African-American Art

By araragi
  • Period: to

    Colonial Era

    African-American Art during the Colonial Era of America was created under the harsh conditions of slavery. Art in this era primarily consisted of pottery, ironwork, and furniture.
  • Colonial Era, Enslaved Labor, Akan Drum, 1730, Skin, wood, & fibre, The British Mueseum

    Colonial Era, Enslaved Labor, Akan Drum, 1730, Skin, wood, & fibre, The British Mueseum

    The Akan Drum was found in Colony of Virginia, and was made in West Africa. It is presumed to have gotten to Virginia via slave ship, and it is possibly one of the oldest surviving African-American objects.
  • Period: to

    Neoclassisism

    The Neoclassical art movement
  • Joshua Johnston

    Joshua Johnston

    Joshua Johnson (also known as Johnston) was
  • Scipio Moorhead

    Scipio Moorhead

    Scipio Moorhead was
  • Colonial Era, Scipio Moorhead, Portrait of Phillis Wheatley, 1773, Engraving, The Metropolitan Museum of Art

    Colonial Era, Scipio Moorhead, Portrait of Phillis Wheatley, 1773, Engraving, The Metropolitan Museum of Art

    Portrait of Phillis Wheatley is an artwork most commonly attributed to Scipio Moorhead.
  • John Hemmings

    John Hemmings

    John Hemmings was
  • Period: to

    Federal Era

    The Federal Era's art was
  • Colonial Era, Enslaved Labor, Face Jugs, Face Vessel, mid 1800s, Ceramic, 5 in. x 3 in., Smithsonian National Museum of American History

    Colonial Era, Enslaved Labor, Face Jugs, Face Vessel, mid 1800s, Ceramic, 5 in. x 3 in., Smithsonian National Museum of American History

  • Thomas Day

    Thomas Day

    Thomas Day was
  • Henry Boyd

    Henry Boyd

    Henry Boyd was
  • Neoclassicism, Joshua Johnson, Sarah Ogden Gustin, 1805, Oil on canvas, 32.75 in. x 27.50 in. x 3.4375 in.

    Neoclassicism, Joshua Johnson, Sarah Ogden Gustin, 1805, Oil on canvas, 32.75 in. x 27.50 in. x 3.4375 in.

    Sarah Ogden Gustin is a work by Joshua Johnston in 1805.
  • Neoclassicism, Joshua Johnson, The Westwood Children, 1807, 104.5 x 117 cm, National Gallery of Art, Washington, D.C.

    Neoclassicism, Joshua Johnson, The Westwood Children, 1807, 104.5 x 117 cm, National Gallery of Art, Washington, D.C.

  • Colonial Era, John Hemings, Revolving table, 1811, Cherry; yellow poplar, walnut, yellow pine; brass, Thomas Jefferson Foundation

    Colonial Era, John Hemings, Revolving table, 1811, Cherry; yellow poplar, walnut, yellow pine; brass, Thomas Jefferson Foundation

  • Julien Hudson

    Julien Hudson

  • Colonial Era, John Hemings, Armchair, 1817, mahogony, leather, brass, 33.75 in. x 24.25 in. x 27 in., Thomas Jefferson Foundation

    Colonial Era, John Hemings, Armchair, 1817, mahogony, leather, brass, 33.75 in. x 24.25 in. x 27 in., Thomas Jefferson Foundation

  • Colonial Era, Enslaved Labor, Andrions, 1820, wrought iron, 14 3/8 in. x 10 1/2 in., Repository Unknown

    Colonial Era, Enslaved Labor, Andrions, 1820, wrought iron, 14 3/8 in. x 10 1/2 in., Repository Unknown

  • Neoclassicism, Joshua Johnson, Portrait of a Man (Abner Coker), 1810, Oil on canvas, 27 7/8 in. x 22 in, Bowdoin College Museum of Art

    Neoclassicism, Joshua Johnson, Portrait of a Man (Abner Coker), 1810, Oil on canvas, 27 7/8 in. x 22 in, Bowdoin College Museum of Art

  • Robert S. Duncanson

    Robert S. Duncanson

  • Edward Mitchell Bannister

    Edward Mitchell Bannister

  • Neoclassicism, Julien Hudson, Portrait of a Creole Gentleman, 1837, Oil on canvas, 15 5/8 x 13 1/2 in., Dallas Mueseum of Art

    Neoclassicism, Julien Hudson, Portrait of a Creole Gentleman, 1837, Oil on canvas, 15 5/8 x 13 1/2 in., Dallas Mueseum of Art

  • Harriet Powers

    Harriet Powers

    Harriet Powers was
  • Neoclassicism, Julien Hudson, Portrait of a Man, So-Called Self Portrait, 1839, Oil on canvas, 8.7 in. x 7 in., Louisiana State Museum

    Neoclassicism, Julien Hudson, Portrait of a Man, So-Called Self Portrait, 1839, Oil on canvas, 8.7 in. x 7 in., Louisiana State Museum

  • COMPLETE THIS ID Bedframe

    COMPLETE THIS ID Bedframe

  • Grafton Tyler Brown

    Grafton Tyler Brown

  • Mary Edmonia Lewis

    Mary Edmonia Lewis

  • Something Era, Aunt Ellen & Aunt Margaret, Quilt, Star of Bethlehem pattern variation, Silk & cotton, 88 1/4 in. x 87 1/8 in., Metropolitan Museum of Art

    Something Era, Aunt Ellen & Aunt Margaret, Quilt, Star of Bethlehem pattern variation, Silk & cotton, 88 1/4 in. x 87 1/8 in., Metropolitan Museum of Art

  • Period: to

    American Romanticism

  • COMPLETE THIS ID Sofa

    COMPLETE THIS ID Sofa

  • Colonial Era, David Drake, I made this jar for cash, though it is called lucre trash., 1857, Alkaline glaze stoneware, Dimensions Unknown, Repository Unknown

    Colonial Era, David Drake, I made this jar for cash, though it is called lucre trash., 1857, Alkaline glaze stoneware, Dimensions Unknown, Repository Unknown

  • Henry Ossawa Tanner

    Henry Ossawa Tanner

  • Romanticism, Robert S. Duncanson, Landscape with Rainbow, 1859, Oil on canvas, 30.1 in. x 52.2 in., Smithsonian American Art Museum

    Romanticism, Robert S. Duncanson, Landscape with Rainbow, 1859, Oil on canvas, 30.1 in. x 52.2 in., Smithsonian American Art Museum

  • COMPLETE THIS ID Whatnot

    COMPLETE THIS ID Whatnot

  • Romanticism, Robert S. Duncanson, Land of the Lotus Eaters, 1861, Oil on canvas, 52-3/4 x 88-5/8 in, Stockholm Palace

    Romanticism, Robert S. Duncanson, Land of the Lotus Eaters, 1861, Oil on canvas, 52-3/4 x 88-5/8 in, Stockholm Palace

  • Period: to

    American Realism

  • Neoclassicism, Mary Edmonia Lewis, Forever Free, 1867, Marble, 41" x 11" x 17", Howard University Gallery of Art, Washington, D.C.

    Neoclassicism, Mary Edmonia Lewis, Forever Free, 1867, Marble, 41" x 11" x 17", Howard University Gallery of Art, Washington, D.C.

  • Romanticism, Edward Mitchell Bannister, Streamside, 1870, Oil on canvas, 14 in. x 21 in., SCAD Museum of Art

    Romanticism, Edward Mitchell Bannister, Streamside, 1870, Oil on canvas, 14 in. x 21 in., SCAD Museum of Art

  • Neoclassicism, Mary Edmonia Lewis, The Death of Cleopatra, 1876, Marble, 63 x 31 1⁄ 4 x 46 in., Smithsonian American Art Museum, Washington, D.C.

    Neoclassicism, Mary Edmonia Lewis, The Death of Cleopatra, 1876, Marble, 63 x 31 1⁄ 4 x 46 in., Smithsonian American Art Museum, Washington, D.C.

  • American Realism, Henry Ossawa Tanner, Sand Dunes at Sunset, Atlantic City, 1885, Oil on canvas, 30 in. x 59 in., White House Collection

    American Realism, Henry Ossawa Tanner, Sand Dunes at Sunset, Atlantic City, 1885, Oil on canvas, 30 in. x 59 in., White House Collection

  • COMPLETE THIS ID Bible Quilt (1886)

    COMPLETE THIS ID Bible Quilt (1886)

  • Romanticism, Edward Mitchell Bannister, Approaching Storm 1886, Oil on canvas, 40 1/8 in. x 60 in., Smithsonian American Art Museum

    Romanticism, Edward Mitchell Bannister, Approaching Storm 1886, Oil on canvas, 40 1/8 in. x 60 in., Smithsonian American Art Museum

  • Romanticism, Grafton Tyler Brown, Old Faithful Geyser, Yellowstone National Park, 1887, 22 in. x 30 in., Stark Mueseum of Art

    Romanticism, Grafton Tyler Brown, Old Faithful Geyser, Yellowstone National Park, 1887, 22 in. x 30 in., Stark Mueseum of Art

  • Romanticism, Grafton Tyler Brown, Hot Springs at Yellowstone, 1889, Oil on canvas, 16 in. x 24 in., Palmer Mueseum of Art

    Romanticism, Grafton Tyler Brown, Hot Springs at Yellowstone, 1889, Oil on canvas, 16 in. x 24 in., Palmer Mueseum of Art

  • American Realism, Henry Ossawa Tanner, The Banjo Lesson 1893, Oil on canvas, 49 in. x 35.5 in., Hampton University Museum

    American Realism, Henry Ossawa Tanner, The Banjo Lesson 1893, Oil on canvas, 49 in. x 35.5 in., Hampton University Museum

  • American Realism, Henry Ossawa Tanner, The Annunciation, 1898, Oil on canvas, 57 in. x 71.25 in., Philadelphia Museum of Art

    American Realism, Henry Ossawa Tanner, The Annunciation, 1898, Oil on canvas, 57 in. x 71.25 in., Philadelphia Museum of Art

  • Federal Era, Harriet Powers, Bible Quilt, 1898,

    Federal Era, Harriet Powers, Bible Quilt, 1898,