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Harlem Street Scene

Jacob Lawrence

Contemporary Art

On View: Robert E. Blum Gallery, 1st floor
These three screenprints represent a later period in Jacob Lawrence’s career, when he turned his attention to printmaking. Extending a theme from his earlier work—the sixty panels of his landmark Migration Series (1941)—here he continues to treat the history of African Americans who had migrated to the North in great numbers between the 1920s and the 1940s.The artist said:

To me, migration means movement. There was conflict and struggle. But out of the struggle came a kind of power and even beauty. “And the migrants kept coming” is a refrain of triumph over adversity.

The ’20’s . . . The Migrants Cast Their Ballots shows black people exercising the right to vote. The Builders and Harlem Street Scene show Lawrence’s interest in the vibrancy of everyday life—not only in the particular activities shown, but in the humanity and dignity of the people.
MEDIUM Screenprint on white wove paper
DATES 1975
DIMENSIONS Sheet: 30 7/16 x 22 1/2 in. (77.3 x 57.2 cm) Image: 24 3/8 x 18 1/2 in. (61.9 x 47 cm)  (show scale)
SIGNATURE Signed, "Jacob Lawrence 1975" lower right in graphite
INSCRIPTIONS Below screenprint: "123/150" "Harlem Street Scene" "Jacob Lawrence" "1975" in graphite
COLLECTIONS Contemporary Art
MUSEUM LOCATION This item is on view in Robert E. Blum Gallery, 1st floor
ACCESSION NUMBER 1989.32
EDITION Edition: 123/150
CREDIT LINE Gift of Robert Levinson
RIGHTS STATEMENT © artist or artist's estate
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CAPTION Jacob Lawrence (American, 1917-2000). Harlem Street Scene, 1975. Screenprint on white wove paper, Sheet: 30 7/16 x 22 1/2 in. (77.3 x 57.2 cm). Brooklyn Museum, Gift of Robert Levinson, 1989.32. © artist or artist's estate (Photo: Brooklyn Museum, 1989.32_transpc002.jpg)
IMAGE overall, 1989.32_transpc002.jpg. Brooklyn Museum photograph
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
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