جاکوب

Herman J. جاکوب Mankiewicz Born Herman Jacob Mankiewicz
November 7, 1897
New York City, New York, U.S.Died March 5, 1953 (aged 55)
Hollywood, California, U.S.Alma mater Columbia UniversityOccupation ScreenwriterYears active 1926–1952Spouse(s) Sara Aaronson (1897-1985)Children 3, including Don and FrankFamily See Mankiewicz family

Herman Jacob Mankiewicz (November 7, 1897 – March 5, 1953) was an American screenwriter, who, with Orson Welles, wrote the screenplay for Citizen Kane (1941). Earlier, he was the Berlin correspondent for the Chicago Tribune and the drama critic for The New York Times and The New Yorker.[1][2][3]Alexander Woollcott said that Herman Mankiewicz was the "funniest man in New York".[4] Both Mankiewicz and Welles received Academy Awards for their screenplay.[5]

He was often asked to fix the screenplays of other writers, with much of his work uncredited. Occasional flashes of what came to be called the "Mankiewicz humor" and satire distinguished his films, and became valued in the films of the 1930s. The style of writing included a slick, satirical, and witty humor, which depended almost totally on dialogue to carry the film. It was a style that would become associated with the "typical American film" of that period.[6]:219

Among the screenplays he wrote or worked on, besides Citizen Kane, were The Wizard of Oz, Man of the World, Dinner at Eight, Pride of the Yankees, and The Pride of St. Louis.

Mankiewicz's younger brother was Joseph L. Mankiewicz (1909–1993), also an Oscar-winning Hollywood director, screenwriter, and producer.

Film critic Pauline Kael credits Mankiewicz with having written, alone or with others, "about forty of the films I remember best from the twenties and thirties. . . . he was a key linking figure in just the kind of movies my friends and I loved best."[7]:247

Personal life

Herman Mankiewicz was born in New York City in 1897. His parents were of German Jewish ancestry: جاکوب his father, Franz Mankiewicz, was born in Berlin and emigrated to the U.S. from Hamburg in 1892.[4][8][9] He arrived in the U.S. with his wife, a dressmaker named Johanna Blumenau, who was from the German-speaking Kurland region."[10]:21 The family lived first in New York and then moved to Wilkes-Barre, Pennsylvania, where Herman's father accepted a teaching position. In 1909, Herman's brother, Joseph L. Mankiewicz (who himself would have a career as a successful writer, producer, and director), was born, and both boys and a sister spent their childhood there. Census records indicate the family lived on Academy Street.

The family moved to New York City in 1913, and Herman graduated from Columbia University in 1917.[4] After a period as managing editor of the American Jewish Chronicle, he became a flying cadet with the United States Army in 1917, and, in 1918, a private first class with the Marines, A.E.F. In 1919 and 1920, he became director of the American Red Cross News Service in Paris, and after returning to the U.S. married Sara Aaronson, of Baltimore. He took his bride overseas with him on his next job as a foreign correspondent in Berlin from 1920 to 1922, doing political reporting for George Seldes on the Chicago Tribune.[7]:243–244

He was a "bookish, introspective child who, despite his intelligence, was never able to win approval from his demanding father" who was known to belittle his achievements.[6]:218–224 He became an alcoholic, which hurt his career by the late 1930s.[11]

His children were screenwriter Don Mankiewicz (1922-2015), politician Frank Mankiewicz (1924-2014), and novelist Johanna Mankiewicz Davis (1937-1974).

Early career

While a reporter in Berlin for the Chicago Tribune, he also sent pieces on drama and books to The New York Times.[2][3] At one point, he was hired in Berlin by dancer Isadora Duncan, to be her publicist in preparation for her return tour in America. At home again in the U.S., he took a job as a reporter for the New York World. He was known as a "gifted, prodigious writer," and contributed to Vanity Fair, The Saturday Evening Post and numerous other magazines. While still in his twenties, he collaborated with Heywood Broun, Dorothy Parker, Robert E. Sherwood, and others on a revue, and collaborated with George S. Kaufman on a play, The Good Fellow, and with Marc Connelly on The Wild Man of Borneo. From 1923 to 1926, he was at The New York Times backing up George S. Kaufman in the drama department and soon after became the first regular theatre critic for The New Yorker, writing a weekly column during 1925 and 1926. He was a member of the Algonquin Round Table.[12] His writing attracted the notice of film producer Walter Wanger who offered him a motion-picture contract and he soon moved to Hollywood.[7]:244

Success in Hollywood

After a month in the movie business, Mankiewicz signed a year's contract at $400 a week plus bonuses. By the end of 1927, he was head of Paramount's scenario department, and film critic Pauline Kael, who wrote about him and the creation of Citizen Kane in "Raising Kane", her famous 1971 New Yorker article, wrote that "in January, 1928, there was a newspaper item reporting that he was in New York 'lining up a new set of newspaper feature writers and playwrights to bring to Hollywood,' and that 'most of the newer writers on Paramount's staff who contributed the most successful stories of the past year' were selected by 'Mank.'"[7]:244 Film historian Scott Eyman notes that Mankiewicz was put in charge of writer recruitment by Paramount. However, as "a hard-drinking gambler, he hired men in his own image: Ben Hecht, Bartlett Cormack, Edwin Justus Mayer, writers comfortable with the iconoclasm of big-city newsrooms who would introduce their sardonic worldliness to movie audiences.[13]

Kael notes that "beginning in 1926, Mankiewicz worked on an astounding number of films." In 1927 and 1928, he did the titles (the printed dialogue and explanations) for at least twenty-five films that starred Clara Bow, Bebe Daniels, Nancy Carroll, Wallace Beery, and other public favorites. By then, sound had come in, and in 1929 he did the script as well as the dialogue for The Dummy, and did the scripts for many directors, including William Wellman and Josef von Sternberg.[7]

Other screenwriters made large contributions, too, but "probably none larger than Mankiewicz's," according to Kael. At the beginning of the sound era he was one of the highest-paid writers in the world, because, Kael writes, "he wrote the kind of movies that were disapproved of as "fast" and immoral. His heroes weren't soft-eyed and bucolic; he brought good-humored toughness to the movies, and energy and astringency. And the public responded, because it was eager for modern American subjects."[7]:247 He was described as "a Promethean wit bound in a Promethean body, one of the most entertaining men in existence...[and] called the 'Central Park West Voltaire' by Ben Hecht.[14]:330

According to Kael, Mankiewicz did not work on every kind of picture. He didn't do Westerns, for example, and once, when a studio attempted to punish him for his customary misbehavior by assigning him to a Rin Tin Tin picture, he rebelled by turning in a script that began with the craven dog frightened by a mouse and reached its climax with a house on fire and the dog taking a baby into the flames.[7]:246[a]

Style

Shortly after his arrival on the West Coast, he sent a telegram to journalist-friend Ben Hecht in New York: "Millions are to be grabbed out here and your only competition is idiots. Don't let this get around."[6] He attracted other New York writers to Hollywood who contributed to a burst of creative, tough, and sardonic styles of writing for the fast-growing movie industry. What distinguished his screenplays were "occasional flashes of the Mankiewicz humor and satire that proved to be a foreshadowing of a new type of slick, satirical, typically American film that depended almost totally on dialogue for its success."[6]:218–224

Between 1929 and 1935, he was credited with working on at least twenty films, many of which he received no credit for. Between 1930 and 1932 he was either producer or associate producer on four comedies and helped write their screenplays without credit: Laughter, Monkey Business, Horse Feathers, and Million Dollar Legs, which many critics considered one of the funniest comedies of the early 1930s.[6] In 1933, he co-wrote Dinner at Eight, which was based on the George S. Kaufman/Edna Ferber play, and became one of the most popular comedies at that time and remains a "classic" comedy.

The Wizard of Oz

In February 1938, he was assigned as the first of ten screenwriters to work on The Wizard of Oz. Three days after he started writing he handed in a seventeen-page treatment of what was later known as "the Kansas sequence". While Baum devoted less than a thousand words in his book to Kansas, Mankiewicz almost balanced the attention on Kansas to the section about Oz. He felt it was necessary to have the audience relate to Dorothy in a real world before transporting her to a magic one. By the end of the week he had finished writing fifty-six pages of the script and included instructions to film the scenes in Kansas in black and white. His goal, according to film historian Aljean Harmetz, was to "capture in pictures what Baum had captured in words—the grey lifelessness of Kansas contrasted with the visual richness of Oz."[16]:28 He was not credited for his work on the film, however.

Banned by the Nazis

According to The New York Times, in 1935, while he was a staff writer for MGM, the studio was notified by Dr. Paul Joseph Goebbels, then Minister of Education and Propaganda under Adolf Hitler, that films written by Mankiewicz could not be shown in Nazi Germany unless his name was removed from the screen credits.[17]

Citizen Kane

Mankiewicz is best known for his collaboration with Orson Welles on the screenplay of Citizen Kane, for which they both won an Academy Award and later became a source of controversy over who wrote what. Pauline Kael attributed Kane's screenplay to Mankiewicz in a 1971 essay that was strongly disputed and is now discredited.[18][19] Much debate has centered around this issue, largely because of the importance of the film itself, which most agree is a fictionalized biography of newspaper publisher William Randolph Hearst. According to film biographer David Thomson, however, "No one can now deny Herman Mankiewicz credit for the germ, shape, and pointed language of the screenplay..."[20]

Mankiewicz biographer Richard Meryman notes that the dispute had various causes, including the way the movie was promoted. When RKO opened the movie on Broadway on May 1, 1941, followed by showings at theaters in other large cities, the publicity programs that were printed included photographs of Welles as "the one-man band, directing, acting, and writing." In a letter to his father afterwards, Mankiewicz wrote, "I'm particularly furious at the incredibly insolent description of how Orson wrote his masterpiece. The fact is that there isn't one single line in the picture that wasn't in writing—writing from and by me—before ever a camera turned."[10]:270

According to film historian Otto Friedrich, it made Mankiewicz "unhappy to hear Welles quoted in Louella Parsons's column, before the question of screen credits was officially settled, as saying, 'So I wrote Citizen Kane.' Mankiewicz went to the Screen Writers Guild and declared that he was the original author. Welles later claimed that he planned on a joint credit all along, but Mankiewicz claimed that Welles offered him a bonus of ten thousand dollars if he would let Welles take full credit. ... The Screen Writers Guild eventually decreed a joint credit, with Mankiewicz's name first."[21] Some time later, Welles commented on this allegation:

God, if I hadn't loved him I would have hated him after all those ridiculous stories, persuading people I was offering him money to have his name taken off...that he would be carrying on like this, denouncing me as a coauthor, screaming around.[10]:274

Hearst's inner circle

Mankiewicz became good friends with Hollywood screenwriter Charles Lederer, who was Marion Davies's nephew. Lederer grew up as a Hollywood habitué, spending much time at San Simeon, where Davies reigned as William Randolph Hearst's mistress. As one of his admirers in the early 1930s, Hearst often invited Mankiewicz to spend the weekend at San Simeon.

"Herman told Joe [his brother] to come to the office of their mutual friend Charlie Lederer..."[10]:144 "Mankiewicz found himself on story-swapping terms with the power behind it all, Hearst himself. When he had been in Hollywood only a short time, he met Marion Davies and Hearst through his friendship with Charles Lederer, a writer, then in his early twenties, whom Ben Hecht had met and greatly admired in New York when Lederer was still in his teens. Lederer, a child prodigy who had entered college at thirteen, got to know Mankiewicz..."[7]:254–255 Herman eventually "saw Hearst as 'a finagling, calculating, Machiavellian figure.' But also, with Charlie Lederer, ...wrote and had printed parodies of Hearst newspapers..."[10]:212–213

In 1939, Mankiewicz suffered a broken leg in a driving accident and had to be hospitalized. During his hospital stay, one of his visitors was Orson Welles, who met him earlier and had become a great admirer of his wit. During the months after his release from the hospital, he and Welles began working on story ideas which led to the creation of Citizen Kane.

Despite Welles' denial that the film was about Hearst, few people were convinced—including Hearst. After the release of Citizen Kane, Hearst pursued a longtime vendetta against Mankiewicz and Welles for writing the story.[6] "Certain elements in the film were taken from Mankiewicz's own experience: the sled Rosebud was based—according to some sources—on a very important bicycle that was stolen from him....[and] some of Kane's speeches are almost verbatim copies of Hearst's."[6] Most personally, the word "rosebud" was reportedly Hearst's private nickname for Davies' clitoris.[22] Hearst's thoughts about the film are unknown; what is certain is that his extensive chain of newspapers and radio stations blocked all mentions of the film, and refused to accept advertising for it, while some Hearst employees worked behind the scenes to block or restrict its distribution.[23]

Academy Award celebration

Citizen Kane was nominated for an Academy Award in every possible category, including Best Original Screenplay. Meryman writes, "Herman insisted he had no chance to win, though The Hollywood Reporter had given the film first place in ten of its twelve divisions. The fear of Hearst, he felt, was still alive. And Hollywood's resentment and distrust of Welles, the nonconformist upstart, were even greater since he had lived up to his wonderboy ballyhoo."[10]:272 Neither Welles nor Mankiewicz attended the dinner, which was broadcast on radio. Welles was in South America filming It's All True, and Herman refused to attend. "He did not want to be humiliated," said his wife, Sara.

Richard Meryman describes the evening:

On the night of the awards, Herman turned on his radio and sat in his bedroom chair. Sara lay on the bed. As the screenplay category approached, he pretended to be hardly listening. Suddenly from the radio, half screamed, came "Herman J. Mankiewicz." Welles's name as coauthor was drowned out by voices all through the audience calling out, "Mank! Mank! Where is he?" And audible above all others was Irene Selznick: "Where is he?"[10]:272

George Schaefer accepted Herman's Oscar. "Except for this coauthor award, the Motion Picture Academy excommunicated Orson Welles," wrote Meryman, "[and] as Pauline Kael put it, 'The members of the Academy ... probably felt good because their hearts had gone out to crazy, reckless Mank, their own resident loser-genius."[10]:272

The film as a whole

Richard Meryman concludes that "taken as a whole...Citizen Kane was overwhelmingly Welles's film, a triumph of intense personal magic. Herman was one of the talents, the crucial one, that were mined by Welles. But one marvels at the debt those two self-destroyers owe to each other. Without Welles there would have been no supreme moment for Herman. Without Mankiewicz there would have been no perfect idea at the perfect time for Welles ... to confirm his genius... The Citizen Kane script was true creative symbiosis, a partnership greater than the sum of its parts."[10]:275

Other films

Mankiewicz wrote and co-wrote many other major screenplays (including the original version of Gentlemen Prefer Blondes and The Pride of the Yankees), Dinner at Eight, and The Pride of St. Louis.

Death

Mankiewicz was an alcoholic,[24][25] once famously reassuring his hostess at a formal dinner, after he had vomited on her white tablecloth, not to be concerned because "the white wine came up with the fish." He died March 5, 1953, (The same day Joseph Stalin died) of uremic poisoning, at Cedars of Lebanon Hospital in Los Angeles.[1][17]

Critical legacy

In looking back on his early films, Pauline Kael writes that Mankiewicz had, in fact, written (alone or with others) "about forty of the films I remember best from the twenties and thirties. I hadn't realized how extensive his career was. ... and now that I have looked into Herman Mankiewicz's career it's apparent that he was a key linking figure in just the kind of movies my friends and I loved best. These were the hardest-headed periods of American movies ...[and] the most highly acclaimed directors of that period, suggests that the writers...in little more than a decade, gave American talkies their character."[7]:247

Director and screenwriter Nunnally Johnson claimed that the "two most brilliant men he has ever known were George S. Kaufman and Herman Mankiewicz, and that Mankiewicz was the more brilliant of the two. ...[and] spearheaded the movement of that whole Broadway style of wisecracking, fast-talking, cynical-sentimental entertainment onto the national scene."[7]:246

Depictions

Mankiewicz is played by John Malkovich in RKO 281, about the battle over Citizen Kane.

Writing filmography

He was involved with the following films:[26]

Bibliography

Plays

• Kaufman, George S. & Herman J. Mankiewicz (1931). The good fellow : a play in three acts. New York: S. French.

Essays and reporting

• H. J. M. (February 28, 1925). "The "World" is with us". Behind the News. The New Yorker. 1 (2): 4–5.
• — (June 6, 1925). "The theatre". Critique. The New Yorker. 1 (16): 13.
• — (June 13, 1925). "The theatre". Critique. The New Yorker. 1 (17): 15.

Critical studies, reviews and biography

• Meyman, Richard (1978). Mank : the wit, world and life of Herman Mankiewicz.

Notes

References

Further reading

• Kael, Pauline, "Raising Kane", in The Citizen Kane Book, (1971) Bantam Books
• Lambert, Gavin, On Cukor (1972) Putnam
• Marion, Frances, Off With Their Heads (1972) Macmillan
• Naremore, James, The Magic World of Orson Welles (1978) Oxford University Press
• Mankiewicz, Herman J. Fiction, "The Big Game," The New Yorker, November 14, 1925, p. 11
• Mankiewicz, Herman J. Fiction, "A New Yorker in the provinces," The New Yorker, February 6, 1926, p. 16

External links

Wikiquote has quotations related to: Herman J. Mankiewicz

• Herman J. Mankiewicz on IMDb
• Herman J. Mankiewicz at Find a Grave

Jacob Lawrence Born September 7, 1917
Atlantic City, New JerseyDied June 9, 2000 (aged 82)
Seattle, WashingtonNationality AmericanKnown for Painting

Jacob Lawrence (September 7, 1917 – June 9, 2000) was an African-American painter known for his portrayal of African-American life. جاکوب As well as a painter, storyteller, and interpreter, he was an educator. جاکوب Lawrence referred to his style as "dynamic cubism", though by his own account the primary influence was not so much French art as the shapes and colors of Harlem.[1] He brought the African-American experience to life using blacks and browns juxtaposed with vivid colors. He also taught and spent 15 years as a professor at the University of Washington.[2]

Lawrence is among the best-known 20th-century African-American painters. He was 25 years old when he gained national recognition with his 60-panel Migration Series,[3] painted on cardboard. The series depicted the Great Migration of African-Americans from the rural South to the urban North. A part of this series was featured in a 1941 issue of Fortune. The collection is now held by two museums: جاکوب the odd-numbered paintings are on exhibit in the Phillips Collection in Washington, D.C., and the even-numbered are on display at MOMA in New York. Lawrence's works are in the permanent collections of numerous museums, including the Philadelphia Museum of Art, the Museum of Modern Art, the Whitney Museum, the Phillips Collection, Metropolitan Museum of Art, the Brooklyn Museum, and Reynolda House Museum of American Art. He is widely known for his modernist illustrations of everyday life as well as epic narratives of African American history and historical figures.[4]

Life

Jacob Lawrence was born in 1917 in Atlantic City, New Jersey. Jacobs's parents moved him and his siblings from the rural south to the north for a chance at a better life.[5] They divorced in 1924, after which his mother put him and his two younger siblings into foster care in Philadelphia. When he was 13, he and his siblings moved to New York City, where he reconnected with his mother in Harlem. Lawrence was introduced to art shortly after that when their mother enrolled him in after school classes at an arts and crafts settlement house in Harlem, called Utopia Children's Center, in an effort to keep him busy. The young Lawrence often drew patterns with crayons. In the beginning, he copied patterns of his mother's carpets. One of his art teachers noted great potential in Lawrence.

After dropping out of school at 16, Lawrence worked in a laundromat and a printing plant. He continued with art, attending classes at the Harlem Art Workshop, taught by the noted African-American artist Charles Alston. Alston urged him to attend the Harlem Community Art Center, led by the sculptor Augusta Savage. Savage secured Lawrence a scholarship to the American Artists School and a paid position with the Works Progress Administration, established during the Great Depression by the administration of President Franklin D. Roosevelt. Lawrence continued his studies as well, working with Alston and Henry Bannarn, another Harlem Renaissance artist, in the Alston-Bannarn workshop.

On July 24, 1941, Lawrence married the painter Gwendolyn Knight, also a student of Savage. She supported his work and even helped him with captions for many of his series of paintings.[6] They were married until his death in 2000.

In October 1943 (during the Second World War), Lawrence was drafted in the United States Coast Guard and served with the first racially integrated crew on the USCGC Sea Cloud, under Carlton Skinner.[7] He continued to paint and sketch while in the Coast Guard, documenting the experience of war around the world. He produced 48 paintings during this time, all of which have been lost. But after the war, he created his famous War Series. [8] Back in New York, Lawrence continued to paint. He grew depressed, however, and in 1949, he checked himself into Hillside Hospital in Queens, where he stayed for 11 months. He painted as an inpatient. These works differed from his usual artworks because they displayed sadness and agony.[9] Shortly after leaving Hillside, Lawrence turned to theater.

After many years in New York, in 1970 Lawrence and Knight moved to the Pacific Northwest, where he had been invited to be an art professor at the University of Washington. They settled in Seattle. Some of his works are displayed in the university's Meany Hall for the Performing Arts and in the Paul G. Allen Center for Computer Science & Engineering. Lawrence's painting, Theater, installed in the main lobby of Meany Hall, was commissioned by the University in 1985 for that space.

Education and career

For Jacob Lawrence's education, he took Works Progress Administration art classes in New York (1934-1937) and he also studied at Harlem Art Workshop in New York in 1937.[10] Harlem provided crucial training for the majority of black artists in the United States. Lawrence was one of the first artists trained in and by the African-American community in Harlem.[11] Throughout his lengthy artistic career, Lawrence concentrated on exploring the history and struggles of African Americans. He often portrayed important periods in African-American history. The artist was 21 years old when his series of paintings of the Haitian general Toussaint L’Ouverture, who led the revolution of the slaves that eventually gained independence, was shown in an exhibit of African-American artists at the Baltimore Museum of Art. This impressive work was followed by a series of paintings of the lives of Frederick Douglass and Harriet Tubman, as well as a series of pieces about the abolitionist John Brown.

Lawrence was 23 when he completed the 60-panel set of narrative paintings entitled Migration of the Negro, now called the Migration Series. The series was a portrayal of the Great Migration, when hundreds of thousands of African Americans moved from the rural South to the North after World War I and showed their adjusting to Northern cities. It was exhibited in New York at the Museum of Modern Art, and brought him national recognition.[12] His early work involved general depictions of everyday life in Harlem and also a major series dedicated to Black History (1940-1941).[13] In the 1940s Lawrence was given his first major solo exhibition at the Museum of Modern Art in New York City and became the most celebrated African-American painter in the country. Lawrence taught at Black Mountain College during the 1946 Summer Art Institute, where he was influenced by the teaching of Josef Albers. This is when his form and design changed in his style of realism.[14]

The "hard, bright, brittle" aspects of Harlem during the Great Depression inspired Lawrence as much as the colors, shapes and patterns inside the residents' homes. "Even in my mother's home," Lawrence told historian Paul Karlstrom, "people of my mother's generation would decorate their homes in all sorts of color... so you'd think in terms of Matisse."[15] He used water-based media throughout his career.[16] Lawrence started to gain some notice for his dramatic and lively portrayals of both contemporary scenes of African-American urban life as well as historical events, all of which he depicted in crisp shapes, bright, clear colors, dynamic patterns, and through revealing posture and gestures. However, his mother still hoped he would choose a career in the Civil Service.[17]

Shortly after moving to Washington state, Lawrence did a series of five paintings on the westward journey of African-American pioneer, George Washington Bush. These paintings are now in the collection of the State of Washington History Museum.[18]

Lawrence illustrated an adaptation of Aesop's Fables for the University of Washington Press in 1997.[19]

Lawrence taught at several universities. He continued to paint until a few weeks before his death in June 2000 at the age of eighty-two. His last commissioned public work, the mosaic mural New York in Transit, was installed in October 2001 in the Times Square subway station in New York City.[20]

Special works of art

• And the Migrants Kept Coming and In the North the Negro had Better Educational Facilities) series dedicated to black history.
• The 41 pictures of the Toussaint L’Ouverture series (1937-1938) are addressed to Haiti's struggle for independence in the 19th century.[21]
• Harriet Tubman (series), 1938–39
• Frederick Douglass (series), 1939–40
• The Migration Series was shown at New York’s Downtown Gallery in 1941.[22] Lawrence became a nationally known figure virtually overnight because of this series.
• John Brown (series), 1941–42

Recognition

As a result of his active social Realism, it brought him recognition. He broke the "color barrier."

• 1941, he was the first African-American artist to be represented in the collection of the Museum of Modern Art in New York.
• 1970, the NAACP awarded him the Spingarn Medal for his outstanding achievements.
• 1971, he was elected to the National Academy of Design as an Associate member and became a full Academician in 1979.
• 1974, the Whitney Museum of American Art in New York held a major retrospective of his work.
• 1983, he was elected to the American Academy of Arts and Letters.
• 1990, he received the U.S. National Medal of Arts.
• 1995, he was elected a Fellow of the American Academy of Arts and Sciences.[23]
• 1996, the Meadows School of the Arts at Southern Methodist University awarded him the Algur H. Meadows Award for Excellence.[24]
• 1998, Washington State awarded him its highest honor, The Washington Medal of Merit.

His work is in the permanent collections of numerous museums, including the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum, the Phillips Collection, the Brooklyn Museum, the National Gallery of Art[25] and Reynolda House Museum of American Art. In May 2007, the White House Historical Association (via the White House Acquisition Trust) purchased Lawrence's The Builders (1947) for $2.5 million at auction. The painting hangs in the White House Green Room.[26]

When Lawrence died on June 9, 2000, the New York Times described him as "One of America's leading modern figurative painters" and "among the most impassioned visual chroniclers of the African-American experience."[27] His wife, artist Gwendolyn Knight Lawrence, died several years later in 2005.[28] Jacob Lawrence made 319 artworks in his life. Before he died, he and his wife set up the Jacob and Gwendolyn Knight Lawrence Foundation. It serves as the official Estates of both artists.[29] It maintains a searchable archive of nearly 1,000 images of their work.[30] The U.S. copyright representative for the Jacob and Gwendolyn Knight Lawrence Foundation is the Artists Rights Society.[31] Major traveling exhibitions of his works have been presented in museums across the country.[32]

Legacy

• Jacob Lawrence retrospective exhibition, Over the Line: The Art and Life of Jacob Lawrence, February 6–May 4, 2003, Seattle Art Museum
• The Seattle Art Museum offers the Gwendolyn Knight and Jacob Lawrence Fellowship, a $10,000 award to "individuals whose original work reflects the Lawrences' concern with artistic excellence, education, mentorship and scholarship within the cultural contexts and value systems that informed their work and the work of other artists of color."[33]

Selected collections

• Museum of Modern Art (MoMA), New York, NY • Phillips Collection, Washington D.C. • Whitney Museum of American Art, NY, NY • National Gallery of Art, Washington, DC • Art Institute Chicago, Chicago, IL • Seattle Art Museum (SAM), Seattle, WA • The Walker Art Center, Minneapolis, MN

• Minneapolis Institute of Art, Minneapolis, MN
• SCAD Museum of Art, Savannah College of Art and Design, Savannah, GA

See also

• Migration Series
• List of African-American visual artists
• List of Federal Art Project artists

References

Further reading

• Bearden, Romare and Henderson, Harry. A History of African-American Artists (From 1792 to the Present), pp. 293–314, Pantheon Books (Random House), 1993, ISBN 0-394-57016-2
• Miles, J. H., Davis, J. J., Ferguson-Roberts, S. E., and Giles, R. G. (2001). Almanac of African American Heritage, Paramus, NJ: Prentice Hall Press.
• Potter, J. (2002). African American Firsts, New York, NY: Kensington Publishing Corp.
• Nesbett, Peter T. and DuBose, Michelle (2000) Jacob Lawrence : paintings, drawings, and murals (1935-1999) : a catalogue raisonné

External links

• About Meany Hall, University of Washington website, includes photo of Jacob Lawrence's Theatre.
• Jacob Lawrence, Computer Science Department page, University of Washington website.
• "Jacob Lawrence", Queens Museum of Art website; includes reproductions of several prints from the John Brown series.
• The Jacob and Gwendolyn Knight Lawrence Foundation website, works at Phillips Collection
• Interactive website about Jacob Lawrence's life and work.
• Jacob Lawrence, Interior Scene (click on picture for larger image), Columbus Museum of Art, Ohio
• Jacob Lawrence And Gwendolyn Knight Papers Online, The Smithsonian Archives of American Art
• Artists Rights Society, Lawrence's U.S. copyright representatives
• Jacob Lawrence Information and Artwork at Woodside Braseth Gallery, Seattle

اف‌سی بازل نام کامل باشگاه Fussball Club Basel 1893تاریخ تأسیس ۱۵ نوامبر ۱۸۹۳نام ورزشگاه استادیوم جاکوب پارک
(گنجایش: جاکوب ۳۸٬۵۱۲ نفر)مدیرعامل Gisela Oeriمربی تورستن فینکلیگ سوپر لیگ فوتبال سوئیس۱۱–۲۰۱۰ ۱