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The Shoemaker

  • Creation date1945
  • Dimensions58.0 x 79.0 cm

Discover Jacob Lawrence (1917-2000), a pivotal African American artist of the Harlem Renaissance. Known for his 'dynamic cubism' & powerful depictions of Black life, history, and social justice.

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Total Price

$ 269

reproduction

The Shoemaker

Reproduction Medium

Reproduction Size

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Total Price

$ 269

Artwork Description

Lawrence painted The Shoemaker in December 1945, the same month he returned from service in World War II. It was among the first of a dozen paintings the artist made over the course of the following year, all focused on Black workers—from steelworkers to stenographers, professors to barbers. Uninterested in the divisions between "intellectual" and "manual" labor, Lawrence attested in these paintings to the combination of technical skill, knowledge, resourcefulness, ingenuity, and dedication that allowed Black workers to create, even in cramped or confining conditions. This shoemaker—actually a cobbler—fills the space of his workshop; the sharp angle of his shoulders breaks the plane of the ceiling, which seems to bear down on him, while his lower body runs beyond his workbench at the bottom register. Channeling the force of his massive hands and forearms, he trains his eyes on the intricate task at hand. The wall of tiny heels and shiny loafers—dancing shoes, rendered in bright, jewel-like colors—seems to broadcast his success, and to signal the world of abundance and leisure made possible by his hard work. The Shoemaker, like the other paintings Lawrence made in this period, likely reflects his observations of workplaces in Harlem—especially those concentrated in and around "306," an art workshop and community gathering place on 141st Street, where Lawrence studied as an "artist-apprentice" in the 1930s, with artists Charles Alston and Augusta Savage. Many artist workshops doubled as repair shops; Lawrence’s attention to practices of repair speaks to his unique vision of American work in this moment—a vision whose focus on small-scale making and mending set it at odds with mainstream accounts of postwar industry and consumerism. Lawrence is today considered one of the foremost innovators of modernism in the United States, and a consummate storyteller dedicated to animating the lives of Black, poor, and marginalized people. By 1945, he was an established presence in the emerging New York art world. He was known especially for his historical series detailing the lives of heroic individuals (The Life of Toussaint L’Ouverture, 1938, Amistad Research Center, Tulane University, New Orleans; The Life of Frederick Douglass, 1939 and The Life of Harriet Tubman, 1940, both Hampton University Museum, Hampton, Va.; or the struggles of everyday Black people (The Migration Series, 1940–41, Museum of Modern Art, New York and the Phillips Collection, Washington, D.C.). For these multi-panel series, Lawrence developed a unique process: months of painstaking research preceded a concentrated burst of drafting and painting, during which Lawrence applied colors one-by-one to all the panels, ensuring continuity across the series. The 1945–46 paintings of Black workers, however, employed a different process. Rather than a carefully planned and researched series, it represented what Lawrence called a "theme": a group of paintings, completed individually, which explored a related idea or topic without adhering to a specific narrative or predetermined agenda. The looser, more fluid theme format allowed Lawrence to meet the demands of his gallerist, Edith Halpert, founder of the influential Downtown Gallery. Halpert’s efforts to market Lawrence’s work on a national stage met with great success. One of the only Black artists represented by a major New York gallery in the 1940s and 1950s, Lawrence was the subject of significant interest on the part of major museums, private collectors, and critics. The Met acquired The Shoemaker, for example, just months after it was completed. Lawrence’s singular inclusion in the art world came with its own difficulties, however: his work often met reductive, if not outright racist, characterizations in the press, a trend only further exacerbated by Halpert’s emphasis and capitalization on his racial difference. Lawrence turned to Black workers and makers as subjects, therefore, at a moment in which he was working through questions about the nature of his own work, prompted by its complicated enfolding within a professionalizing art world.

Artist Biography

A Life Painted in Story: The World of Jacob Lawrence

Jacob Armstead Lawrence, born in Atlantic City, New Jersey, in 1917, emerged as one of the most significant American artists of the 20th century. His life story is intrinsically woven into his art—a powerful narrative shaped by the realities of being African-American during a period of profound social change. Following his parents’ divorce in 1924, Lawrence experienced a childhood marked by movement and adaptation, spending time in foster care in Philadelphia before ultimately finding a home with his mother in Harlem during the vibrant years of the Harlem Renaissance. This immersion into the cultural heart of Black America would become the wellspring of his artistic vision. It was within the bustling streets and communal spirit of Harlem that Lawrence first encountered art, attending classes at Utopia Children’s House and later studying under Charles Alston at the Harlem Art Workshop—a formative experience that set him on a path to becoming a visual storyteller of unparalleled depth.

Dynamic Cubism: A Style Born of Experience

Lawrence didn't simply adopt artistic styles; he forged his own, famously describing it as “dynamic cubism.” This wasn’t an imitation of the European avant-garde but rather a unique synthesis of modernist principles and the lived experiences of his community. Influenced by the bold colors and flattened forms of African sculpture and Mexican muralists—artists who prioritized narrative and social commentary—Lawrence developed a visual language that was both strikingly modern and deeply rooted in Black culture. His paintings are characterized by strong, simplified shapes, vibrant color palettes, and a deliberate rejection of traditional perspective. This approach wasn’t merely aesthetic; it served to emphasize the emotional weight of his subjects and create a sense of immediacy and accessibility. He sought not to replicate reality but to distill its essence, capturing the spirit of a people and their history with unwavering honesty.

Chronicling History & Everyday Life

Lawrence’s artistic output is remarkable for its breadth and thematic consistency. He didn't focus on isolated portraits or landscapes; instead, he created sweeping series that tackled monumental historical events and the nuances of everyday Black life. His breakthrough came with The Migration Series, a powerful sequence of sixty panels depicting the Great Migration—the mass movement of African Americans from the rural South to the industrial North in search of opportunity and escape from Jim Crow segregation. This work, begun in 1940-41, catapulted Lawrence to national recognition, earning him accolades and securing his place as a leading voice in American art. But The Migration Series was just the beginning. He went on to create equally compelling series dedicated to figures like Toussaint L’Ouverture, Frederick Douglass, and Harriet Tubman—transforming historical narratives into accessible visual stories. Beyond these grand historical cycles, Lawrence also found beauty and significance in the ordinary: scenes of barbershops, diners, and domestic life became canvases for exploring themes of community, resilience, and identity. His painting Bar and Grill, a stark depiction of segregation within a New Orleans café, exemplifies his ability to distill complex social realities into potent visual statements. Similarly, Victory and Defeat, with its imposing wall of cannonballs, commemorates the pivotal siege of Yorktown, Virginia, offering a nuanced reflection on American history.

Legacy & Enduring Influence

Jacob Lawrence’s impact extends far beyond his impressive body of work. He was not only an artist but also a dedicated educator, teaching at institutions like Black Mountain College and the University of Washington for sixteen years. Through his teaching, he nurtured generations of artists, encouraging them to find their own voices and explore themes relevant to their experiences. Lawrence paved the way for countless African-American artists who followed, challenging prevailing norms and expanding the boundaries of American art. His work continues to resonate today, prompting critical conversations about race, history, and social justice. Featured in prominent museums such as the Smithsonian American Art Museum and the University of Washington’s collection, his paintings serve as enduring testaments to the power of art to illuminate the human condition and inspire change. He left behind a legacy not just of beautiful images but of courageous storytelling—a visual chronicle of a people's journey toward freedom and self-determination.
Jacob Lawrence

Jacob Lawrence

1917 - 2000 , United States of America

Quick Facts

  • Artistic Movement Or Style: Dynamic Cubism
  • Artists Or Movements Influenced By This Artist: African-American artists
  • Date Of Birth: September 7, 1917
  • Date Of Death: June 9, 2000
  • Full Name: Jacob Lawrence
  • Nationality: American
  • Notable Artworks:
    • Bar and Grill
    • Victory and Defeat
    • Captain Skinner
    • Firewood 55
  • Place Of Birth: Atlantic City, USA
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