Elizabeth Catlett Two Generations

, 1979; Lithograph on paper, x 20¼ 17 inches; National illustrates Catlett’sas skill a printmaker. Museum of Women in the Arts, Gift of Dorothy Stauffer Lyddon; Art© Elizabeth Catlett/Licensed by VAGA, New York, NY physical features and psychological complexity.physical Here, printmaking through which she advocated for social change. experiences these of individuals. that who does it is not important,individually, but its use Howard University, she studied design with Loïs Mailou she studiedHoward University, design with Loïs Mailou and its effects on people are what is most important.” the artist invites us to consider the relationship and life Two Generations Catlett, Two Elizabeth Two Generations Two Elizabeth Catlett Catlett The former of granddaughter slaves, Elizabeth (1915–2012) was (1915–2012) born At raised and D.C. Washington, in Jones (1905–1998). Later, she turned Jones (1905–1998). to sculpture Later, and The dramatic play reveals light and shadow of her subjects’ “I learned that art is not something that people learn to do In her own words her In

Two Generations, 1979 Generations, Two Artful Activism Take a closer look a closer Take Elizabeth Catlett Georgia Mills Jessup Mills Georgia Rainy Night, Downtown

Bright Lights, Big City Georgia Mills Jessup said Rainy Night, Downtown could represent a night scene in any U.S. city. Yet, the signs for the “Trans-Lux” Theatre and “St. H N.W.” identify the location as Washington, D.C., the artist’s hometown.

, 1967; Oil on canvas, 44 x 48 inches; National Museum of Women in the Arts, Gift of Savanna M. Clark; © Georgia Mills Jessup Georgia Mills Jessup, Rainy Night, Downtown Jessup, who described was pot,” as herself a “melting particularly proud American her of heritage. Indian As a descendent tribe the Virginia of the great Pamunkey Powhatan is her ancestral chief. The Trans-Lux Theatre, one the of The landmarks Trans-Lux featured in was painting, located Jessup’s on the west 14th of side and H Street, fromStreet, between Avenue NW, New York 1937 to 1975. That means the scene depicted was about a block from where are standing. you Georgia Mills Jessup (1926–2016) used abstraction, vivid colors, and dramatic contrasts to light and shadow of create a particular mood and energy this scene. in Her approach encourages the sights us to imagine and sounds that would greet us if stepped we through the frame.

Who knew? Something to talk about to talk about Something Take a closer look a closer Take Rainy Night, Downtown, 1967 Downtown, Night, Rainy Georgia Mills Jessup Loïs Mailou Jones Mailou Loïs Arreau, Hautes-Pyrénées

Change of Scenery Loïs Mailou Jones experienced prejudice in the United States based on her race and gender. She traveled to France in 1937, discovering a country more racially tolerant than her own. The inclusivity and tranquility of the French landscape beckoned Jones back throughout her life.

applied , 1949; Oil on canvas, 19½ x 23⅝ inches; Loïs Mailou Jones, Hautes-Pyrénées Arreau, National Museum of Women in the Arts, Gift of Gladys Payne; P. © Loïs Mailou Jones; Stalsworth Lee by Photograph Jones influenced notableartists women Elizabeth including Catlett (1915–2012) and Alma Woodsey Thomas (1891– collection. both the in museum’s 1978), Africa, the Black experience, Vineyard it and Martha’s (where and admit: there began) is no toall end creative expression.” World travel informedthe artist’s style, technique, and physical journeys—near How have subject matter. or far, Vibrant green mountains contrast withvividly bold orange the in artist’sbuildings depiction the of southwestern French village Arreau. of Loïs Jones Mailou (1905–1998) broad, loose brushstrokes, visual energy adding to the peaceful setting. or emotional—impacted perspective? your “I can look back work on my and be Haiti, by France, inspired

Who knew? In her own words her In Something to talk about Something Take a closer look a closer Take Arreau, Hautes-Pyrénées, 1949 Hautes-Pyrénées, Arreau, Loïs Mailou Jones Loïs Jones Mailou Ode to Kinshasa

Sense of Place Loïs Mailou Jones created Ode to Kinshasa as a tribute to the capital city of the Democratic Republic of the Congo (formerly Zaire). The orange shape at the center of the work evokes the form and patterns of shields from the region. incorporated different , 1972; Mixed media on canvas, 48 x 36 inches; National Museum of Women in the Arts, Gift of the artist; © Lois M. Jones Loïs Mailou Jones, Ode to Kinshasa rely on the viewer’s on the viewer’s Abstract rely works Kinshasa Ode like to experienceassociations and to interpret the How painting. has the and pattern artist to shape, color, create employed a specific mood or senseof place? Jones received a grant from Howard University to document contemporary African art West of and Central Africa, Haiti, and the United States its in context. original she 1970, In traveledto 11 African countries for research. This period of influencedtravel strongly art. her Loïs Jones Mailou (1905–1998) materials to create this piece,paint, gold including foil, and African Many sculptures rich display paper. handmade textures, usemixedof which influencedmedia. Jones’s

Who knew? Something to talk about Something Take a closer look a closer Take Ode to 1972 Kinshasa, Loïs Mailou Jones Alma Woodsey Thomas Woodsey Alma Iris, Tulips, Jonquils, and Crocuses

Late Bloomer After more than 35 years as a D.C. public school teacher, Alma Woodsey Thomas retired to focus on painting. She developed her signature style in her mid-70s. At 80 years old, Thomas became the first African American woman to have a solo exhibition at New York’s Whitney Museum of American Art.

, 1969; Acrylic on canvas, Iris, Tulips, Jonquils, and Crocuses Alma Woodsey Thomas, Woodsey Alma Wilhelmina Holladay; © Estate of Alma Woodsey Thomas; Photograph by Lee Stalsworth 60 x 50 inches; National Museum of Women in the Arts, Gift ofWallace and highest source inspiration.” of Thomas believed the in expressive What quality color. of mood or idea her hues do convey? How would experience we the work differently if it monochromatic? were created paintings createdAlma paintings Woodsey Thomas (1891–1978) that appear quite structured, but brushstrokes individual spontaneity. her reveal Find evidence her working of process, colors. vertical overlapping faint and lines pencil including Observe the effect overall the of palette and pattern. “My paintings reflect with communion my nature, man’s

own words her In Something to talk about Something Take a closer look a closer Take Iris, Tulips, Jonquils, and Crocuses , 1969 Crocuses and Jonquils, Tulips, Iris, Alma Woodsey Thomas Alma Woodsey Thomas Woodsey Alma Orion

Shoot for the Stars The Space Race, a rivalry between the Soviet Union and the United States for spaceflight dominance, captivated Alma Woodsey Thomas. As the U.S. explored uncharted territory, the artist did too. Thomas landed on her abstract style just before the first astronauts set foot on the moon in 1969. . , 1973; Acrylic on canvas, 59¾ x 54 inches; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; © Estate of Stalsworth Alma Lee by Woodsey Photograph Thomas; Alma Woodsey Thomas, Orion Thomas, Woodsey Alma Born the in segregated south, the artist moved with her The house that she 1907. in D.C., to Washington, family called home and studio her death until still stands at 1530 15th Street, It bears NW. a plaque recognizing Thomas’s artistic contributions. to me. Through color sought I have to concentrate on beauty inhumanity to man.” and happiness, rather than on man’s For Thomas,For red symbolized the power required to break Note gravity. from the variations Earth’s Orion that of in hue createdAlma Woodsey Thomas her (1891–1978) by allowing the Stripes” canvas unpainted “Alma signature to between show her freehand paint. of dabs Though linear nature, her verticalin lines and rectangular dashes are not perfectlygeometric. themwould name you to What describe this to painting someone see who couldn’t it? “The use paramount color is of paintings of importance my in

Who knew? In her own words her In

Something to talk about Something Take a closer look a closer Take Orion, 1973 Alma Woodsey Thomas Anne TruittAnne Summer Dryad

Colorforms Anne Truitt often referenced the natural world through color and title. In Greek mythology, a dryad is a female spirit who inhabits forests, specifically oak trees.

at her studio the in , 1971; Acrylic on wood; 76 x 13 x 8 inches; National Museum of Women in the Arts, Gift of the Holladay Foundation; © Anne Truitt Anne Truitt, Summer Dryad The artist created Summer Dryad Cleveland Park just neighborhood a D.C., Washington, of few northwest miles the of museum. came as being into a form.” Truitt used sculptureTruitt to express abstract concepts like existence.time and human Her worksrecognizable invoke forms—crucifixes, tombstones, fences,picket solitary figures—toinvite associations between the concreteand the Whatintangible. references does this piece bring to mind? achieved her (1921–2004) signatureAnne silken Truitt surfaces straining acrylic by methodically up paint, applying to 40 layers pigment, of between and sanding coats. View geometricher simple form from different angles, observing the play across light and shadow of its glossy green planes. “I conceive the sculptural form space, in as if the color itself

Who knew? In her own words her In Something to talk about Something Take a closer look look a closer Take Summer Dryad, 1971 Dryad, Summer Anne Truitt