Paper

Student Artwork Guide

Dreams No. 2

Name Class Date

Jacob Lawrence, Dreams No. 2 (1965). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Jacob Lawrence topimpressionists.com/en/artists/jacob-lawrence/
Artist’s dates
1917 – 2000
Painted
1965
Original size
91 x 61 cm

In context

Dreams No. 2 — Jacob Lawrence

How big is it?

The original measures 91 × 61 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1910
  2. 1920
  3. 1930
  4. 1940
  5. 1950
  6. 1960
  7. 1970
  8. 1980
  9. 1990
  10. 2000

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 83 at death.

Painted when the artist was 48. The artist lived to 83. 43 of the 55 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Jacob Lawrence (1917–2000) ▲ this work, 1965 every dated painting, decade by decade

First works: up to 1946 Main working years: 1946–1960 Late works: from 1960

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/jacob-lawrence-dreams-no-2-ARACDY-en/

Colours

Measured from the image

    Main colour

    Gray #5e7085

    Catalogued palette

    • #5E7085
    • #D2B8BB
    • #233B21
    • #AC521B

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Dark The dominant colour family in the image.
    Main colour name
    Gray
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Balanced How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Jacob Lawrence over the last twelve months — 4 countries in all. Where these figures come from

    The ten leading countries

    1. 1 United States of America 45.5%
    2. 2 China 40.9%
    3. 3 Israel 9.1%
    4. 4 Latvia 4.5%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Jacob Lawrence

    1. 1 Pool Parlor, 1942 19.0%
    2. 2 The Library, 1960 19.0%
    3. 3 The Card Game, 1953 7.1%
    4. 4 Genesis Creation Sermon V: And God Created All the Fowls of the Air and Fishes of the Seas, 1989 7.1%
    5. 5 Genesis Creation Sermon IV: And God Created the Day and the Night and God Creatied and Put Stars in the Skies, 1989 4.8%
    6. 6 Genesis Creation Sermon VIII: And Creation Was Done and All Was Well, 1989 4.8%
    7. 7 The Shoemaker, 1945 4.8%
    8. 8 The Cue and the Ball, 1956 4.8%
    9. 9 When It Is Warm the Parks Are Filled with People, 1943 4.8%
    10. 10 Bar and Grill, 1941 2.4%
    11. 11 Library Series: The Schomburg, 1986 2.4%
    12. 12 Genesis Creation Sermon VI: And God Created All the Beasts of the Earth, 1989 2.4%
    13. 13 ...is life so dear or peace so sweet as to be purchased at the prices of chains and slavery? Patrick Henry-1775, 1955 2.4%
    14. 14 And a Woman Mans a Cannon, 1955 2.4%
    15. 15 Vaudeville, 1951 2.4%
    16. 16 The railroad stations were at times so over-packed with people leaving that special guards had to be called in to keep order 2.4%
    17. 17 They arrived in great numbers into Chicago, the gateway of the West 2.4%
    18. 18 Defeat, 1954 2.4%
    19. 19 ...if we fail, let us fail like men, and expire together in one common strugge... -Henry Clay, 1813, 1956 2.4%
    20. — Dreams No. 2, 1965 this painting 0.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 77 works by this artist, of which 19 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Dreams No. 2 — Jacob Lawrence

    The Jacob Lawrence painting, Dreams No. 2, is a vibrant and dynamic artwork that showcases the artist's unique style. Created in 1965, this tempera on fiberboard piece measures 35 3/4 x 24 inches and is part of the collection at the Smithsonian American Art Museum.

    Composition and Style

    The painting features a woman sitting in a chair with her head covered by a cloth or mask, surrounded by two other people, one standing and another sitting on a couch. The room has a window that allows natural light to enter, creating an interesting contrast between the brightly colored painting and the darker background. The overall atmosphere of the painting seems to be mysterious or surreal, with the woman's head covered by the cloth or mask adding to this feeling. Light in painting is a crucial element in Dreams No. 2, as it affects the color, texture, and volume of the artwork. The play of light and shadow is the basis of drawing, and its interaction with color is the primordial aspect of painting. As seen in Jacob Lawrence's Dreams No. 2, light can have a symbolic component, especially in relation to the human experience.

    Artist and Art Movement

    Jacob Lawrence was an American painter who was inspired by the women in his Harlem neighborhood. His work is characterized by its use of geometric forms and vibrant colors. The Lettrism Art Movement, which originated in France, also explored the relationship between art and everyday life. As seen on AllPaintingsStore.com, this movement applied its theories to all areas of art and culture.

    The use of color in Dreams No. 2 is reminiscent of the Fauvism art movement, which emphasized bold and vibrant colors.

    The painting's composition and style are also similar to those found in Cubism, as seen on Wikipedia.

    Handmade oil paintings reproductions of Dreams No. 2 can be found on AllPaintingsStore.com, allowing art lovers to own a piece of this captivating painting.

    The Smithsonian American Art Museum is home to a diverse collection of artworks, including Dreams No. 2. This painting is a testament to the power of art to capture the human experience and evoke emotions.

    Artist and museum

    Artist

    Jacob Lawrence

    Born in Atlantic City, United States of America

    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.

    Where to read more

    • The artist Jacob Lawrence topimpressionists.com/en/artists/jacob-lawrence/
    • Similar works More works to compare topimpressionists.com/en/art/similar/jacob-lawrence-dreams-no-2-ARACDY-en/

    Find this online

    QR code linking to the download page for Dreams No. 2

    topimpressionists.com/en/art/download/jacob-lawrence-dreams-no-2-ARACDY-en/

    Cite this artwork

    MLA
    Lawrence, Jacob. Dreams No. 2. 1965, https://topimpressionists.com/en/art/jacob-lawrence-dreams-no-2-ARACDY-en/
    APA
    Lawrence, Jacob (1965). Dreams No. 2 [Painting]. https://topimpressionists.com/en/art/jacob-lawrence-dreams-no-2-ARACDY-en/
    Chicago
    Jacob Lawrence. Dreams No. 2. 1965. https://topimpressionists.com/en/art/jacob-lawrence-dreams-no-2-ARACDY-en/
    Harvard
    Lawrence, Jacob (1965) Dreams No. 2. Available at: https://topimpressionists.com/en/art/jacob-lawrence-dreams-no-2-ARACDY-en/

    Look closely

    Dreams No. 2 — Jacob Lawrence

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Bar and Grill (1941), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Jacob Lawrence was about 48 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Are the colors of "Dreams No. 2" by Jacob Lawrence vivid or muted?

    The color of "Dreams No. 2" is clear color presence in saturation and vivid in intensity.

    How can I get a print of "Dreams No. 2" by Jacob Lawrence?

    To get a print of "Dreams No. 2" by Jacob Lawrence, simply order it on its Fine Art Print page: a fine art print on cotton canvas or archival canvas paper.

    Are there works similar to "Dreams No. 2"?

    Artworks similar to "Dreams No. 2" by Jacob Lawrence are gathered on the artwork's Similars page.