The Jewel of the Harlem Renaissance

A multi-talented individual pieced together the scraps of past experiences with a stick of glue, put into color the shades of black and white embedded in his memory; the memory of his heritage, the memory of that which has been esteemed by generations. By doing so, this leading artist of the 20th century, Romare Bearden, is most certainly not one to be forgotten.

“You should always respect what you are and your culture because if your art is going to mean anything, that is where it comes from.”

While Bearden himself wanted people’s perception of his art to penetrate the surface, he simultaneously hoped the aesthetic perspective would be appreciated as well. This is a hard task seeing as all the things Bearden had accomplished – all the watercolor and oil paintings, all the collages, wall paintings, cover art, and even music and poetry – had been produced from the fervent nature of a figure so highly appreciated today. Bearden put his past, his culture, his periods of influence by old masters and at length his philosophies into everything he created. Whether it be music, poetry or art, Bearden’s various experiences trailed the very paintbrush his hand held. They trailed the very lines that his brush breathed into life. It is quite often that the past is in fact what gives shape to one such artist; an artist we are proud to speak of today.

Romare Bearden’s lifetime is one which spans various significant periods of time in history. Living between 1911-1988, Romare witnessed a number of changes in society: achievements, shifting mindsets, and above all, veins of cruelty. Living during the Harlem Renaissance in New York City, Bearden was at all times surrounded by prominent artists of all sorts. This period of “rebirth” enriched his experience as an artist and stimulated a new sense of racial pride. As a whole, the struggling artists of that period strove to communicate their unique cultural identity as well as their past experiences through different mediums.

It was an interesting life that he led, for it is often through a study of another being’s life that one begins reflecting on one’s own. Similarly, the study of another’s artwork is the stimulus behind the reflection on its symbolism and the meaning that it holds; only, however, if they correspond with the intentions of the artist.

Although he attended three different universities, finally graduating with a degree in education at NYU, Romare never stopped searching for new knowledge. He found tremendous inspiration while studying the works of earlier artists. This appreciation lay in the concrete analysis of the works of the old masters that his teacher, Grosz, had implemented in his education. Bearden’s watercolor paintings and oils portrayed an early form of Cubism; an avant-garde artistic movement that illustrated subjects in multiple, broken-up perspectives.

Bearden took to writing as an expression which enabled him to share and dwell more deeply into the significance of African-American art and culture. He found his passion in discussing the major artistic as well as social issues of the day and joined the Social Services Department in New York City. He was a man of action, a man who never gave up on enriching his life and the lives of others by gaining experiences which only contributed to his significant role in society. Bearden spread his influence through the various art organizations in which he took part. He became one of the founders of The Black Academy of Arts and Letters as well as The Studio Museum in Harlem. Romare also joined the Harlem Artists Guild, founded by Aaron Douglas, and explored a variety of techniques which shaped his artistic expression. Bearden’s past sneaked its way into his work as it was a pool consummated by rich experiences.

Bearden’s experience in the Social Services Department in New York City as well the part he played in WWII while fighting for the U.S. Army gave him firsthand knowledge of hardships ordinary people had to endure both in the city and worldwide. Such experiences urged Bearden to fall in deep contemplation about the presence of humanity within society. This resulted in a famous series of paintings called “The Passions of Christ”, of which perhaps the most renowned remains Golgotha. Through its vivid colors and abstract shapes, this painting portrays humanity at a period of time when there was none to be found. Such was the aftermath of Bearden’s experiences in a war-torn world that shaped the lives of thousands, including his own. In this way, the symbolism attached to the use of a name was passed down in the work of an artist.

Yet, this practice contradicts one of Beader's philosophies. Indeed, after studying philosophy at the Sorbonne in Paris, Bearden was prone to such thoughts as the purpose of art. Why must the preservation of African American culture be limited only to artistic expression? Such questions coincided with his period of collage-making during the 1960s. This was a time during which the mindset of Americans was rapidly undergoing significant changes. He incorporated his support of the Civil Rights Movement into his artwork, thus implementing socially conscious ideas. Romare’s collection, the Projections coincided with the “Civil Rights Act of 1964” that banned discrimination based on race, color, religion and national origin. Thus, Romare was able to promote social awareness outside the physical boundaries of a court of justice.

Born in the heart of Bearden and travelling through the very veins of the hand which held his brush, a fierce humane purpose paved the way for a man with a great mind in which originated a philosophy of peace.