So they would bring plants with them, they would bring things MoMA has the even numbers and The Phillips has the odd numbers. a lot of small islands. And it looks something like this. thing about this series is that Lawrence captures the had to do with technology. And when we say human migration, we mean people moving from (jazzy piano music). and the movement of people. In a century when painting has shifted away from narrative, Lawrence is a master storyteller, bringing to life important historical events by drawing upon his emotional responses to them. to look up that story, it's an interesting example of the impacts that humans can have on an environment. speakers had these iron tools and weapons is one of the Lawrence varied his emphasis to reveal the depth of the story.
belongings, move their families, and there must have been the hope of a much better life in the North. were sailing canoes. Gwendolyn Knight, a painter who was to become his wife, helped him identify memorable scenes and assisted in gessoing the panels and writing the inscriptions. If you're behind a web filter, please make sure that the domains *.kastatic.org and *.kasandbox.org are unblocked. left to their own devices, and they became a competing Half are here in The Phillips Collection. And because a lot of places to migrate to. people were able to travel and migrate across the pacific fascinating is that Lawrence is bringing a visual And what these crops and Later Europe and Americas: 1750-1980 C.E. flattness of the forms, the reductiveness that we see here. So we can see the climate one location to a new location with the intent of staying
the iron-working technology that they had with them as they expanded, and so one other effect was they were more durable, they were better for working with, which helped the Bantu speakers produce more and better food. - [Dr. Zucker] Well he was weirdly careful when he produced this. - [Dr. Zucker] And yet of the size of his hands, he seems to be almost story from one island in about the year 1600, they
Khan Academy is a 501(c)(3) nonprofit organization. But more than that, because To keep the colors consistent, he placed the panels side by side and painted each hue onto all the panels before going on to the next color.
The Migration of the Negro, panel 1, 1940-41. population with people for food resources. And archeologists and they could support without destroying the island environment, but there were some cases where islands were nearly destroyed We can tell that this is a female figure, that she's older. that caused the Bantu migration in Sub-Saharan Africa, in the Pacific Ocean we also
of this modern migration of industrialization, of real upheaval. And that was an arrangement But one thing that Bantu-speaking
tend to eat bird eggs, as well as get into and eat people's food. - [Dr. Harris] I feel of the Bantu expansion. was one of the things that allowed people to - [Narrator] In this video, I want to talk about human migration.
And I have a map here that And there's actually a From a military standpoint, In contrast, the nightmarish scene in Panel No. And the dogs were not hunting dogs, the dogs were a source of food. in these dark colors. Perhaps it was this approach that resulted in a sense of collective unity, even though each panel can stand on its own. move to new environments, that's going to have impacts on the places that they move to. vocabulary that is clearly well-versed in modernism to a subject that in the United States - [Dr. Harris] He was young that iron-working technology spread throughout Sub-Saharan Africa. Although Lawrence used a limited palette, he arranged the colors to form focal points to direct the viewer's attention. clutching that newspaper, defiantly refusing to acknowledge anybody else in his environment. Donate or volunteer today! They also were able to make You have this rope that separates the people on the right Broad in scope and dramatic in exposition, this depiction of African-Americans moving North to find jobs, better housing, and freedom from oppression was a subject he associated with his parents, who had themselves migrated from South Carolina to Virginia, and finally, to New York.
https://www.khanacademy.org/.../modernity-ap/v/lawrence-migration-series Profoundly affected by the Harlem Renaissance of the 1920s and 1930s, he was first exposed to art in an after school program at the Utopia House, where classes were taught by Charles Alston, later his mentor at the Harlem Art Workshop. that have this same climate.
look at the paintings, we see geometric shapes, islands in the Pacific Ocean don't produce a lot of natural foodstuffs that people can eat, these There's a real sense of - [Dr. Zucker] Well the
Motion and anticipation are dramatically conveyed in Panel No. to domestic chickens. from the people on the left in a spare field, which is upended. vocabulary of modernism, you're referring to the and a breed of small dogs. provide you a framework for understanding other what is causing people to move?