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281:, the first public high school for African Americans in the United States, and, at that time, the premier preparatory academy in the nation for students of color. The faculty at M Street High School were "arguably superior to the white public schools, whose teachers typically were graduates of normal schools and teacher colleges." Many M Street teachers (William included) were the pioneering alumni of American's top academic institutions, unable, post graduation, to find employment at college institutions.
599:. The period's dream of the "New Negro Woman," lost its focus, and Jackson's death, in 1931, brought a period of obscurity during which crucial early cataloguing of her work was neglected. Her "sensitive and humanistic approach to the portrayal of Black Folk types," was in some ways anathema to certain "Black art critics and historians," uncomfortable with its portrayal of racial ambiguity in a period when the "near-white" were granted privilege unavailable to the darker-skinned.
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288:, former child slave, urged Black Americans to recognize that "the masses of us are to live by the productions of our hands... No race can prosper until it learns that there is as much dignity in the tilling of a field as in the writing of a poem," and worked for access to the vocational training that could elevate and secure colored peoples' place in the American economy. On the other side was
445:(d. 1906) (Jackson would complete a portrait in his honor, a casting of which, in bronze, would become the property of the school). The school's expansion brought new ambitions. Dunbar formed the Tanner Art League in 1919, and an attempt was made to institute an annual show for colored artists. The first show displayed the work of artists from fifteen states and included pieces from
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first because it was so different from the popular style of the time. Though she had developed her own unique style, this style still adhered to academic tradition. Many galleries were not interested in her subject matter, as she dedicated most of her work to objective portraits of children, family members, and influential
African Americans. It was not until the inauguration of the
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Jackson arranged for Dr. Du Bois to sit for her in 1907. Although the in-person sessions were discontinued before her portrait bust was finished, Du Bois arranged for photographs to be sent from New York so she could bring the piece to successful completion. Last, and perhaps most helpfully, Du Bois
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She was an artist who pushed the boundaries of her time, unique in the body of her work and vision. Her "completely
American" training, initially derided as a lost opportunity to study with European masters, is now seen as an element vital to her status as a woman, if not a sculptor, of "intense and
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in 1928. Five works were exhibited in the subsequent Harmon show, two featuring as illustration in the exhibition catalogue ("Bust of Dean Kelly Miller" and "Head of a Negro Child"). Leslie King-Hammond, an art historian, later praised
Jackson's "efforts to address...without compromise and without
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With this support, Jackson became "the first to break away from academic cosmopolitanism to frank and deliberate racialism" in her artwork. This determination is evident from her best known surviving pieces: the dignified portrait busts she created of the period's black leaders "decent portraits of
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but was refused admission because of her color," a rejection that, for a time, discouraged her from pursuing public work in her field. She would later maintain that "It was chiefly through Dr. Du Bois's influence and urging that she again took up her work with the determination to make the most of
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in
Philadelphia, where she was trained with "new methods in education." Tadd, the school's founder, was an educational innovator who "emphasized the importance of visual arts training" to strengthen the brain, advocating an ambidextrous teaching model and six years of early-school art education. At
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as an art instructor for Howard's newly implemented School of art (1922–1924). At the university she taught and influenced James Porter, who went on to write one of the first comprehensive histories of
African-American art. As an art historian, though, Porter was not impressed by her work and said
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at age fifteen, following his parents' deaths (father, 1897, mother 1902). Johnson was one of six siblings, several of whom chose to live as white in their adulthood. Johnson, who went on to become a well-known sculptor of the Harlem
Renaissance himself, was first exposed to sculpture through his
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Her style was provocative for its time because it explored the features of
America's multiracial society. As a result of not traveling in Europe, Jackson was somewhat isolated from her peers and was able to create her own vision that infused her work with a unique style. This style was ignored at
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among
African Americans. This was expressed in "Shell-Baby in Bronze" (1914), "Head of a Negro Child" (1916), and "Mulatto Mother and Child" (1929) - the last piece in particular also an address of her own racial identity and "near Whiteness". These three pieces define her most original surviving
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As a woman defined by the color of her skin, finding public venues to display her work was a constant challenge. "It is not at all customary for
Washington art stores to exhibit the works of colored artists," a contemporary reviewer observed, "particularly if the subjects are too colored, and the
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in
Washington, from whose art school, she had been rejected, on a racial basis, on her arrival in DC fifteen years before. The event was written up in a brief newspaper piece ("First Recognition for the Race") that ran in papers across the United States as widespread as Omaha and Salt Lake City.
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For the M Street School, in competition with the nearby colored vocational school for the D.C. school department's support and resources, and straining to build the nation's first college preparatory program for colored students, Du Bois's final point here would prove a particularly contentious
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Jackson's contributions to American art were not widely appreciated until after her death, and a conclusive assessment of her work among "the Pantheon of great American Sculptors" remains to be determined. The African American Registry places her in the "annals of great American sculptors."
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Cooper's tenure as Principal survived the accusations, but in 1906, she ceded her position to Jackson's husband William. May came on as faculty to teach Latin. William would step back from his role as Principal in 1909, but the couple's central role in maintaining the M Street High School's
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Artists like Jackson responded to the lack of gallery support by pressing alternative public spaces into service, such as the "War Service and Recreation Center" of the Washington Y.M.C.A., where, in May 1919, a solo "exhibition of 25 sculptures of May Howard Johnson" was held.
308:(1903) had catalyzed the thinking of many African Americans, countering what Du Bois saw as Mr. Washington's "cult of submission" with the contention that Black Americans must enjoy the "right to vote," "civic equality," and the education of their youth "according to ability."
631:: "With her sensitive soul, she needed encouragement and contacts and delicate appreciation. Instead of this, she ran into the shadows of the Color Line... In the case of May Howard Jackson the contradictions and idiotic ramifications of the Color Line tore her soul asunder."
1988:. Philadelphia: Afro-American Historical and Cultural Museum (Philadelphia, PA), in collaboration with the Equitable Gallery (New York, N.Y.), the Museum of African-American Life and Culture (Dallas, Tex.), and the California Afro-American Museum (Los Angeles, CA).
548:, providing details (including photos) regarding the Howard family's racial background that would later be published in Day's 1932 Harvard University Master's thesis, ""A Study of Some Negro-White Families in the United States" (the year following Jackson's death)
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countered this by inviting Du Bois to deliver a speech at the M Street School, in the winter of 1903, opposing vocational education as an acceptable standard for Black Americans. The DC director of schools accused Dr. Cooper of insubordination and disloyalty.
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Jackson's racial identity was questioned after her death. While many may have questioned her racial identity it definitely became clear as she was listed as one of the colored women in the March 13, 1913 woman's suffrage parade.
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decent men", and her intimate family groupings of mothers—mixed race themselves—caressing children—their own children—of mixed racial heritage. For the next two decades, these works would be the headliners of her exhibited work.
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555:. After showings in 1916 and 1918, the academy sent a representative to Jackson's home to ask if she was of "Negro blood"—and, on receiving an affirmative response, subsequently excluded her work from future exhibits.
1037:. New York: Garland Publishing. pp. Reprint, Original publication cited above (Bontemps. "African American Women Artists: An Historical Perspective". Sage: A Scholarly Journal on Black Women. IV, no. 1).
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later that same fall, took the compliment further, "A portrait to deserve the name must be more than a likeness; it must interpret character; it must have personality. Of this bust as much can truly be said."
254:, Jackson's contemporary at Tadd's and PAFA (like Howard, b. 1877), offered Jackson the opportunity to accompany her and study abroad in France during this time (Fuller herself had enrolled in classes at the
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Despite this recognition, Jackson was dissatisfied with her progress. 1929 she wrote, "I felt no satisfaction! Only deep sense of injustice, something that has followed me and my efforts all my life."
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Because of these circumstances, in the first decade of the new century, the M Street High School found itself center stage for the nation's debate about the future of Black education. On the one side,
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review was again effusive: Jackson's "work has always shown promise, but these pieces now on exhibit indicate exceptional gift, for they are not merely well modeled, but individual and significant".
414:"What is said to be the first recognition of colored talent by that institution is the exhibition in Corcoran Art Gallery, at Washington, D.C. of a child's head modeled by Mrs. May Howard Jackson."
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for Caucasian, but the racial politics of the early 20th century created an environment that pushed her in a different direction. She cooperated with pioneering African American anthropologist
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rallying call. Washington, approved to speak at the 1904 M Street Graduation, recommended that Blacks focus on gaining "common school and industrial training," first and foremost. Principal
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Her personal experiences of racism were ongoing through her life and sour: whether her initial rejection from Corcoran Gallery or her experience with the
465:, which had "had a prominent place in a recent exhibition of the Society of Independent Sculptors at the Waldorf Astoria," along with others of her work.
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reputation for academic excellence through a difficult period left them with an invaluable social credential in Washington's Black community and beyond.
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Tadd's school May Howard studied "drawing, designing, free-hand drawing, working designs in monochrome, modeling, wood carving, and the use of tools".
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In 1912, her portrait bust of Du Bois, among other works, was exhibited at the Veerhoff Gallery in Washington. She received a positive review from
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After four years of study at PAFA, Howard met and "married well" a mathematics teacher and future high school principal, William Sherman Jackson.
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248:). Her surviving work from this period expresses the Beaux-Arts aesthetic that emphasized naturalism and dynamic treatment of surface and form.
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Francis T. Moseley was among the first to recognize the complex "daringly ventured to express in her work something of the social situation."
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commending the work's structure: "the expression is vital and good, the turn of surface, the intimation of mobility are well rendered." The
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In Washington, Jackson maintained a sculpture studio in her home. Aside from portrait sculpting, she continued to teach, with two years at
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The Harmon Foundation exhibits, intended to showcase the works of Black female artists in America, virtually coincided with events of the
2018:
177:'s African American intellectual circle in the period 1910–30, she was known as "one of the first black sculptors to...deliberately use
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1957:. Smithsonian Institution Archives Record Unit 311, National Collection of Fine Arts, SIA-SIA2016-011412.: Harmon Foundation. 1929.
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30:
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1359:"MRS. JACKSON, SCULPTRESS: Work of a Colored Woman Exhibited at Corcoran Art Gallery, Washington. First Recognition for the Race"
1326:"MRS. JACKSON, SCULPTRESS: Work of a Colored Woman Exhibited at Corcoran Art Gallery, Washington. First Recognition for the Race"
229:(1895), as the first African American woman to attend PAFA, studying under various known artists including the renowned American
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May Howard was born to a middle class couple, Floarda Howard and Sallie (Durham) Howard, in Philadelphia on September 7, 1877.
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940:"PAFA Acquires Landscape Painting by May Howard Jackson, First African American Woman to Attend the Philadelphia Art School"
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in force across the South since the turn of the century, topics such as racial mixing were taboo in general. Laws against
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Bontemps, Arna Alexander; Fonvielle-Bontemps, Jacqueline. "African American Women Artists: An Historical Perspective".
453:, Meta Warrick Fuller, and recent work from Jackson ("a bust and statuette"). The Dunbar's 1922 show included works by
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Locke, Alain (2021-06-08). "The American Negro as Artist (1931)". In Gates, Henry Louis; Jarrett, Gene Andrew (eds.).
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After Jackson's move to Washington, "she had expected to continue her studies at the art school connected with the
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258:). Jackson declined. She would later declare she thought it unnecessary to travel to Europe to further her art.
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1743:. 20th Annual Children's Number. New York: The National Association for the Advancement of Colored People: 351.
1955:
Catalogue of an Exhibition of Paintings and Sculpture by American Negro Artists at the National Gallery of Art
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583:, in 1926, for "Distinguished Negro Contributions," that there was even a National prize for Black Artists.
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Exhibit of Fine Arts by American Negro Artists, The Harmon Foundation, International House, New York (1929)
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An Exhibition of Paintings and Sculpture by American Negro Artists at the National Gallery of Art
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169:(September 7, 1877 – July 12, 1931) was an African American sculptor and artist. Active in the
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Includes a short biographical piece on William Sherman Jackson, husband of May Howard Jackson.
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had been proposed in both federal and state legislatures as far North as Massachusetts after
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2146:. Vol. IV: Letters. Washington, D.C.: Associated publishers, Incorporated. p. 346.
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3 generations of African American women sculptors: a study in paradox (Exhibition Catalogue)
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By 1902, May and William were living in Washington D.C., where William was teaching at the
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The New Negro: Readings on Race, Representation, and African American Culture, 1892-1938
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1166:. Vol. IV, No. 25. Madison, Wisconsin: Robert M. La Follette Company. p. 10.
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1293:. Vol. !V, No. 4. The Crisis Publishing Company, Inc. August 1912. p. 169.
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New Dunbar High School Building, 1917. "The Greatest Negro High School in the World"
355:, his newly established journal and, from 1910, the official magazine of the NAACP.
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She continued her art training, with the support of a full scholarship, at the
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fact that Mrs. Jackson's work has been displayed, is evidence of her talent."
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Du Bois not only personally encouraged her, but used her images to illustrate
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Creating their own image : the history of African-American women artists
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Bust of Kelly Miller, Dean, Howard University, College of Arts & Sciences
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3 Generations of African American Women Sculptors: A Study in Paradox (1996)
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identity continue to call for the interpretation and assessment of her work.
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2305:"A Slice of History--the 1892 African American Graduates of Amherst College"
2003:
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First Class: The Legacy of Dunbar, America's First Black Public High School
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Exhibiting a broader collection of sculptures at the Veerhoff in 1916, her
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671:. War Service and Recreation Center, Y.M.C.A., Washington, D.C. (May 1919)
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sentimentality, the issues of race and class, especially as they affected
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that there was "no great originality in any of the pieces she attempted."
425:
1983:
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memorialized her death in his closing notes to the October 1931 issue of
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American Women Sculptors: A History of Women Working in Three Dimensions
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1631:. African Department of the Peabody Museum of Harvard University: 42–3.
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Creating Their Own Image: The History of African-American Women Artists
364:
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1332:. Omaha, Nebraska. National Endowment for the Humanities. 1917-03-17.
1876:. New York: The Crisis Publishing Company, Inc. 1916. pp. 114–5.
1760:
Sunday Chicago Bee. ) 1925-19??, July 21, 1940, SECTION TWO, Image 16
1621:"(1932). A Study of Some Negro-White Families in the United States. "
1035:
The Harlem Renaissance, 1920-1940: Analysis and Assessment, 1980-1994
620:
559:
1831:
1739:
Du Bois, W. E. B. (October 1931). "Postscript: May Howard Jackson".
2201:
Creating their own image: history of African American Women Artists
1762:. Chicago, Ill. National Endowment for the Humanities. p. 16.
1249:"Letter from W. E. B. Du Bois to May Howard Jackson, May 2, 1907"
1029:
Bontemps, Arna Alexander; Fonvielle-Bontemps, Jacqueline (1996).
514:
182:
461:, as well as the inaugural D.C. showing of Jackson's sculpture,
437:
The M Street High School moved to new buildings and was renamed
272:
1365:. Salt Lake City, Utah. National Endowment for the Humanities.
962:"From Model to Monument: American Public Sculpture, 1865–1915"
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in 1916 for the noted African-American intellectual and poet,
1899:
Missionary Education Movement of the United States and Canada
301:
205:, 1899. Kinsey African American Art & History Collection,
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her gifts for the encouragement it would be to her people."
1124:
Records of the Columbia Historical Society, Washington, D.C
1031:"African American Women Artists: An Historical Perspective"
912:"May Howard Jackson, Beulah Ecton Woodard, and Selma Burke"
534:
Portrait of Mother and Child | Mulatto Mother and her Child
363:
published news of her exhibitions and work in the pages of
1273:"Franklin's paper the statesman., August 17, 1912, Page 4"
1028:
417:
And then—the National Academy of Design, New York (1919))
558:
Jackson expressed a fascination with the wide variety of
2023:
The Kinsey African American Art & History Collection
1160:
La Follette, Belle Case; Hunt, Caroline L. (June 1912).
181:" as the theme of her art. Her dignified portrayals of "
885:
760:(1912) oil on linen, Pennsylvania Academy of Fine Arts
244:(who had been a student of former PAFA faculty member
2256:
North American Women Artists of the Twentieth Century
1061:
Stewart, Alison; Harris-Perry, Melissa (2013-08-01).
2079:. Oil on linen, 12 1/4 x 16 in. (31.115 x 40.64 cm.)
853:
615:
Jackson died in the year 1931, and is buried at the
185:" individuals as well as her own struggles with her
2203:. Oxford: Oxford University Press. pp. 71–75.
1094:. A. C. McClurg & Company. pp. 43, 53–54.
1060:
1918:. New York: International House. 1929. p. 10.
656:The Veerhoff Gallery, Washington D.C. (1912, 1916)
300:and a central figure in the 1908 formation of the
1788:"A great sculptor ahead of her time, May Jackson"
607:Jackson and her husband took in William's nephew
2341:
1597:
367:, through to 1931 and the artist's early death.
1397:(STOCKMEN'S ed.). 29 March 1917. p. 5
1159:
1000:. Oxford: Oxford University Press. p. 77.
304:. Du Bois's recently published book of essays,
2395:Burials at Woodlawn Cemetery (Bronx, New York)
1916:Exhibit of Fine Arts by American Negro Artists
1721:. Woodlawn Cemetery • Crematory • Conservancy
1642:
1640:
1638:
273:Washington, D.C. and the M Street High School
2230:. Jackson: University Press of Mississippi.
2077:PAFA - Pennsylvania Academy of the Fine Arts
1981:
1091:The Souls of Black Folk: Essays and Sketches
692:Afro-American Historical and Cultural Museum
392:Assistant Attorney General WIlliam H. Lewis,
268:M Street High School, Washington, DC (~1906)
1816:"Four Problems in the History of Negro Art"
1499:"Art Objects Exhibit at Dunbar High School"
1203:. Princeton University Press. p. 543.
797:Portrait Bust of Reverend Francis J. Grimke
752:Assistant Attorney General WIlliam H. Lewis
659:The New York Emancipation Exhibition (1913)
375:
337:, Cover Image for The Crisis Journal (1919)
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1505:. Washington, D.C. 1922-04-30. p. 5.
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1088:Du Bois, William Edward Burghardt (1903).
995:
909:
29:
2098:"Artists You May or May Not Know :)"
1674:Dubois, William Edward Burghardt (1913).
1653:. Boston, MA: G.K. Hall. pp. 204–5.
740:Massachusetts Senator George Frisbie Hoar
420:
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1741:The Crisis: A Record of the Darker Races
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1067:. Chicago Review Press. pp. 3, 54.
888:Sage: A Scholarly Journal on Black Women
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2228:Women Artists of the Harlem Renaissance
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2016:
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1647:Rubinstein, Charlotte Streifer (1990).
1583:. Oxford University Press. p. 77.
1087:
918:. Jackson: Univ. Press of Mississippi.
916:Women Artists of the Harlem Renaissance
723:(1899) bronze, Kinsey Family Collection
2370:History of racism in the United States
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2181:: CS1 maint: archived copy as title (
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1531:Encyclopedia of the Harlem Renaissance
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803:Suffer Little Children to Come Unto Me
2400:20th-century American women sculptors
2390:20th-century African-American artists
1870:"Along the Color Line: Music and Art"
1556:"The Dilemma of Interracial Marriage"
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1163:Home and Education: Women of the Hour
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1120:"The M Street High School, 1891-1916"
665:The National Academy of Design (1916)
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227:Pennsylvania Academy of the Fine Arts
127:Portrait Bust of Paul Lawrence Dunbar
2259:. Garland Publishing, Inc. pp.
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850:in the Fine Arts (1928) Bronze Medal
2385:20th-century African-American women
2286:"May Howard Jackson, Sculptor Born"
2123:"News and Notes of Art and Artists"
1942:
1905:
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1754:Moseley, Francis T. (21 Jul 1940).
1618:
1560:Historical Journal of Massachusetts
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1308:"News and Notes of Art and Artists"
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834:Negro Dancing Girl (exhibited 1929)
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1895:Council of Women for Home Missions
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910:Farrington, Lisa E. (2014-08-04).
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409:In 1917, Jackson exhibited at the
236:, Paris-trained academic sculptor
133:Portrait Bust of Dean Kelly Miller
14:
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1696:. Smithsonian American Art Museum
1608:. October 1916. pp. 278–179.
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978:
914:. In Kirschze, Amy Helene (ed.).
898:
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769:(1914) bronze, Howard University)
746:Portrait Bust of W. E. B. Du Bois
669:May Howard Jackson: 25 Sculptures
106:Pennsylvania Academy of Fine Arts
2405:African-American women sculptors
2324:
2140:Woodson, Carter G., ed. (1942).
1756:"Negro Art--1851 to the Present"
856:
829:William Tecumsah Sherman Jackson
572:Portrait of Paul Laurence Dunbar
2375:20th-century American sculptors
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1314:. 23 Nov 1912. pp. Page 9.
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960:Tolles, Thayer (October 2004).
775:, bronze (1915, exhibited 1929)
662:The Corcoran Art Gallery (1915)
508:Her work was recognized with a
217:She attended J. Liberty Tadd's
2143:The Works of Francis J. Grimke
2129:. 23 January 1915. p. 13.
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1:
2226:Kirschke, Amy Helene (2014).
2073:""Morris Heights, N.Y. City""
2019:"Portrait Bust of an African"
1982:King-Hammond, Leslie (1996).
870:
837:Resurrection, exhibited 1929)
758:Morris Heights, New York City
192:
2199:Farrington, Lisa E. (2005).
2071:Jackson, May Howard (1912).
2017:Jackson, May Howard (1899).
1887:Hammond, Lily Hardy (1922).
1820:The Journal of Negro History
1577:Farrington, Lisa E. (2005).
1461:"Sculptures by Mrs. Jackson"
1424:The American Magazine of Art
819:Mulatto Mother and her Child
501:was elected as president in
209:
7:
2380:Sculptors from Pennsylvania
1619:Day, Caroline Bond (1932).
1118:Robinson, Henry S. (1984).
825:, plaster ((exhibited 1918)
721:Portrait Bust of an African
468:
203:Portrait Bust of an African
10:
2421:
2360:African-American sculptors
2303:Albright, Evan J. (2007).
1554:Miletsky, Zebulon (2016).
791:William Stanley Braitewait
553:National Academy of Design
292:, the Massachusetts born,
2365:Artists from Philadelphia
2290:African American Registry
2060:. 22 Jul 1906. p. 9.
1890:In the Vanguard of a Race
1814:Porter, James A. (1942).
1792:African American Registry
1357:Humanities (1917-03-24).
996:Farrington, Lisa (2005).
894:(1 (Spring 1987)): 17–24.
841:
602:
324:
179:America's racial problems
156:
148:
119:
111:
101:
93:
82:
63:
37:
28:
21:
2056:. Metropolitan Section.
1967:: CS1 maint: location (
1209:10.2307/j.ctv1j6675s.112
811:(n.d., plaster, held by
612:aunt's work and studio.
581:Harmon Foundation Awards
390:, reviewing her bust of
376:Washington gallery scene
139:Mulatto Mother and Child
2336:African American firsts
1253:credo.library.umass.edu
848:Harmon Foundation Award
523:
510:Harmon Foundation Award
459:William McKnight Farrow
306:The Souls of Black Folk
296:educated leader of the
160:Harmon Foundation, 1928
152:William Sherman Jackson
2253:Heller, Jules (1995).
1566:(1, Winter 2016): 138.
1287:"Along the Color Line"
764:Portrait Bust of Dean
712:
609:Sargent Claude Johnson
575:
537:
430:
421:Segregated exhibitions
338:
269:
206:
1533:. 2012. p. 169.
1391:"The Alliance Herald"
809:Bust of a Young Woman
779:Head of a Negro Child
706:
569:
531:
455:William Edouard Scott
428:
332:
267:
234:William Merritt Chase
200:
2331:Biography portal
2058:The Washington Times
730:Paul Lawrence Dunbar
707:May Howard Jackson,
642:lucid temperament."
570:May Howard Jackson,
532:May Howard Jackson,
443:Paul Laurence Dunbar
343:Corcoran Art Gallery
333:May Howard Jackson,
290:Dr. W. E. B. Du Bois
286:Booker T. Washington
279:M Street High School
256:École des Beaux Arts
201:May Howard Jackson,
2054:"Art & Artists"
1604:"A story in clay".
736:, Washington D.C.).
383:The Washington Star
252:Meta Warrick Fuller
1694:americanart.si.edu
1471:(31): 1–10. 1919.
734:Dunbar High School
713:
576:
538:
488:racial segregation
431:
371:Public exhibitions
339:
298:New Negro Movement
270:
207:
171:New Negro Movement
167:May Howard Jackson
23:May Howard Jackson
2270:978-0-8240-6049-7
2237:978-1-62846-033-9
2210:978-0-19-976760-1
1995:978-0-9652110-0-0
1715:"Women's History"
1690:"Sargent Johnson"
1676:Suffrage Paraders
1660:978-0-8161-8732-4
1590:978-0-19-516721-4
1540:978-1-135-45537-8
1465:American Art News
1218:978-1-4008-2787-9
1074:978-1-61374-012-5
1044:978-0-8153-2218-4
1007:978-0-19-976760-1
966:www.metmuseum.org
925:978-1-62674-207-9
813:Howard University
623:, New York City.
617:Woodlawn Cemetery
546:Caroline Bond Day
475:Howard University
173:and prominent in
164:
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87:Woodlawn Cemetery
16:American sculptor
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823:Mother and Child
785:William H. Lewis
727:Portrait Bust of
711:, bronze (~1912)
685:Posthumous group
597:Great Depression
411:Corcoran Gallery
175:Washington, D.C.
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2162:the original
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2127:Evening Star
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1893:. New York:
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1826:(1): 33–34.
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1363:The Broad Ax
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121:Notable work
69:(1931-07-12)
67:12 July 1931
56:Philadelphia
2355:1931 deaths
2350:1877 births
1932:|work=
1330:The Monitor
1180:|work=
646:Exhibitions
591:Final years
486:With legal
482:Recognition
187:multiracial
94:Nationality
89:, Bronx, NY
2344:Categories
2314:2018-03-10
2295:2018-03-10
2168:2015-12-04
2083:2022-01-16
2028:2022-01-16
1874:The Crisis
1797:2020-05-03
1773:2022-04-09
1725:2022-01-16
1700:2022-01-15
1606:The Crisis
1516:2022-01-16
1376:2022-04-09
1343:2022-04-08
1291:The Crisis
1258:2022-01-14
971:2022-02-15
946:2019-03-31
871:References
793:(bef 1919)
787:(bef 1919)
773:Shell-baby
629:The Crisis
560:phenotypes
365:The Crisis
352:The Crisis
219:Art School
193:Early life
48:1877-09-07
42:May Howard
2246:861671304
2219:712600445
2102:Pinterest
1963:cite book
1934:ignored (
1924:cite book
1856:146888246
1840:0022-2992
1768:2769-4682
1511:2331-9968
1477:1944-0227
1436:2151-254X
1371:2163-7202
1338:2768-5535
1235:236278802
1182:ignored (
1172:cite book
1136:0897-9049
1016:712600445
717:Slave boy
621:the Bronx
210:Education
115:Sculpture
102:Education
2177:cite web
2004:35706071
1485:25589473
1444:23925595
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