Eyeing Black History Through a Camera Lens
For me, there’s nothing greater than a quiet evening spent rummaging through my digital book app Scribd for my next read. It’s here where the book Generations in Black and White: Photographs from the James Weldon Johnson Memorial Collection captured my attention.
So I downloaded it.
Admittedly, the digital format certainly didn’t do it full justice (it’s a cocktail table book). Yet, found it to be a fascinating display of the work of noted twentieth century photographer Carl Van Vechten, a longtime patron and supporter of Black artists and writers. His photographs of Black figures during the Harlem Renaissance, helped place a spotlight on the rich artistic and cultural achievements of Black Americans during that period.
Carl Van Vechten
Van Vechten snapped over three decades worth of these photographs which were primarily intended as gifts to his subjects. This list included prominent Black Americans like W. E. B. Du Bois, Langston Hughes, Billie Holiday, Joe Louis, James Baldwin, Richard Wright, Ruby Dee, Lena Horne, James Earl Jones, and countless others.
The book was edited by the late Rudolph P. Byrd (1953-2011) who was a professor of African American Literature and director of African American Studies at Emory University in Atlanta.
The photographs he selected were from the James Weldon Johnson Memorial Collection of Negro Arts and Letters, which Van Vechten established at Yale University. Byrd meticulously curated the images into a taxonomy reflectant of the time in which each subject emerged as a key Black historical figure.
Byrd also included biographical sketches of each subject as well as poems by the noted writer Michael S. Harper. The end result is a well-crafted pictorial history of Black icons that will enlighten readers for generations to come.
Left: W.E.B. DuBois, 1936. Right: Ella Fitzgerald, 1940.
From the National Endowment for the Arts. Photograph Copyright Van Vechten Trust; Compilation/Publication Copyright Eakins Press Foundation.
As Byrd notes in the book’s introduction:
“The photographs selected for this book from the James Weldon Johnson Memorial Collection are not arranged in the order in which Van Vechten took them, but are instead presented in the order in which the subject emerged as a vital presence in the African American tradition of dissent and protest, of transcendence and grace.
As a record of black achievement and black excellence, this compilation is like a family album of the race on this North American continent in the first six decades of the twentieth century. As a record of a patron’s abiding commitment to an evolving tradition, these photographs are proof that the shifting and complex relationship between patron and artist need not always be tainted by condescension, racial superstition, and calculated displays of power.
The photographs in all their beauty and range, contain images that constitute a powerful legacy that draws its enlarging significance from the engaged imagination of the viewer.”
Van Vechten (1880-1964) whose 20th century work was featured in the book was known for his significant photographic contributions to the portrayal of Black figures during the Harlem Renaissance.
Early Life and Career: Van Vechten was born in Cedar Rapids, Iowa, and initially pursued a career in journalism. He worked for several prominent newspapers and magazines, including The New York Times and Vanity Fair.
Harlem Renaissance: Van Vechten is most renowned for his involvement in the Harlem Renaissance, a cultural movement celebrating Black American art, literature, and music. He played a pivotal role in documenting and promoting this era through his photography.
Photography: Van Vechten's photography is characterized by its focus on Black artists, writers, musicians, and performers. He used his camera to capture the vibrancy and creativity of the Harlem Renaissance. His portraits of prominent figures like Langston Hughes, Zora Neale Hurston, Billie Holiday, and countless others offer a profoundly important look at the era.
Championing Black Culture: Beyond photography, Van Vechten actively supported Black artists and writers by hosting salons and promoting their work. He used his influence to help these artists gain recognition and opportunities in a predominantly white artistic world.
Controversy: It's important to note that Van Vechten's work has been subject to criticism due to accusations of cultural appropriation and his use of racial stereotypes in some of his earlier writings. However, his contributions to promoting Black culture and artistic achievements during the Harlem Renaissance remain significant.
Legacy: Van Vechten's photography and support for African American artists left a lasting legacy. His images continue to be valuable historical records and are celebrated for their role in preserving the cultural heritage of the Harlem Renaissance.
His photographs of Black figures during the Harlem Renaissance, which helped shine a light on the rich artistic and cultural achievements of the African American community during that period.
Byrd in his book noted:
“From 1941 until his death in 1964 Van Vechten established several important collections, including the George Gershwin Memorial Collection of Music and Musical Literature at Fisk University, which officially opened in 1947. He established these collections at both black and white universities because he believed that research by scholars interested in American and African American culture would lead to an erosion of segregation and thus to an improvement in race relations.”
Says Byrd a concluding thought,
“Although Van Vechten was committed to documenting the extraordinary impact of African Americans upon American culture and politics, his photographs are not merely evidence of the race’s range of talent and influence. On the contrary, these photographs are distinguished by their beauty and by Van Vechten’s ability to capture and convey something of the truth of the life of the subject.
Van Vechten’s appreciation for the dramatic possibilities of shadow and light, his calculated exploitation of positive forms and negative space, his sensitivity to the value of creating and preserving a mood are discrete factors that together yield a nuanced statement.”
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