Oil-type paint and mixed media on carved 3/8” hardwood veneer wood panel. Grain runs vertical on painted surface. Carved areas expose inner core running horizontal.
The Mirror depicts a rough, abstract rendering of a face formed by carving freehand into wood. In incorporating the techniques of puncturing and slashing that were his trademarks, this work is a reflection of the artist on many levels.
Signature: incised in the image l.r.: Jacob Lawrence 53
Inscriptions and Marks: on removable backing board, l.l., written sideways with a blue colored pencil “#15”; u.c., with a blue colored pencil surrounded by an oval “112”; on liner, l.l., written sideways with a blue colored pencil “#15”; on tape covering upper member of the inner frame; u.r., written with a red colored pencil “44”
Eight abstracted figures (three kneeling in front and five standing in back) wearing orange tank tops and white shorts face the viewer; two basketballs and five trophies between figures in the foreground. Figures stand in front of a background of fragmented, arched and circular areas of color in blues and golds.
Jacob Lawrence drew upon his surroundings in Harlem, NY for influence and inspiration. His work often contains people in the African American community and their struggles, dreams and triumphs. “Champions” depicts a portrait of an African American basketball team resplendent with their five trophies. The schematic designs, flat space, angular figures, and fragmented, highly patterned surfaces of this piece are typical of his style.
Torn label, bot., probably from the New York Architectural League; traces of adhesive residue from paper medallion, probably a Pewabic label, on bot.; strip of masking tape, bot., is inscribed in graphite: THE PEWABIC POTTERY/DETROIT, MICH/Founded by Mary Chase Stratton, 1903
51.5 cm x 28.2 cm x 28.2 cm (20 1/4 in. x 11 1/8 in. x 11 1/8 in.)
This is a tall vase with an oval shaped body. It has a short neck with a flat banded lip and the shoulder has a distinct, but rounded edge. It has a dark blue glaze and the upper portion has a golden iridescent color. The surface of the pottery is very rough with bumps and rough patches.
Pewabic Pottery was founded in Detroit, Michigan by Mary Chase Stratton who followed the tenets of the early 20th c. Arts and Crafts Movement. In 1907, inspired by art glass and ancient Near Eastern ceramics, she worked to create iridescent glazes, using a special reduction kiln developed by her partner, Horace J. Caulkins. She referred to her experimentation with iridescent glazes as "painting with fire." Stratton created many tonal variations of blue-glazed ware for which Pewabic Pottery became well- known.
Thin, double-side, H-shaped bronze sculpture. Each side is made up of a collection of rough rectangle shapes overlapping and butting up against one another. Two rectangle-shaped openings penetrate the piece.
The artist is interested in the synthesis between idea, material, and form in abstract sculpture.