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Designing Progress: Race, Gender, and Modernism in Early Twentieth-Century America

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Designing Progress: Race, Gender, and Modernism in Early Twentieth-Century America Designing Progress: Race, Gender, and Modernism in Early Twentieth-Century America Jacqueline Susan Taylor Charlottesville, Virginia B.A. Hons. University of Warwick, 1983 M.A. University of Virginia, 2000 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Program in Art and Architectural History University of Virginia December 2014 © Copyright by Jacqueline Susan Taylor All Rights Reserved December 2014 ABSTRACT In the late 1930s Amaza Lee Meredith (1895-1984), an African American woman from Lynchburg, Virginia, designed and Built a modern style house for herself and her female companion on the grounds of Virginia State College. Between the wars, she studied at ColumBia Teacher’s College in New York, receiving a BA in Fine Art in 1930, and an MA in Art Education in 1935, under a curriculum designed By Arthur Wesley Dow. RemarkaBly, unlike many African Americans who relocated north to take advantage of training and employment opportunities, including those artists who sought the community support of Harlem’s cultural network, Meredith returned to the rural South. Here, at her alma mater, Virginia State College, where she had earned a teaching certificate in 1922, Meredith estaBlished the art department and implemented a progressive art curriculum, teaching art production and art appreciation. In addition, Amaza Lee Meredith practiced architecture as a personal and community endeavor, designing homes for friends and family and planning a vacation community for African Americans on Long Island’s Sag HarBor, once a whaling village and now a cosseted resort for African American elite. Examining Amaza Lee Meredith’s life and work through a multidisciplinary lens, this dissertation provides a re-thinking of the New Negro Movement, New Womanhood, and American art and architecture Between the wars, enriching theories of gender, race, and seXuality in illustrating the significance of aesthetics in the formation of a modern African American identity. i TABLE OF CONTENTS List of Illustrations List of Abbreviations Acknowledgements Introduction Chapter I: Tradition and Modernity in Art and Architecture Chapter II: Education and a Cultured Class of Citizens Chapter III: Complicating the Reach of the Harlem Renaissance Chapter IV: The New Negro, The New Woman, and Modern Life Chapter V: A Living Laboratory of Design Conclusion Bibliography Illustrations ii LIST OF ILLUSTRATIONS Chapter I: Figure 1-1 Colonial Williamsburg 1-2 Colonial Revival buildings in popular press 1-3 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes 1-4 Metoyer designed plantation house, Louisiana, Isle Breville, late 18th century. 1-5 Mechanical Drawing at Tuskegee 1-5 Cartoon depicting John Anderson Lankford, Architect. 1-7 Jamestown Tercentennial: Negro Building, designed by William Pittman, 1907. 1-8 Plan of Virginia Room, 1939 World’s Fair, New York 1-9 William H. Moses Exhibit Design (Accepted), Virginia Room, 1939 World’s Fair (courtesy Phylon Vol. 1, No. 4 (4th Qtr., 1940), pp. 314-322. 1-10 Sophia Hayden, Women’s Building, Chicago World’s Fair, 1893. 1-11 Azurest South, Amaza Lee Meredith, 1939. 1-12 Azurest South, rear façade 1-13 Azurest South, Rounded ends with glass bricks 1-14 Azurest South, Picture Window 1-15 Landscape screening house 1-16 Landscape screening house 1-17 Le Corbusier’s Villa Savoye, 1928 1-18 Le Corbusier, Ozenfent House and Studio, 1922. 1-19 J.J. P. Oud 1-20 Mies Van Der Rohe, Weissenhof Siedlung, 1-21 Robert Mallet-Stevens, Rue Mallet-Stevens, 1927. 1-22 Robert Mallet-Stevens, Interior, ca. 1930s. 1-23 Amaza Lee Meredith (1895-1984) 1-24 Edna Meade Colson (1888-1985) 1-25 Azurest South Drawings 1-26 Samuel Meredith 1-27 Gray’s Map of Lynchburg showing property owned by Samuel Meredith 1-28 Emma Kenney with Amaza Lee Meredith 1-29 Family Home on Monroe and 4th Street designed and built by Samuel Meredith 1-30 Family Home by Samuel Meredith photographed by Amaza Lee in 1979 1-31 Edward G. Frye House, Lynchburg, 1890s. 1-32 Snead advertisement for Builder /Contractor Services. 1-33 Samuel Meredith carving ( found in Amaza Lee’s scrapbook. 1-34 George F. Barber, architecture – Home is Where the Heart Is.” 1-35 Homes of Hampton graduates, 1890s. 1-36 Home of an African American exhibited by W.E.B. Du Bois, at Paris Worlds Fair, 1900. 1-37 Home of an African American exhibited by W.E.B. Du Bois, at Paris Worlds Fair, 1900 1-38 Anne Spencer House, 1903 1-39 Ethel Bailey Furman at the Hampton Negro Contractor’s Conference, 1928. iii 1-40 House and church addition designed by Ethel Bailey Furman Chapter II 2-1 Map of Ettrick Banks, land on which Virginia State College was built. 2-2 Virginia Hall, Virginia State Normal and Collegiate Institute, ca. 1880s. 2-3 Virginia Hall, Hampton Institute, Richard Morris Hunt, 1874. 2-4 Insane Asylum, Petersburg, Harrison Waite, 1880s. 2-5 Map of Rockbridge County showing density of forest covering. 2-6 One Teacher Community School, Rosenwald. 2-7 Two-Teacher Community School with interior space for cloakrooms and industrial shop. 2-8 Indian Rock, Bototourt County, Two-Teacher School, Rosenwald. Chapter III 3-1 Arthur Rothstein, FSA, Gee’s Bend: Sewing a Quilt, 1937, walls of rural African American homes covered with magazine and newspaper cut-outs. 3.2 Arthur Rothstein, FSA, Girl at a Window. 3-3 Eldzier Cortor Room No. 5. 3-4 Art School Flyer, Howard University, 1923. 3-5 Alma Thomas, member of the Color Field School Chapter IV 4-1 Amaza Lee, a New Negro woman. 4-2 Amaza Lee, a modern woman. 4-3 Amaza Lee, a modern adventuresome woman. 4-4 Amaza Lee letter to Edna re Jay Hambidge’s Dynamic Movement and Dynamic Illumination Theory. 4-5 Close up of Amaza Lee’s drawing of Dynamic Movement 4-6 Amaza Lee Meredith, “Pointilism,” and “Van Gogh” ca. 1975. Photographed by Amaza Lee Meredith, exhibit of faculty work, Virginia State University, ca. 1975. 4-7 Amaza Lee Meredith, abstract painting, ca. 1975 4-8 Amaza Lee Meredith, Unnamed, 1973. 4-9 Amaza Lee Meredith, oil-and-sand- New York skyscrapers, 1962. 4-10 Amaza Lee Meredith, Flora Painting on Velvet, 1983. 4-11 Amaza Lee Meredith, Pink Flamingoes, 1962. 4-12 Amaza Lee Meredith, Genesis, 1983. Chapter V 5-1 19th and 20th century plats of the land on which Amaza Lee and Edna built their home. 5-2 Amaza Lee’s Scrapbook with inscription: In the Beginning- Azurest South, 1939 5-3 Azurest South photos of house under construction with Edna. 5-4 Azurest South, finished product, external images 5-5 Furnishings composed in an artistic image according to theories of Dow. 5-6 Furnishings composed in an artistic image according to theories of Dow. 5-7 Artistic photographs playing with light and reflection. 5-8 Artistic photographs playing with light and reflection. iv 5-9 Artistic photographs playing with light and reflection. 5-10 Dow’s theory of ‘severe harmony.’ 5-11 Dow’s theory of ‘severe harmony.’ 5-12 Dow’s theory of ‘softening of harmony.’ 5-13 Dow’s theory expressed in Amaza Lee’s tree images 5-14 Dow’s theory expressed in Amaza Lee’s tree images 5-15 Poetry in landscape photographs 5-16 Poetry in landscape photographs 5-17 Poetry in landscape photographs 5-18 Exercises published in Dow’s Composition: Theory and Practice. 5-19 Exercises published in Dow’s Composition: Theory and Practice. 5-20 Exercises published in Dow’s Composition: Theory and Practice. 5-21 Amaza Lee’s line drawings echoing Dow’s theory of line in composition. 5-22 Amaza Lee’s line drawings echoing Dow’s theory of line in composition 5-23 Exercises from Dow’s Composition: Theory and Practice, “Composition in Rectangles.” 5-24 Exercises from Dow’s Composition: Theory and Practice, “Composition in Rectangles 5-25 The framed view at Le Corbusier’s Villa Savoye and the picture window at Azurest South. 5-26 Line and geometry in practical application in living room floor boards. 5-27 Line and geometry in practical application in the kitchen floor, ceiling and wall tiles and particularly in the counter top design. 5-28 Line and geometry in practical application in bathroom floor, walls and 5-29 Modern interior design and furnishings in Amaza Lee’s living room. 5-30 American Home magazine from which Amaza Lee chose her fireplace 5-31 Interior furnishings and design features in “American Modern,” American Home 1936 5-32 The moderne fireplace in “American Modern,” American Home 1936. 5-33 Amaza Lee’s moderne fireplace. 5-34 Lord & Taylor department store advertise their new line of interior decor 5-35 Announcement: Paul T. Frankl creates a modernist villa for Abraham & Straus department store 5-36 Architectural League Exhibition of Interior Design. 5-37 Modernage Company exhibit, “Space House, 1933” 5-38 AUDAC exhibit of machine age furnishings 5-39 MOMA International Architecture exhibition, showing work by Le Corbusier. 5-40 Guests at Azurest South 5-41 Guests at Azurest South 5-42 Guests at Azurest South 5-43 Guests at Azurest South 5-44 Michigan Boulevard Garden Apartments, kitchen complete with utility sinks. 5-45 Glass bricks shed light onto countertops and ventilator panes allow air into the enclosed porch. 5-46 The garage attached to the north side of the house near the kitchen as directed by Le Corbusier 5-47 My Lady’s Boudoir 5-48 Eileen Gray’s “Boudoir de Monte Carlo.” 5-49 E-1027 v 5-50 Plan of Azurest South 5-51 Living room, Azurest South 5-52 E-1027 main living space.
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