Papers by Elizabeth A. Douglas
This is an introductory catalog of a body of art works bequeathed to Geneva College by alumna Dr.... more This is an introductory catalog of a body of art works bequeathed to Geneva College by alumna Dr. Vivian Davidson ('43) Hewitt and her late husband, John. The collection is installed in the Buhl Reference Center of McCartney Library. In 2011 I had the honor of serving as curator of the collection and prepared a small catalog of the art works it comprises.
This document is comprised of the illustrations that accompany a spoken survey that begins with a... more This document is comprised of the illustrations that accompany a spoken survey that begins with an introduction to the historical use of the mirror and a woman at the mirror as an iconographical theme from Classical Greece in the Fifth Century BCE to the modern era. This is followed by a survey of Picasso's art, both in using that theme and in demonstrating that his entire career can be viewed as a virtual mirror that reflects many of the key stylistic developments over the nearly a century long span of his life and art.
"It must be dat de Kingdom's comin' and de Year o' Jubilee" ends the refrain of an old African-
A... more "It must be dat de Kingdom's comin' and de Year o' Jubilee" ends the refrain of an old African-
American folk song celebrating the end of slavery and equating it with a God-ordained event. One of
the cultural carry-overs from Africa was the practice of art and religion as a profound expression of
living experience. Undertaken in collaborative and communal terms, the arts were never seen as
mere adjuncts to necessity. African American music traditions from pre-Civil war spirituals and songs
gave rise to much of America's subsequent popular music. From cakewalk to ragtime, to jazz, blues
and gospel, to rhythm & blues to rock,rap and hip-hop, we can follow the intermingled tidewaters of
injustice and hope for conciliation. A like pattern can be seen in African American visual art.
From the anonymous artisans and craftsmen of colonial and pre-Civil War times to the duly honored
and widely recognized African American artists of today, affirmation of the universal quest for justice
and conciliation is ever present.
In this illustrated program I intermingle poetic lyricism and visual expressionism to convey the temper
of this aspect of the African Americn experience.
Accompoanying are illustrative panels that accompany my talk.
An illustrated lecture on the art of renowned artist Betye Saar in relation to the works included... more An illustrated lecture on the art of renowned artist Betye Saar in relation to the works included in the exhibition, "A Sense of Place: Six Contemporary African American Artists" in the Frick Fine Arts Gallery of the University of Pittsburgh, fall 2005.
A conceptual link between the life and career of Pittsburgh-born African American painter, Henry ... more A conceptual link between the life and career of Pittsburgh-born African American painter, Henry O. Tanner and the biblical prophet Daniel.
This is a script that accompanies the performance of the highlighted titles of the musical select... more This is a script that accompanies the performance of the highlighted titles of the musical selections chosen to illustrate the exposition.
Uploads
Papers by Elizabeth A. Douglas
American folk song celebrating the end of slavery and equating it with a God-ordained event. One of
the cultural carry-overs from Africa was the practice of art and religion as a profound expression of
living experience. Undertaken in collaborative and communal terms, the arts were never seen as
mere adjuncts to necessity. African American music traditions from pre-Civil war spirituals and songs
gave rise to much of America's subsequent popular music. From cakewalk to ragtime, to jazz, blues
and gospel, to rhythm & blues to rock,rap and hip-hop, we can follow the intermingled tidewaters of
injustice and hope for conciliation. A like pattern can be seen in African American visual art.
From the anonymous artisans and craftsmen of colonial and pre-Civil War times to the duly honored
and widely recognized African American artists of today, affirmation of the universal quest for justice
and conciliation is ever present.
In this illustrated program I intermingle poetic lyricism and visual expressionism to convey the temper
of this aspect of the African Americn experience.
Accompoanying are illustrative panels that accompany my talk.
American folk song celebrating the end of slavery and equating it with a God-ordained event. One of
the cultural carry-overs from Africa was the practice of art and religion as a profound expression of
living experience. Undertaken in collaborative and communal terms, the arts were never seen as
mere adjuncts to necessity. African American music traditions from pre-Civil war spirituals and songs
gave rise to much of America's subsequent popular music. From cakewalk to ragtime, to jazz, blues
and gospel, to rhythm & blues to rock,rap and hip-hop, we can follow the intermingled tidewaters of
injustice and hope for conciliation. A like pattern can be seen in African American visual art.
From the anonymous artisans and craftsmen of colonial and pre-Civil War times to the duly honored
and widely recognized African American artists of today, affirmation of the universal quest for justice
and conciliation is ever present.
In this illustrated program I intermingle poetic lyricism and visual expressionism to convey the temper
of this aspect of the African Americn experience.
Accompoanying are illustrative panels that accompany my talk.