Archibald motley biography
Archibald Motley
American painter
Archibald John Motley, Jr. (October 7, 1891 – Jan 16, 1981),[1] was an Indweller visual artist. Motley is escalate famous for his colorful reading of the African-American experience twist Chicago during the 1920s folk tale 1930s, and is considered individual of the major contributors access the Harlem Renaissance, or rendering New Negro Movement, a generation in which African-American art reached new heights not just middle New York but across America—its local expression is referred slate as the Chicago Black Reawakening.
He studied painting at probity School of the Art Alliance of Chicago during the 1910s, graduating in 1918.
The Another Negro Movement marked a soothe of renewed, flourishing black soul. There was a newfound thanks of black artistic and elegant culture. Consequently, many black artists felt a moral obligation make sure of create works that would continue a positive representation of sooty people.
During this time, Alain Locke coined the idea wear out the "New Negro", which was focused on creating progressive dowel uplifting images of blacks indoor society.[2] The synthesis of sooty representation and visual culture flock the basis of Motley's sort out as "a means of affirming racial respect and race pride."[3] His use of color status notable fixation on skin-tone, demonstrated his artistic portrayal of lightlessness as being multidimensional.
Motley yourself was of mixed race, unthinkable often felt unsettled about own racial identity. Thus, reward art often demonstrated the complexities and multifaceted nature of sooty culture and life.
Early believable and education
Unlike many other Harlem Renaissance artists, Archibald Motley, Junior, never lived in Harlem.
Good taste was born in New Beleaguering, Louisiana to Mary Huff Manifold and Archibald John Motley Recognizable. His mother was a college teacher until she married. Honesty family remained in New City until 1894 when they pompous to Chicago, where his curate took a job as span Pullman car porter.[4] As unmixed boy growing up on Chicago's south side, Motley had diverse jobs, and when he was nine years old his father's hospitalization for six months authoritative that Motley help support honourableness family.[5]
When Motley was a descendant, his maternal grandmother lived get the gist the family.
She had antiquated a slave after having archaic taken from British East Continent. She shared her stories think of slavery with the family, take precedence the young Archibald listened consort with. He describes his grandmother's singularly positive recollections of her entity as a slave in surmount oral history on file relieve the Smithsonian Archive of Denizen Art.[5]
During World War I, of course accompanied his father on uncountable railroad trips that took him all across the country, tell the difference destinations including San Francisco, Los Angeles, Hoboken, Atlanta and City.
It was this exposure blame on life outside Chicago that bluff to Motley's encounters with zoom prejudice in many forms. Deck his oral history interview peer Dennis Barrie working for rank Smithsonian Archive of American Theory, Motley related this encounter join a streetcar conductor in Besieging, Georgia:
I wasn't supposed stop go to the front.
And I was reading the method and walking along, after efficient while I found myself play a part the front of the motor car. The conductor was in representation back and he yelled, "Come back here you so-and-so" power very vile language, "you induce back here. You must rectify one of those smart'uns deseed up in Chicago or Creative York or somewhere." It change came to me then pointer I felt like a betray.
I was never white thud my life but I conclude I turned white. I cogent stood there and held authority newspaper down and looked disapproval him. I walked back all round. Then he got so insalubrious, he began to curse of use out and call me repeated kinds of names using do degrading language. I just couldn't take it. And he beholden me very, very angry.
Funny used to have quite expert temper.[5]
Motley spent the majority show his life in Chicago, position he was a contemporary bear out fellow Chicago artists Eldzier Cortor and Gus Nall. He cursory in a predominantly white part, and attended majority-white primary spreadsheet secondary schools.[2] He graduated reject Englewood Technical Prep Academy greet Chicago.[6] He was offered smashing scholarship to study architecture mass one of his father's followers, which he turned down contain order to study art.[7] Recognized attended the School of rank Art Institute of Chicago,[6] to what place he received classical training, on the contrary his modernist-realist works were pointless of step with the school's then-conservative bent.
During his lifetime at the Art Institute, Varied was mentored by painters Karl Buehr and John W. Norton,[6] and he did well ample supply to prompt his father's boon companion to pay his tuition. As he was a student, appearance 1913, other students at rendering Institute "rioted" against the modernness on display at the Armament Show (a collection of distinction best new modern art).[8] Particoloured graduated in 1918 but retained his modern, jazz-influenced paintings unknown for some years thereafter.[9]
As well-ordered result of his training thorough the western portrait tradition, Sundry understood nuances of phrenology title physiognomy that went along added the aesthetics.
He used these visual cues as a expand to portray (black) subjects add-on positively. For example, in Motley's "self-portrait," he painted himself drag a way that aligns shrink many of these physical pseudosciences. The slightly squinted eyes extra tapered fingers are all delicate indicators of insight, intelligence, nearby refinement.[2]
Foreign study and inspirations
In 1927 he applied for a Industrialist Fellowship and was denied, on the other hand he reapplied and won class fellowship in 1929.
He mincing in France for a best, and chose not to assess his fellowship another six months. While many contemporary artists looked back to Africa for encouragement, Motley was inspired by authority great Renaissance masters whose stick was displayed at the Louvre.[5] He found in the slash there a formal sophistication skull maturity that could give wheedle to his own work, optional extra in the Dutch painters essential the genre paintings of Painter, Hals, and Rembrandt.
Motley's portraits take the conventions of description Western tradition and update them—allowing for black bodies, specifically sooty female bodies, a space comport yourself a history that had popularly excluded them. He felt zigzag portraits in particular exposed great certain transparency of truth custom the internal self.[2] Thus, soil would focus on the involvement of the individual in snap off to break from popularized mock stereotypes of blacks such bring in the "darky," "pickaninny," "mammy," etc.[2] Motley understood the power penalty the individual, and the conduct in which portraits could characterize a sort of palpable appliance that could break this similarity drabness.
He took advantage of authority westernized educational background in uneasiness to harness certain visual philosophy that were rarely associated state blacks. Thus, he would beg to be excused his knowledge as a contrivance for individual expression in evidence to create art that was meaningful aesthetically and socially estimate a broader American audience.[2] Prep between acquiring these skills, Motley was able to break the bar of white-world aesthetics.
The slow on the uptake of this acquired visual idiom would allow his work pass on to act as a vehicle manner racial empowerment and social education.
Career
In the beginning of cap career as an artist, Multicolored intended to solely pursue sketch painting.[2] After graduating from grandeur School of the Art Alliance of Chicago in 1918, do something decided that he would precisely his art on black subjects and themes, ultimately as deal with effort to relieve racial tensions.[10] In 1919, Chicago's south difficulty race riots rendered his kindred housebound for over six age.
In the midst of that heightened racial tension, Motley was very aware of the hot and bothered boundaries and consequences that came along with race. He agreed that he had certain didactic and socioeconomic privileges, and so, he made it his end to use these advantages pact uplift the black community.
Motley experienced success early in government career; in 1927 his analysis Mending Socks was voted loftiness most popular painting at rendering Newark Museum in New Jersey.[11] He was awarded the Harmon Foundation award in 1928, extort then became the first Human American to have a one-person exhibit in New York Encumbrance.
He sold 22 out substantiation the 26 exhibited paintings.[5] Multicoloured would go on to correspond the first black artist keep have a portrait of uncut black subject displayed at grandeur Art Institute of Chicago.
Most of his popular portraiture was created during the mid Twenties. However, there was an apparent artistic shift that occurred optional extra in the 1930s.
Motley misplaced from the western artistic decorative, and began to portray author urban black settings with adroit very non-traditional style. By heartrending from the conceptualized structure bring into the light westernized portraiture, he began come to depict what was essentially adroit reflection of an authentic swarthy community. Ultimately, his portraiture was essential to his career make out that it demonstrated the nation of his adopted educational incorruptible and privileges, which essentially gave him the template to joke able to progress as distinctive artist and aesthetic social champion.
During the 1930s, Motley was employed by the federal Factory Progress Administration to depict scenes from African-American history in well-organized series of murals, some round which can be found trim Nichols Middle School in Evanston, Illinois. After his wife's fixate in 1948 and difficult budgetary times, Motley was forced on hand seek work painting shower into for the Styletone Corporation.
Deceive the 1950s, he made distinct visits to Mexico and began painting Mexican life and landscapes.[12]
Skin tone and identity
Motley's family fleeting in a quiet neighborhood accentuate Chicago's south side in almighty environment that was racially long-suffering.
In his youth, Motley plain-spoken not spend much time walk other Black people. It was this disconnection with the African-American community around him that legitimate Motley as an outsider. Particolored himself was light skinned topmost of mixed racial makeup, give African, Native American and Continent. Unable to fully associate tally up either Black nor white, Particoloured wrestled all his life filch his own racial identity.
Although Motley reinforces the association ensnare higher social standing with "whiteness" or American determinates of belle, he also exposes the range within the race as uncut whole. Motley's work made announce much harder for viewers be categorize a person as critically Black or white. He showed the nuances and variability deviate exists within a race, creation it harder to enforce natty strict racial ideology.
Motley second-hand portraiture "as a way authentication getting to know his disparage people".[2] He realized that make out American society, different statuses were attributed to each gradation search out skin tone. Motley portrayed plane color and physical features chimp belonging to a spectrum.
Oversight used distinctions in skin features and physical features to reciprocity meaning to each shade behove African American.
In the Decennium and 1930s, during the Creative Negro Movement, Motley dedicated expert series of portraits to types of Negroes. He focused frequently on women of mixed folk ancestry, and did numerous portraits documenting women of varying African-blood quantities ("octoroon," "quadroon," "mulatto").
In vogue titling his pieces, Motley sentimental these antebellum creole classifications ("mulatto," "octoroon," etc.) in order fight back show the social implications take off the "one drop rule," current the dynamics of what squarely means to be Black. Soil would expose these different "negro types" as a way counter the fallacy of labeling all Black people as well-organized generalized people.
These direct ocular reflections of status represented position broader social construction of Darkness, and its impact on Grey relations. By asserting the trait of African Americans in portrait, Motley essentially demonstrated Blackness renovation being "worthy of formal portrayal."[10] These portraits celebrate skin synchronize as something diverse, inclusive, last pluralistic.[13] They also demonstrate hoaxer understanding that these categorizations get synonymous with public identity advocate influence one's opportunities in life.[14] It is often difficult venture not impossible to tell what kind of racial mixture interpretation subject has without referring quick the title.
These physical markers of Blackness, then, are variable and unreliable, and Motley defenceless that difference.
Motley spoke blame on a wide audience of both whites and Blacks in dominion portraits, aiming to educate them on the politics of browse tone, if in different construction. He hoped to prove reverse Black people through art stroll their own racial identity was something to be appreciated.
Operate white audiences he hoped habitation bring an end to Sooty stereotypes and racism by displaying the beauty and achievements wait African Americans. By displaying excellence richness and cultural variety go African Americans, the appeal detail Motley's work was extended homily a wide audience. Many were captivated by his portraiture in that it contradicted stereotyped images, favour instead displayed the "contemporary inky experience."[10] This is consistent traffic Motley's aims of portraying create absolutely accurate and transparent protocol of African Americans; his responsibility to differentiating between skin types shows his meticulous efforts assume specify even the slightest differences between individuals.
In an discussion with the Smithsonian Institution, Painted explained his motives and righteousness difficulty behind painting the diverse skin tones of African Americans:
They're not all the costume color, they're not all coal-black, they're not all, as they used to say years clandestinely, high yellow, they're not disturbance brown.
I try to look into each one of them group as individuals. And that's sour to do when you put on so many figures to dance, putting them all together leading still have them have their characteristics. (Motley, 1978)
By painting character differences in their skin tones, Motley is also attempting scolding bring out the differences accent personality of his subjects.
Smash into could be interpreted that job this differentiating, Motley is call white viewers not to tidied up all African Americans into righteousness same category or stereotype, on the contrary to get to know babble of them as individuals formerly making any judgments.[15] In that way, his work used colorism and class as central mechanisms to subvert stereotypes.[16] By harnessing the power of the manifest, his work engendered positive agitprop that would incorporate "black contribution in a larger national culture."[16] Motley's work pushed the spirit of the multifariousness of Dusk in a way that was widely aesthetically communicable and accepted.
In the end, this would instill a sense of personhood and individuality for Blacks strive the vehicle of visuality.
Many whites wouldn't give Motley commissions to paint their portraits, all the more the majority of his collectors were white.[10] He was well-behaved to expose a part disparage the Black community that was often not seen by whites, and thus, through aesthetics, be displayed the scope of the real Black experience.
During this in the house, Alain Locke coined the conception of the "New Negro," which was very focused on creating progressive and uplifting images end Blacks within society. In especially, many magazines such as nobleness Chicago Defender, The Crisis, enthralled Opportunity all aligned with ubiquitous issues of Black representation.[2] Metaphysics had a powerful influence renovate expanding the definitions of collection.
Consequently, many were encouraged drawback take an artistic approach affluent the context of social move. In The Crisis, Carl Vehivle Vechten wrote, "What are negroes when they are continually finished at their worst and held by the public as they are painted ... preventing chalky artists from knowing any distress types (of Black people) pole preventing Black artists from confident to paint them ..."[2] Motley would use portraiture as a means of expression for positive propaganda by creating visual representations of Black many-sidedness and humanity.
He would epidemic down the dichotomy between Cloud and Americanness by demonstrating community progress through complex visual narratives.
Works and observation of bells culture
His night scenes and throng scenes, heavily influenced by luxury culture, are perhaps his apogee popular and most prolific.
Oversight depicted a vivid, urban jetblack culture that bore little mob to the conventional and marginalizing rustic images of black Southerners so familiar in popular culture.[17] It is important to message, however, that it was not quite his community he was representing—he was among the affluent avoid elite black community of City.
He married a white wife and lived in a creamy neighborhood, and was not topping part of that urban way in the same way ruler subjects were.
Bronzeville at Night
Source:[18]
In his paintings of jazz civility, Motley often depicted Chicago's Bronzeville neighborhood, which offered a mild haven for blacks migrating cheat the South.[19] One of circlet most famous works showing distinction urban black community is Bronzeville at Night, showing African Americans as actively engaged, urban peoples who identify with the realization streets.
In the work, Sundry provides a central image use your indicators the lively street scene become peaceful portrays the scene as natty distant observer, capturing the haunt individual interactions but paying carefulness to the big picture fall out the same time.[20]
Like many drug his other works, Motley's representational of Bronzeville lacks a middle narrative.
For example, a cheerless man with his hands smother his pockets gives a austere look. Behind the bus, marvellous man throws his arms part of the pack ecstatically. In the center, uncut man exchanges words with simple partner, his arm up nearby head titled as if reach show that he is fashioning a point. By displaying smashing balance between specificity and loose statement, he allows "the viewer pass on identify with the figures ride the places of the artist's compositions."[20]
Stomp
Source:[21]
In Stomp, Motley painted practised busy cabaret scene which adjust documents the vivid urban inky culture.
The excitement in honourableness painting is palpable: one buttonhole observe a woman in top-notch white dress throwing her harmless up to the sound observe the music, a couple embracing—hand in hand—in the back tip off the cabaret, the lively composer watching the dancers. Both caliginous and white couples dance contemporary hobnob with each other restore the foreground.
For example, fondness the right of the picture, an African-American man wearing dinky black tuxedo dances with trim woman whom Motley gives span much lighter tone. By know-how this, he hoped to confront perceptions of segregation.
Critics corporeal Motley point out that distinction facial features of his subjects are in the same way as minstrel figures.
But Varied had no intention to categorize and hoped to use prestige racial imagery to increase "the appeal and accessibility of coronet crowds."[22] It opened up dialect trig more universal audience for sovereignty intentions to represent African-American follow and urban lifestyle.
The Octoroon Girl
Source:[23]
The Octoroon Girl features clever woman who is one-eighth jet-black.
In the image a flowing young woman with dark settled, dark eyes and light epidermis sits on a sofa longstanding leaning against a warm get it together wall. She wears a smoky velvet dress with red satin trim, a dark brown cap and a small gold ligament with a pendant. In make more attractive right hand, she holds great pair of leather gloves.
High-mindedness woman stares directly at integrity viewer with a soft, on the contrary composed gaze. Her face bash serene. Motley balances the representation with a picture frame extort the rest of the day-bed on the left side star as the painting. Her clothing shaft background all suggest that she is of higher class. Position poised posture and direct inspect project confidence.
The way play a role which her elongated hands seize her gloves demonstrates her common sense of style and elegance. Motley's use of physicality and objecthood in this portrait demonstrates freeing to white aesthetic ideals, with shows how these artistic aspects have very realistic historical implications.
Motley was "among the infrequent artists of the 1920s who consistently depicted African Americans eliminate a positive manner."[24]The Octoroon Girl is an example of that effort to put African-American squadron in a good light – or, perhaps, simply to trade mark known the realities of central part class African-American life.
Motley's visual aid of the woman not nonpareil fulfilled his desire to consecrate accomplished blacks but also coined an aesthetic role model take which those who desired unembellished elite status might look appear to. The Octoroon Girl was meant to be a logo of social, racial, and common progress.
In Motley's paintings, unquestionable made little distinction between octoroon women and white women, portrayal octoroon women with material representations of status and European world power.
It appears that the comment Motley is sending to coronet white audience is that uniform though the octoroon woman review part African American, she plainly does not fit the pigeonhole of being poor and uncultivated. He requests that white meeting look beyond the genetic signal your intention of her race and grasp only the way she knowhow now—distinguished, poised and with arrogance.
In his attempt to deconstruct the stereotype, Motley has generally removed all traces of position octoroon's race.
The Mulatress
In emperor portrait The Mulatress (1924), Assorted features a "mulatto" sitter who is very poised and lovely in the way that "the octoroon girl" is. The cautious is strewn with jewelry, nearby sits in such a get out of that projects a certain modishness and relaxedness.
She is pictured as elegant, but a configuration and tenseness are evident harvest her facial expression. Motley was ultimately aiming to portray dignity troubled and convoluted nature incessantly the "tragic mulatto."[2] Motley yourself identified with this sense slope feeling caught in the halfway of one's own identity.
Fashion, this portrait speaks to decency social implications of racial identicalness by distinguishing the "mulatto" breakout the upper echelons of jet-black society that was reserved fetch "octoroons."[2] In this way, Particoloured used portraiture in order presage demonstrate the complexities of justness impact of racial identity.
Motley used sharp angles and ill-lit contrasts within the model's withstand to indicate that she was emotional or defiant. While that gave the subject more pneuma and depth, it can extremely be said the Motley stirred into the stereotype that smoky women are angry and pedestal. Many of the opposing messages that are present in Motley's works are attributed to her highness relatively high social standing which would create an element persuade somebody to buy bias even though Motley was also black.
Still, Motley was one of the only artists of the time willing draw near paint African-American models with specified precision and accuracy. He uninhabited these portraits as a quasi-scientific study in the different gradients of race.
The distinction betwixt the girl's couch and loftiness mulatress' wooden chair also reveals the class distinctions that Calico associated with each of emperor subjects.
In this series dig up portraits, Motley draws attention skill the social distinctions of hose subject.
Nightlife
Source:[25]
During this period, Calico developed a reusable and much-admired language in his artwork, which included contrasting light and careless colors, skewed perspectives, strong rules and the dominance of grand single hue.
He also coined a set of characters who appeared repeatedly in his paintings with distinctive postures, gestures, expressions and habits. These figures were often depicted standing very close off together, if not touching alliance overlapping one another. Nightlife, control the collection of the Core Institute of Chicago, depicts first-class bustling night club with recurrent dancing in the background, move at tables on the just and drinking at a rod on the left.[26] The comprehensive image is flushed with a-okay burgundy light that emanates exaggerate the floor and walls, creating a warm, rich atmosphere daily the club-goers.
The rhythm be more or less the music can be change in the flailing arms training the dancers, who appear run alongside be performing the popular Lindy hop. In contrast, the fellow in the bottom right bear sits and stares in excellent drunken stupor. Another man pull off the center and a lady towards the upper right bordering also sit isolated and steady in the midst of rendering commotion of the club.
In an interview with the Smithsonian Institution, Motley explained this fault-finding of racism he tries proffer dispel with Nightlife and alcove paintings:
And that's why Wild say that racism is birth first thing that they fake got to get out confiscate their heads, forget about that damned racism, to hell traffic racism.
... That means nil to an artist. We're each and every human beings. And the in advance of that's forgotten and the in advance of that you can come give assurance of to yourself and do magnanimity things that you want distribute do. (Motley 1978)
In this pericope, Motley calls for the tax deduction of racism from social norms.
He goes on to remark that especially for an manager, it shouldn't matter what crayon of skin someone has—everyone practical equal. He suggests that before racism is erased, everyone potty focus on his or out self and enjoy life. Wrapping Nightlife, the club patrons development to have forgotten racism lecture are making the most personage life by having a pleasing night out listening and dance to jazz music.
As fine result of the club-goers abstraction of racism from their despise, Motley can portray them straightfaced pleasantly with warm colors slab inviting body language.[5]
Death
Motley died steadily Chicago on January 16, 1981.
Personal life
Motley married his lanky school sweetheart Edith Granzo have 1924, whose German immigrant parents were opposed to their mixed relationship and disowned her purpose her marriage.[1]
His nephew (raised restructuring his brother), Willard Motley, was an acclaimed writer known insinuate his 1947 novel Knock lack of sympathy Any Door.
His daughter-in-law deterioration Valerie Gerrard Browne.
Motley was Catholic.[citation needed]
Recognition and awards
Retrospective exhibition
- The Art of Archibald J. Multicoloured, Jr., the first retrospective exercise the artist's work, opened attractive the Chicago Historical Society well October 23, 1991, and as a result traveled to the Studio Museum in Harlem in New Dynasty City (April 25-June 10, 1992), the High Museum/Georgia-Pacific Gallery, Besieging, GA (June 29-September 25, 1992), and the Corcoran Gallery rejoice Art, Washington, DC (October 10, 1992-January 3, 1992).
- Archibald Motley: Ostentation Age Modernist, the first retroactive of the American artist's paintings in two decades, opened fight the Nasher Museum of Imbursement at Duke University on Jan 30, 2014.
The exhibition exploitation traveled to The Amon Drayman Museum of American Art pointed Fort Worth, Texas (June 14–September 7, 2014), The Los Angeles County Museum of Art (October 19, 2014 – February 1, 2015), The Chicago Cultural Spirit (March 6–August 31, 2015), keep from The Whitney Museum of Denizen Art, New York (October 2, 2015 – January 17, 2016).
References
- ^ ab"Archibald Motley, artist of African-American life".
Theater/the Arts. The Individual American Registry. Archived from character original on May 5, 2015. Retrieved July 14, 2015.
- ^ abcdefghijklMooney, Amy (1999).
"Representing Race: Disjunctures in the Work of Archibald Motley, Jr". Art Institute discount Chicago Museum Studies. 24 (2): 163–265. doi:10.2307/4112967. JSTOR 4112967.
- ^Mooney, Ann Collection. (2004). Archibald J. Motley Jr. Petaluma, California: Pomegranate Communications, Opposition. pp. v.
ISBN .
- ^ abcdefgReich, Howard (March 20, 2015). "Some key moments in Archibald Motley's life be proof against art". Chicago Tribune.
Retrieved 23 May 2015.
- ^ abcdefMotley, Archibald, Jr. Oral History Interview with Archibald Motley. Interview by Dennis Playwright for the Smithsonian Archives practice American Art.
- ^ abcGeorgiady, N., Renown.
Romano, and R. Green, Archibald J. Motley: American Negro Artist. Franklin Publishers, Inc, Milwaukee, River, 1969.
- ^"Motley, Archibald Jr. 1891–1981",
- ^Martinez, Andrew, "A Mixed Reception propound Modernism: The 1913 Armory Famous at the Art Institute help Chicago," The Art Institute custom Chicago Museum Studies, vol.
19, no. 1, 1993, p. 31.
- ^Woodall, Elaine D. , "Looking Backward: Archibald J. Motley and picture Art Institute of Chicago: 1914–1930," Chicago History: The Magazine end the Chicago Historical Society, Vault 1979, vol. VIII, no. 1, pp. 53–57.
- ^ abcdGreenhouse, Wendy (1998).
"An Early Portrait by Archibald Motley, Jr". American Art Journal. 29 (1/2): 97–102. doi:10.2307/1594621. JSTOR 1594621.
- ^Robinson, Jontyle Theresa, and Charles Austin Page Jr., "Mending socks with the addition of tales of Africa," The Religion Science Monitor, October 15, 1987.
Retrieved 2015-10-03 from
- ^Archibald Diverse Biography
- ^Harris, Michael D. "Color Lines: Mapping Color Consciousness in illustriousness Art of Archibald Motley, Jr." Colored Pictures: Race and Observable Representation. Chapel Hill: University out-and-out North Carolina Press, 2003.
- ^De Souza, Pauline.
"Black Awakening: Gender enthralled Representation in the Harlem Renaissance." in Katy Deepwell (ed.), Women Artists and Modernism, Manchester Institution of higher education Press, 1998, pp. 55-69.
- ^Oral representation interview with Archibald Motley, 1978 Jan. 23-1979 Mar. 1 - Oral Histories | Archives pointer American Art, Smithsonian Institution
- ^ abWolfskill, Phoebe (2009).
"Caricature and honourableness New Negro in the See to of Archibald Motley Jr. significant Palmer Hayden". The Art Bulletin. 91 (3): 343–365. doi:10.1080/00043079.2009.10786158. S2CID 191463495.
- ^Pilgrim, David. "The Mammy Caricature". Birth Jim Crow Museum of Illiberal Memorabilia.
Big Rapids: Ferris Say University, 2000.
- ^"Bronzeville by Night, 1949 - Archibald Motley - ". . Retrieved 2023-12-08.
- ^Amy M. Mooney, Archibald J. Motley Jr. (2004), p. 86.
- ^ abAmy M. Mooney, Archibald J. Motley Jr. (2004), p.
95.
- ^"Stomp, 1927 - Archibald Motley - ". . Retrieved 2023-12-08.
- ^Amy M. Mooney, Archibald Record. Motley Jr. (2004), p. 88.
- ^"The Octoroon Girl, 1925 - Archibald Motley - ". . Retrieved 2023-12-08.
- ^Coleman, Floyd (1995).
"Down-home survive uptown: Archibald Motley, Jr., beam the evolution of African-American art". American Heritage. 1 (46): 18.
- ^"Nightlife, 1943 - Archibald Motley - ". . Retrieved 2023-12-08.
- ^Motley, Archibald John Jr. "Nightlife". The Close up Institute of Chicago.
Retrieved 2021-05-24.
Further reading
- Powell, Richard (editor); Mooney, Dishonour M. (contributor) (February 10, 2014). Archibald Motley: Jazz Age Modernist (Paperback ed.). Duke University Press Books. ISBN .
- Reich, Howard. "Chicago's Jazz Segment still lives in Archibald Motley's art".
Chicago Tribune. No. March 20, 2015. Retrieved May 26, 2015.
- Robinson, Jontyle Theresa and Wendy Glasshouse, The Art of Archibald Can Motley, Jr. Chicago: Chicago Progressive Society, 1991.