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INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. Uni International 300 N. Zeeb Road Ann Arbor, Ml 48106 8311776 Mason, Phillip Lindsay CULTURAL INFLUENCES ON THE ART AND CRAFTS OF EARLY BLACK AMERICAN ARTISANS (1649-1865) TOWARDS IMPLICATIONS FOR ART EDUCATION The Ohio State University PhD. 1983 University Microfilms International 300 N. Zeeb Road, Ann Arbor, MI 48106 PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark . 1. Glossy photographs or pages______ 2. Colored illustrations, paper or print_____ 3. Photographs with dark background i/ 4. Illustrations are poor copy _V ^_ 5. Pages with black marks, not original______ copy 6. Print shows through as there is text on both sides of______ page 7. Indistinct, broken or small print on several Spages 8. Print exceeds margin requirements 9. Tightly bound copy with print lost______ in spine 10. Computer printout pages with indistinct______ print 11. Page(s)__________ lacking when material received, and not available from school or author. 12. Page(s)__________ seem to be missing in numbering only as text follows. 13. Two pages numbered__________ . Text follows. 14. Curling and wrinkled pages______ 15. Other_____________________________________________________ _ __________ University Microfilms International CULTURAL INFLUENCES ON THE ART AND CRAFTS OF EARLY BLACK AMERICAN ARTISANS (1649-1865) TOWARDS IMPLICATIONS FOR ART EDUCATION • DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Phillip Lindsay Mason, B.F.A., M.F.A. ***** The Ohio State University 1982 Reading Committee: Approved by Dr, Arthur Efland Dr. Barbara Boyer Dr. Nancy MacGregor Dr. Robert Sutton Department of Art Education Dedicated to those early Black American artists (known and unkown) who pioneered the way for me! ii ACKNOWLEDGMENTS I would like to express my sincere thanks to members of my committee who have been helpful and encouraging in the course of this study. First of all, I am most appreciative of the counsel and support of my advisor, Dr. Arthur Efland, at various stages of this project and for his guidance throughout my graduate study. I am also especially grate­ ful to Dr. Barbara Boyer for her helpful insights and invaluable sugges­ tions on numerous occasions. Thanks also to Dr. Nancy MacGregor and Dr. Robert Sutton, both of whom assisted in the development of this study with positive ideas. Special mention to Joyce Ann Ford, Karen Waugh-Howell, and Lee Smith, who with skill and accuracy (and sympathy for my deadlines!) typed the many letters and various copies of this study in its many stages of development. And to Skip Norman, whose time, efforts and professional skill resulted in the photographed data presented in this study. PLM iii VITA September 20, 1939............ Born - St. Louis, Missouri. 196 9.......................... B.F.A. (summa cum laude), California College of Arts & Craft's, Oakland, California. 197 0 ..... M.F.A., California College of Arts & Crafts, Oakland, California. 1968-1969 .................... Instructor of Art, Canterbury School, Walnut Creek, California. 19r69-1970 ................... Instructor of Art, San Francisco College for Women, Instructor of Art, California College of Arts & Crafts. 1970-1972 ..................... Instructor of Art, Laney College, Oakland, California. 1972-1973 .................... Assistant Professor of Art, Indiana State University at Terre Haute. 1973.......................... Visiting Professor of Afro-American Studies, Vincennes University, Vincennes, Indiana. 1973-1977 .................... Associate Professor of Art & Department Chairman, North Carolina Central University, Durham, North Carolina. 1978.................... .. University Fellowship, The Ohio State University, Columbus, Ohio. 1978-1980 .................... Professor of Art, Fisk University, Nashville, Tennessee. 1980-1982 .................... Graduate Administrative Associate, The Ohio State University, Columbus, Ohio. FIELDS OF STUDY Major Field: Art Education Studies in Art Education Research. Professors Arthur Efland, Barbara Boyer, and Nancy MacGregor. iv TABLE OF CONTENTS DEDICATION,...................................................... ii ACKNOWLEDGMENTS...................................................iii VITA......................... ................................. iv LIST OF TABLES.................................................... vii LIST OF FIGURES..................................................viii LIST OF MAPS......................................................xiii LIST OF CHARTS.....................................................xiv INTRODUCTION.................................................... 1 CHAPTER I: THE PROBLEM AND SIGNIFICANCE........................ 3 Purpose of the S t u d y ...................................... 3 Definition of Terms.................... A Africanism.......................... A Acculturation .... ................................ 5 Enculturation ....... ...................... .. 7 Enculturation among Slaves............ 7 Apprentice. .......................................... 9 Folk Art.............................................. 9 Review of the Literature.................................. 10 Limitations of the S t u d y .................................. 1A Research Procedures........................................ 15 Significance for Art Education............................ 17 CHAPTER II: BACKGROUND OF THE PROBLEM........................... 2A African Background ........................................ 2 A The Slave T r a d e ...................................... 27 African Survivals in Afro-American Culture............. 29 Acculturation ........................................ 30 Slave Culture........................................ 32 Slave Crafts.......................................... 33 v TABLE OF CONTENTS CONTINUED CHAPTER IIT: RESEARCH FINDINGS .................................. 59 Urban Craftsmen. ............................... 62 Plantation Craftsmen............................ 62 The Pioneer Artists— Free Blacks .............. 63 Woodcarving. ...... .................... 6A Georgia Woodcarving: The Coastal Area .................. 6A Georgia Woodcarving: Inland Areas ..... ............ 65 Woodcarving: Missouri .................................. 66 Woodcarving: Northeastern Region. ................ 67 Basketmaking ........................... 83 Cabinetmaking. ...................................... 97 Thomas Day............................................... 106 Quiltmaking. ..... .............................. ... 113 Harriet Powers.......................... 115 Strip Quilt ...................... 118 Pottery....................................................... 133 Dave the P o t t e r .............................. 13A Afro-Carolinian Face Vessels............................. 136 Monkey P o t . .......................................... 138 Early Black American Painters.............. 153 Scipio Moorhead........................ 153 Joshua Johnston...... ... ............................ 15A Robert S. Duncanson ..... .......................... 158 Edward M. Bannister..................................... 16A Free Blac k s ............................................. 170 Metoyer Family Portraits. .......................... 170 CHAPTER IV: SUMMARY AND CONCLUSIONS.................... 178 Purpose...................................................... 178 Limitations and Procedures .................................
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