529:, in 1945. While in Saugerties, she established close ties with her neighbors and welcomed family and friends from New York City to her rural home. Savage cultivated a garden and sold pigeons, chickens, and eggs. The K-B Products Corporation, the world's largest growers of mushrooms at that time, employed Savage as a laboratory assistant in the company's cancer research facility. She acquired a car and learned to drive to enable her commute. Herman K. Knaust, director of the laboratory, encouraged Savage to pursue her artistic career and provided her with art supplies. Though her art production slowed down, Savage taught art to children in summer camps and sculpted friends and tourists, and explored writing children's stories. Her last commissioned work was for Knaust and was that of the American journalist and author
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393:. Yet, she was an outspoken critic of the fetishization of the "negro primitive" aesthetic favored by white patrons at the time. She publicly critiqued the director of The Harmon Foundation, Mary Beattie Brady, for her low standards for Black art and lack of understanding in the area of visual arts in general.
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In 1907, at the age of 15, Augusta Fells married John T. Moore; the two had a daughter, Irene Connie Moore, who was born the following year. John died shortly thereafter. In 1915, after moving to West Palm Beach, she met and married James Savage; she retained the name Savage throughout her life, even
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1920 US Census, taken
January 17–19, for 916 Banyan Street, West Palm Beach, Florida: James Savage, 25, born Florida, occupation Chauffeur for Private Family; Augusta Savage, 27, born Florida, occupation Laundress for Private Family; Irene Moore, 12. Augusta's father born in Florida, mother born in
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minister who strongly opposed his daughter's early interest in art. "My father kicked me four or five times a week," Savage once recalled, "and almost whipped all the art out of me." This was because he believed her sculpture to be a sinful practice, due to his interpretation of the "graven images"
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that were actually oral history ... the longest stretch of it, running through several composition books and much the longest thing probably that he ever wrote, was his account of
Augusta Savage." Brand told Mitchell that Savage had been terrified of Gould but, as a Black woman, was unable to
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After completing studies at Cooper Union, Savage worked in
Manhattan steam laundries to support herself and her family. Her father had been paralyzed by a stroke, and the family's home destroyed by a hurricane. Her family from Florida moved into her small West 137th Street apartment. During this
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and worked in the studio of
Benneteau, a professor at the school. While the studio was initially encouraging of her work, Savage later wrote that "the masters are not in sympathy as they all have their own definite ideas and usually wish their pupils to follow their particular method" and began
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sculpture stood in front of the
Contemporary Arts Building and was one of the most popular and most photographed work at the fair; small metal souvenir copies were sold, and many postcards of the piece were purchased. The work reinterpreted the musical instrument by featuring 12 singing
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in France. She was accepted, but when the
American selection committee found out she was Black they rescinded the acceptance offer. Savage was deeply upset and questioned the committee, beginning the first of many public fights for equal rights in her life by writing a letter to the
346:. Though appeals were made to the French government to reinstate the award, they had no effect and Savage was unable to study at the school. The incident got press coverage on both sides of the Atlantic, and eventually, the sole supportive committee member sculptor
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Savage opened two galleries whose shows were well attended and well reviewed, but few sales resulted and the galleries closed. The last major showing of her work occurred in 1939. Deeply depressed by her financial struggle, Savage moved to a farmhouse in
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African-American youth in graduated heights as its strings, with the harp's sounding board transformed into an arm and a hand. In the front, a kneeling young man offered music in his hands. Savage did not have funds to have the piece cast in
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to the Royal
Academy of Fine Arts in Rome. This scholarship only covered tuition, and after being unable to raise money for travel and living expenses, she was unable to attend. In the 1920s, writer and eccentric
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on March 26, 1962. While she died in relative obscurity, Savage is remembered today as a great artist, activist, and arts educator; serving as an inspiration to the many that she taught, helped, and encouraged.
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234:, on February 29, 1892, to Edward Fells and Cornelia Murphy. Augusta began making figures as a child, mostly small animals out of the natural red clay of her hometown. Her father was a poor
621:, drawing from evidence in the Millen Brand Papers at Columbia and the Joseph Mitchell papers, then newly deposited at the New York Public Library, told the story in a 2016 book called
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profiled Gould for the magazine, he portrayed him as a harmless eccentric. Gould died in 1957, in a psychiatric hospital, likely after having been lobotomized in 1949. In 1964, in a
243:, where her family relocated in 1915, encouraged her talent and allowed her to teach a clay modeling class. This began a lifelong commitment to teaching, as well as to creating art.
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became infatuated with Savage. He wrote her "endless letters", telephoned her constantly, and wanted to marry her. Eventually, this infatuation turned into harassment.
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grant, and donations from friends and former teachers, Savage was able to travel to France, at age 37. With assistance from the
Rosenwald Fund, Savage enrolled at the
475:; 1,500 people of all ages and abilities participated in her workshops, learning from her multi-cultural staff, and showing work around New York City. Funds from the
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North
Carolina. 6/5/1917 WWI draft registration card shows James Savage, at 916 Banyan, W Palm Beach FL, living with wife and child, Married, African race.
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Savage was one of four women and only two
African Americans to receive a professional commission from the Board of Design to be included in the
449:. She opened her studio to anyone who wanted to paint, draw, or sculpt. Her many young students included the future nationally known artists of
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helped, but old struggles of discrimination were revived between Savage and WPA officials who objected to her having a leadership role.
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where she was awarded a $ 25 prize and ribbon for most original exhibit. Following this success, she sought commissions for work in
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Arna Alexander Bontemps; Jacqueline nvielle-Bontemps, eds. (2001). "African-American Women Artists: An Historical Perspective".
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or to move and store it, and so like other temporary installations, the sculpture was destroyed at the close of the fair.
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486:. Savage was commissioned to create a sculpture showcasing the impact that Black people have had on music. She created
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had almost stopped art sales. She pushed on, and in 1934 became the first African-American artist to be elected to the
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Bey, Sharif (2017). "Augusta Savage: Sacrifice, Social Responsibility, and Early African American Art Education".
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never existed and had been, all along, a product of Gould's insanity. After the article was published, the writer
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Savage moved in with her daughter, Irene, in New York City when her health started to decline, she later died of
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and at one Exposition. She toured France, Belgium, and Germany, researching sculpture in cathedrals and museums.
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Augusta Savage. By: Kalfatovic, Martin R., American National Biography (from Oxford University Press), 2010
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Ancestry.com shows Florida Divorce Index dated 1941 for James Savage from Augusta, in Palm Beach County.
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Much of her work is in clay or plaster, as she could not often afford bronze. One of her most famous
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441:. She launched the Savage Studio of Arts and Crafts, located in a basement on West 143rd Street in
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Women Artists of Color : A bio-critical sourcebook to 20th century artists in the Americas
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Savage returned to the United States in 1931, energized from her studies and achievements. The
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that ruled school segregation unconstitutional. In 1937, Savage became the director of the
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http://dos.myflorida.com/cultural/programs/florida-artists-hall-of-fame/augusta-savage/
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primarily working on her own in 1930. In Paris, she also studied with the sculptor
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214:; February 29, 1892 – March 27, 1962) was an American sculptor associated with the
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604:, a friend of Savage's, wrote to Mitchell to tell him that he was wrong, that the
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portion of the Bible. She persevered, and the principal of her new high school in
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In 1923, at a poetry reading in Harlem, Savage met the Greenwich Village writer
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Namesake of the Augusta Savage Arts and Cultural Center, Green Cove Springs FL
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2017:
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and $ 4.60. When Borglum discovered that she could not afford tuition at the
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1984:
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2005:
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in which she speculated that Savage left New York in 1945 to escape Gould.
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Building on the Legacy: African American Art from the Permanent Collection
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1238:. Vol. 1. New York, NY: The Studio Museum in Harlem, New York. 2003.
1339:"Joe Gould's Teeth: The long-lost story of the longest book ever written"
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essay called "Joe Gould's Secret," Mitchell revealed his conviction that
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465:, whose later research contributed to the 1954 Supreme Court decision in
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Savage, Augusta (1988). "Augusta Savage and the art schools of Harlem".
1701:. London, United Kingdom: Rowman & Littlefield. 2014. p. 193.
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Creating Their Own Image: The History of African-American Women Artists
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delegation in 1924. In 1925, Savage won a scholarship with the help of
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Savage continued to model clay, and in 1919 was granted a booth at the
1473:. Keyworks in cultural studies. Malden, Mass: Blackwell. p. 142.
1260:"Sculptor Augusta Savage Said Her Legacy Was The Work Of Her Students"
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in Washington, D.C.; a life-sized version is in the collection of the
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Universal Negro Improvement Association and African Communities League
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In the spring of 1923, Savage applied for a summer art program at the
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Universal Negro Improvement Association and African Communities League
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Namesake of the Augusta Savage Friendship Park, Green Cove Springs FL
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1979:
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Argent Galleries, New York and Art Anderson Gallery, New York, 1932
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get help from the police. Mitchell never reported any of this, but
350:– who at one time had shared a studio with African-American artist
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after the two divorced in the early 1920s. In 1923, Savage married
412:, a leading Paris art school. Savage settled into an apartment in
1769:"Lift Every Voice and Sing, (White metal cast with black patina)"
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did exist, reporting that "Joe showed me long sections of the
580:. Gould claimed to be working on the longest book ever written,
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1914:
Augusta Savage: The Woman That Defined 20th Century Sculpture
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Etinde-Crompton, Charlotte, Crompton, Samuel Willard (2019)
308:. She completed the four-year degree course in three years.
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Challenge of the Modern: African-American Artists 1925–1945
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Savage won the Otto Kahn Prize in a 1928 exhibition at the
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She is the namesake of the Augusta Savage Gallery at the
1210:(2nd ed.). Detroit: illian Reference, USA. p.
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North American Women Artists of the Twentieth Century
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Three Generations of African-American Women Sculptors
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Hillstrom, Laurie Collier; Hillstrom, Kevin (1999).
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Encyclopedia of African-American Culture and History
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National Association of Women Painters and Sculptors
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In 1929, with the help of pooled resources from the
878:. New York: Oxford University Press, Inc. pp.
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The Harlem Renaissance and Transatlantic Modernism,
1897:Augusta Savage: Sculptor of the Harlem Renaissance
1666:"Augusta Savage | Smithsonian American Art Museum"
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943:"Augusta Savage | Smithsonian American Art Museum"
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826:Trudier Harris-Lopez; Janet Witalec, eds. (2003).
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312:time, she obtained her first commission from the
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1881:Schomburg Center for Research in Black Culture
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421:. She exhibited, and twice won awards, at the
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2044:Alumni of the Académie de la Grande Chaumière
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1078:, Abbeville Press, Publishers, New York 1987
834:(1 ed.). Detroit (Mich.): Gale. p.
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1539:"Instructional Resources: Afro-American Art"
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35:Augusta Savage with her famous sculptures.
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1699:Black Women of the Harlem Renaissance Era
1020:10.1093/anb/9780198606697.article.1700783
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662:"The Diving Boy" currently on display at
16:American sculptor and teacher (1892–1962)
1808:"Collections – SAM – Seattle Art Museum"
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1379:– via Taylor & Francis Online.
1125:. James Haskins. New York: Wiley. 2002.
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694:Sculptural interpretation of Negro Music
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492:(also known as "The Harp"), inspired by
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2049:People from Green Cove Springs, Florida
1754:Joseph Mitchell, "Joe Gould's Secret,"
1615:Women artists of the Harlem Renaissance
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1424:Women artists of the Harlem Renaissance
1288:Women artists of the Harlem Renaissance
361:, a protégé of Garvey. Poston died of
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2010:Profile on NPR Morning edition 7/15/19
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1741:Joseph Mitchell, "Professor Seagull,"
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1291:. Amy Helene Kirschke. Jackson 2014.
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461:. Another student was the sociologist
230:Augusta Christine Fells was born near
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1011:Savage, Augusta (1892–1962), sculptor
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966:Heller, Jules; Heller, Nancy (1995).
905:"Black Women Artists: Augusta Savage"
757:, Tanner Art Galleries, Chicago, 1940
548:which is on permanent display at the
520:Augusta Savage working on a sculpture
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365:aboard a ship while returning from
222:for African Americans in the arts.
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1502:. Canton, MI: Visible Ink Press.
1471:Black feminist cultural criticism
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903:Frederick, Candice (2016-01-14).
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337:Fontainebleau School of Fine Arts
2119:African-American women sculptors
2104:People from Saugerties, New York
2099:African-American women educators
795:in Baltimore is named after her.
749:Argent Galleries, New York, 1938
746:Argent Galleries, New York, 1934
316:on West 135th Street, a bust of
300:, he encouraged her to apply to
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550:Smithsonian American Art Museum
410:Académie de la Grande Chaumière
109:Académie de la Grande Chaumière
1537:Gaither, Edmund Barry (1990).
1008:Kalfatovic, Martin R. (2000).
972:. New York: Garland. pp.
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1422:Kirschke, Amy Helene (2014).
1369:10.1080/00393541.2017.1292383
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477:Works Progress Administration
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1863:Farris, Phoebe, ed. (1999).
1401:. Detroit: St. James Press.
872:Farrington, Lisa E. (2005).
598:The Oral History of Our Time
582:The Oral History of Our Time
387:William E. Harmon Foundation
298:School of American Sculpture
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2064:Federal Art Project artists
1985:Florida Artist Hall of Fame
1883:. New York Public Library.
909:The New York Public Library
473:Harlem Community Art Center
468:Brown v. Board of Education
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2094:African-American educators
2089:African-American activists
2024:African-American sculptors
1997:1939 New York World's Fair
1958:About.com: Women's History
1398:Contemporary women artists
780:Metropolitan Museum of Art
741:Selected group exhibitions
484:1939 New York World's Fair
280:Education and early career
1812:www1.seattleartmuseum.org
1494:Bracks, Lean'tin (2012).
1426:. Jackson . p. 159.
1202:Palmer, Colin A. (2006).
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683:Lift Every Voice and Sing
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1357:Studies in Art Education
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357:In 1923, Savage married
1732:(New York: Knopf, 2016)
734:New York Public Library
554:Cleveland Museum of Art
314:New York Public Library
212:Augusta Christine Fells
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2069:Sculptors from Florida
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286:Palm Beach County Fair
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728:New York World's Fair
677:A Woman of Martinique
572:Stalking by Joe Gould
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359:Robert Lincoln Poston
348:Hermon Atkins MacNeil
290:Jacksonville, Florida
266:Robert Lincoln Poston
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232:Jacksonville, Florida
196:Julius Rosenwald Fund
87:Hermon Atkins MacNeil
1931:Smithsonian Archives
1688:AHOAAA, p. 179.
773:, Philadelphia, 1996
658:The Abstract Madonna
527:Saugerties, New York
504:. The 16-foot-tall
402:Rosenwald Foundation
389:with her submission
276:delegation in 1924.
2039:Cooper Union alumni
1867:. Greenwood Press.
1522:AHOAAA p. 174.
447:Carnegie Foundation
406:Carnegie Foundation
352:Henry Ossawa Tanner
2059:Harlem Renaissance
1990:2014-08-15 at the
1963:2017-02-23 at the
1936:2008-06-09 at the
1670:americanart.si.edu
1074:Heller, Nancy G.,
947:americanart.si.edu
830:Harlem renaissance
763:, New Jersey, 1990
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216:Harlem Renaissance
152:Harlem Renaissance
59:Green Cove Springs
1980:Green Cove Spring
1910:DailyArt Magazine
1841:www.metmuseum.org
1730:Joe Gould's Teeth
1708:978-0-8108-8542-4
1298:978-1-62846-034-6
1221:978-0-02-865816-2
1084:978-0-89659-748-8
1029:978-0-19-860669-7
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531:Poultney Bigelow
502:Rosamond Johnson
463:Kenneth B. Clark
459:Gwendolyn Knight
435:Great Depression
318:W. E. B. Du Bois
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127:Notable work
104:Cooper Union
72:(1962-03-27)
2034:1962 deaths
2029:1892 births
1779:. 2017–2018
1617:. Jackson.
653:The Tom Tom
619:Jill Lepore
423:Paris Salon
252:Realization
2018:Categories
1873:0313303746
1846:2024-07-13
1822:2018-02-17
1675:2022-03-05
1599:2017-03-11
1480:0631222391
952:2017-03-11
914:2018-03-24
813:References
615:New Yorker
594:New Yorker
586:New Yorker
544:is titled
226:Early life
51:1892-02-29
1975:Book Rags
1889:645284036
1641:cite book
1633:861671304
1594:Biography
1563:0004-3125
1450:cite book
1442:874902125
1377:157236317
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1055:ignored (
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701:, 1934–35
578:Joe Gould
380:Joe Gould
363:pneumonia
236:Methodist
185:Patron(s)
121:Sculpture
83:Education
61:, Florida
1988:Archived
1961:Archived
1934:Archived
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688:The Harp
494:the song
148:Movement
77:New York
1758:, 1964.
1745:, 1942.
1571:3193232
1264:NPR.org
617:writer
588:writer
506:plaster
367:Liberia
270:Liberia
158:Spouses
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1567:JSTOR
1373:S2CID
648:Gamin
629:Works
558:Gamin
546:Gamin
542:busts
330:NAACP
132:Gamin
1901:ISBN
1885:OCLC
1869:ISBN
1785:2018
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