Art<ref>Bearden, Romare, and Harry Henderson. A History of African-American Artists From 1792 to the Present. 1st ed. N.p.: Pantheon, n.d. Print.</ref> ] 'Chester' 1931: portrait of an African-american boy, differs sharply from most portraits in its classic simplicity and in the thoughtfulness of the subject. It appeared in the 1931 Harmon exhibition. (Terra-cotta, 10 7/8" H.) San Francisco Museum of Art<ref name=History>Bearden, Romare, and Harry Henderson. ''A History of African-American Artists From 1792 to the Present''. 1st ed. N.p.: Pantheon, n.d. Print.</ref>


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'''Sargent Claude Johnson''' (October 7, 1888 – October 10, 1967) was one of the first ] artists working in California to achieve a national reputation.<ref></ref> He was known for Abstract Figurative and Early Modern styles. He was a painter, potter, ceramist, printmaker, graphic artist, sculptor, and carver. He worked with a variety of media, including ], clay, oil, stone, terra-cotta, ], and wood.<ref></ref> He was in the ] for most of his life.<ref name="SF MOMA"></ref> '''Sargent Claude Johnson''' (October 7, 1888 – October 10, 1967) was one of the first ] artists working in California to achieve a national reputation.<ref name="SF MOMA"></ref> He was known for Abstract Figurative and Early Modern styles. He was a painter, potter, ceramist, printmaker, graphic artist, sculptor, and carver. He worked with a variety of media, including ], clay, oil, stone, terra-cotta, ], and wood.<ref></ref> He was in the ] for most of his life.<ref name="SF MOMA" />


==Early life== ==Early life==
Sargent Johnson was the third of six children, born to a father of Swedish descent and mother of African American and ] ancestry. In 1902, when his mom died the boys of the family were sent to an orphanage in Worcester, Massachusetts and the girls to a Catholic school for African-American and Native American girls in Pennsylvania. At a young age, Sargent and his siblings went to live with their uncle, Sherman Jackson Williams, and his wife, May Howard Jackson. May was a famous black sculptor specializing in Negro themes and undoubtedly she influenced Sargent Johnson at an early age. Apparently some of his sibling had troubles with identifying themselves as African-American and chose to live as either Native Americans or Caucasians, though Sargent lived his life as an African American without a doubt. Johnson’s transition from practicing artist to professional is largely undocumented, though some say he left from Boston to Chicago to live with some relatives and afterwards, in 1915, Sargent Johnson moved to the ] area. The ], which had an influence on the California art movement, took place shortly after his move. The same year, Sargent Johnson married Pearl Lawson and began studying drawing and painting at the A. W. Best School of Art. He attended the ] (now the ]) from 1919 to 1923, where his teachers included the sculptors ] and ]. Consuelo Kanaga, a photographer of that time, knew him well and had said that Johnson, “He was beautiful in his spirit, the way he talked, the way he thought, the way he worked, the way he felt. I don’t mean he didn’t have problems. He did – terrible problems – but he was still beautiful. It was his spirit, the way he looked at everything."<ref>Bearden, Romare, and Harry Henderson. A History of African-American Artists From 1792 to the Present. 1st ed. N.p.: Pantheon, n.d. Print.</ref> Sargent Johnson was the third of six children, born to a father of Swedish descent and mother of African-American and ] ancestry. In 1902, when his mom died the boys of the family were sent to an orphanage in Worcester, Massachusetts and the girls to a Catholic school for African-American and Native American girls in Pennsylvania. At a young age, Sargent and his siblings went to live with their uncle, Sherman Jackson Williams, and his wife, May Howard Jackson. May was a famous black sculptor specializing in Negro themes and undoubtedly she influenced Sargent Johnson at an early age. Apparently some of his sibling had troubles with identifying themselves as African-American and chose to live as either Native Americans or Caucasians, though Sargent lived his life as an African American without a doubt. Johnson’s transition from practicing artist to professional is largely undocumented, though some say he left from Boston to Chicago to live with some relatives and afterwards, in 1915, Sargent Johnson moved to the ] area. The ], which had an influence on the California art movement, took place shortly after his move. The same year, Sargent Johnson married Pearl Lawson and began studying drawing and painting at the A. W. Best School of Art. He attended the ] (now the ]) from 1919 to 1923, where his teachers included the sculptors ] and ]. Consuelo Kanaga, a photographer of that time, knew him well and had said that Johnson, “He was beautiful in his spirit, the way he talked, the way he thought, the way he worked, the way he felt. I don’t mean he didn’t have problems. He did – terrible problems – but he was still beautiful. It was his spirit, the way he looked at everything."<ref name=History />


==Career== ==Career==
“Johnson produced witty, sophisticated work that ranges from jaunty interpretations of African masks to lithographs to small scale figures."<ref>Glueck, Grace. "“United by the Spirit of the Protest: Connecting Mexicans and Black Americans”." The New York Times 25 Oct. 1996: n. pag. Print.</ref> Sargent Johnson began showing his work with the ] of New York in 1926. Through this distinguished foundation that supported African American art, he exhibited many of his pieces and became locally and then nationally known. “The Harmon Foundation and the commission on the church and race relations of the Federal Council of Churches of Christ in America have placed this exhibit before the public in hope of accomplishing three things: Creating a wider interest in the work of the Race artist as a contribution to American Culture; stimulating him to aim for the highest standards of achievement, and encouraging the general public in the purchase of his work with the eventual purpose in view of helping the American Negro to a sounder and more satisfactory economic position in art."<ref>"Rare Exhibit Displayed by Race Artists: Wide Variety Attracts National Interest." The Chicago Defender 14 Jan. 1928: n. pag. Print.</ref> There was a total of 87 pieces displayed at the show and a $150 prize for most outstanding work went to Johnson, “showing a porcelain head of a Negro child, “Pearl,” and two drawings, one of which, “Defiant,” is massively constructed and as simple in its planes as is so much of the modern Mexican work.<ref>"Sargent Johnson Wins Chief Prize at Exhibition by Negro Artists, Sponsored by Harmon Foundation." The New York Times 21 Feb. 1933: n. pag. Print.</ref>He was usually not included in as “American art” because of how his pieces ignored traditional western techniques and was inspired by foreign cultures, such as Mexican muralists Diego Rivera, Jose Clemente Orozco, David Alfaro Siqeiros and others. “Johnson produced witty, sophisticated work that ranges from jaunty interpretations of African masks to lithographs to small scale figures."<ref>Glueck, Grace. "United by the Spirit of the Protest: Connecting Mexicans and Black Americans". ''The New York Times'', 25 October 1996. Print.</ref> Sargent Johnson began showing his work with the ] of New York in 1926. Through this distinguished foundation that supported African-American art, he exhibited many of his pieces and became locally and then nationally known. “The Harmon Foundation and the commission on the church and race relations of the Federal Council of Churches of Christ in America have placed this exhibit before the public in hope of accomplishing three things: Creating a wider interest in the work of the Race artist as a contribution to American Culture; stimulating him to aim for the highest standards of achievement, and encouraging the general public in the purchase of his work with the eventual purpose in view of helping the American Negro to a sounder and more satisfactory economic position in art."<ref>"Rare Exhibit Displayed by Race Artists: Wide Variety Attracts National Interest." ''The Chicago Defender'', 14 January 1928. Print.</ref> There was a total of 87 pieces displayed at the show and a $150 prize for most outstanding work went to Johnson, “showing a porcelain head of a Negro child, “Pearl,” and two drawings, one of which, “Defiant,” is massively constructed and as simple in its planes as is so much of the modern Mexican work.<ref>"Sargent Johnson Wins Chief Prize at Exhibition by Negro Artists, Sponsored by Harmon Foundation." ''The New York Times'', February 21, 1933. Print.</ref>He was usually not included in as “American art” because of how his pieces ignored traditional western techniques and was inspired by foreign cultures, such as Mexican muralists Diego Rivera, Jose Clemente Orozco, David Alfaro Siqeiros and others.


In the late 1930s, Sargent Johnson commissioned his work with the Federal Arts Project (FAP).<ref name="SF MOMA"/> As a member of the ] San Francisco Bay community and influenced by the ] Movement, Sargent Johnson's early work focused on racial identity. Johnson said, “It is the pure American Negro I am concerned with, aiming to show the natural beauty and dignity in that characteristic lip and that characteristic hair, bearing, and manner; and I wish to show that beauty not so much to the white man as to the Negro himself. Unless I can interest my race, I am sunk.”<ref>Bearden, Romare, and Harry Henderson. A History of African-American Artists From 1792 to the Present. 1st ed. N.p.: Pantheon, n.d. Print.</ref> According to Johnson, "Negroes are a colorful race; they call for an art as colorful as they can be made." <ref></ref> Beginning in 1945, and continuing through 1965, Sargent Johnson made a number of trips to ] and Southern ] and started incorporating the people and culture, particularly archeology, into his work. Other subjects included African American figures, animals, and Native Americans. In the late 1930s, Sargent Johnson commissioned his work with the Federal Arts Project (FAP).<ref name="SF MOMA"/> As a member of the ] San Francisco Bay community and influenced by the ] Movement, Sargent Johnson's early work focused on racial identity. Johnson said, “It is the pure American Negro I am concerned with, aiming to show the natural beauty and dignity in that characteristic lip and that characteristic hair, bearing, and manner; and I wish to show that beauty not so much to the white man as to the Negro himself. Unless I can interest my race, I am sunk.”<ref name=History /> According to Johnson, "Negroes are a colorful race; they call for an art as colorful as they can be made."<ref></ref> Beginning in 1945, and continuing through 1965, Sargent Johnson made a number of trips to ] and Southern ] and started incorporating the people and culture, particularly archeology, into his work. Other subjects included African American figures, animals, and Native Americans.


==Auction Records== ==Auction Records==
On February 23, 2010, ] auctioned Sargent Claude Johnson’s ''Untitled (Standing Woman)'', a painted terra cotta sculpture, circa 1933-35, for $52,800 - an auction record at the time for the artist. In 2009 the ] unwittingly sold a work by Johnson for $164.63, that was later valued at more than a million dollars. The twenty-two foot carved redwood relief panel was eventually purchased by the ] and will be displayed in its new American wing. <ref></ref> On February 23, 2010, ] auctioned Sargent Claude Johnson’s ''Untitled (Standing Woman)'', a painted terra cotta sculpture, c. 1933-35, for $52,800 - an auction record at the time for the artist. In 2009 the ] unwittingly sold a work by Johnson for $164.63, that was later valued at more than a million dollars. The 22-foot carved redwood relief panel was eventually purchased by the ] and will be displayed in its new American wing.<ref> February 20, 2012.</ref>


==Notes== ==Notes==

Revision as of 19:21, 8 August 2013

Sargent Claude Johnson
'Chester' 1931: portrait of an African-american boy, differs sharply from most portraits in its classic simplicity and in the thoughtfulness of the subject. It appeared in the 1931 Harmon exhibition. (Terra-cotta, 10 7/8" H.) San Francisco Museum of Art
BornSargent Claude Johnson
(1888-10-07)October 7, 1888
Boston, Massachusetts
DiedOctober 10, 1967(1967-10-10) (aged 79)
San Francisco, California
NationalityAmerican
Known forPainting, sculpture, ceramics

Sargent Claude Johnson (October 7, 1888 – October 10, 1967) was one of the first African-American artists working in California to achieve a national reputation. He was known for Abstract Figurative and Early Modern styles. He was a painter, potter, ceramist, printmaker, graphic artist, sculptor, and carver. He worked with a variety of media, including ceramic, clay, oil, stone, terra-cotta, watercolor, and wood. He was in the Communist Party for most of his life.

Early life

Sargent Johnson was the third of six children, born to a father of Swedish descent and mother of African-American and Cherokee ancestry. In 1902, when his mom died the boys of the family were sent to an orphanage in Worcester, Massachusetts and the girls to a Catholic school for African-American and Native American girls in Pennsylvania. At a young age, Sargent and his siblings went to live with their uncle, Sherman Jackson Williams, and his wife, May Howard Jackson. May was a famous black sculptor specializing in Negro themes and undoubtedly she influenced Sargent Johnson at an early age. Apparently some of his sibling had troubles with identifying themselves as African-American and chose to live as either Native Americans or Caucasians, though Sargent lived his life as an African American without a doubt. Johnson’s transition from practicing artist to professional is largely undocumented, though some say he left from Boston to Chicago to live with some relatives and afterwards, in 1915, Sargent Johnson moved to the San Francisco Bay area. The Panama-Pacific International Exposition, which had an influence on the California art movement, took place shortly after his move. The same year, Sargent Johnson married Pearl Lawson and began studying drawing and painting at the A. W. Best School of Art. He attended the California School of Fine Arts (now the San Francisco Art Institute) from 1919 to 1923, where his teachers included the sculptors Beniamino Bufano and Ralph Stackpole. Consuelo Kanaga, a photographer of that time, knew him well and had said that Johnson, “He was beautiful in his spirit, the way he talked, the way he thought, the way he worked, the way he felt. I don’t mean he didn’t have problems. He did – terrible problems – but he was still beautiful. It was his spirit, the way he looked at everything."

Career

“Johnson produced witty, sophisticated work that ranges from jaunty interpretations of African masks to lithographs to small scale figures." Sargent Johnson began showing his work with the Harmon Foundation of New York in 1926. Through this distinguished foundation that supported African-American art, he exhibited many of his pieces and became locally and then nationally known. “The Harmon Foundation and the commission on the church and race relations of the Federal Council of Churches of Christ in America have placed this exhibit before the public in hope of accomplishing three things: Creating a wider interest in the work of the Race artist as a contribution to American Culture; stimulating him to aim for the highest standards of achievement, and encouraging the general public in the purchase of his work with the eventual purpose in view of helping the American Negro to a sounder and more satisfactory economic position in art." There was a total of 87 pieces displayed at the show and a $150 prize for most outstanding work went to Johnson, “showing a porcelain head of a Negro child, “Pearl,” and two drawings, one of which, “Defiant,” is massively constructed and as simple in its planes as is so much of the modern Mexican work.He was usually not included in as “American art” because of how his pieces ignored traditional western techniques and was inspired by foreign cultures, such as Mexican muralists Diego Rivera, Jose Clemente Orozco, David Alfaro Siqeiros and others.

In the late 1930s, Sargent Johnson commissioned his work with the Federal Arts Project (FAP). As a member of the bohemian San Francisco Bay community and influenced by the New Negro Movement, Sargent Johnson's early work focused on racial identity. Johnson said, “It is the pure American Negro I am concerned with, aiming to show the natural beauty and dignity in that characteristic lip and that characteristic hair, bearing, and manner; and I wish to show that beauty not so much to the white man as to the Negro himself. Unless I can interest my race, I am sunk.” According to Johnson, "Negroes are a colorful race; they call for an art as colorful as they can be made." Beginning in 1945, and continuing through 1965, Sargent Johnson made a number of trips to Oaxaca and Southern Mexico and started incorporating the people and culture, particularly archeology, into his work. Other subjects included African American figures, animals, and Native Americans.

Auction Records

On February 23, 2010, Swann Galleries auctioned Sargent Claude Johnson’s Untitled (Standing Woman), a painted terra cotta sculpture, c. 1933-35, for $52,800 - an auction record at the time for the artist. In 2009 the University of California, Berkeley unwittingly sold a work by Johnson for $164.63, that was later valued at more than a million dollars. The 22-foot carved redwood relief panel was eventually purchased by the Huntington Library and will be displayed in its new American wing.

Notes

  1. ^ Bearden, Romare, and Harry Henderson. A History of African-American Artists From 1792 to the Present. 1st ed. N.p.: Pantheon, n.d. Print.
  2. ^ SF MOMA Exhibition
  3. Ask Art
  4. Glueck, Grace. "United by the Spirit of the Protest: Connecting Mexicans and Black Americans". The New York Times, 25 October 1996. Print.
  5. "Rare Exhibit Displayed by Race Artists: Wide Variety Attracts National Interest." The Chicago Defender, 14 January 1928. Print.
  6. "Sargent Johnson Wins Chief Prize at Exhibition by Negro Artists, Sponsored by Harmon Foundation." The New York Times, February 21, 1933. Print.
  7. Cartage.org
  8. Carol Pogash, "Berkeley’s Artwork Loss Is a Museum’s Gain", New York Times, February 20, 2012.

External links

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