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Archibald Motley
Archibald John Motley, Junior (October 7, 1891, New Orleans, Louisiana – January 16, 1981, Chicago, Illinois) was an African-American painter. He studied painting at the School of the Art Institute of Chicago during the 1910s, graduating in 1918. He is most famous for his colorful chronicling of the African-American experience during the 1920s and 1930s, and is considered one of the major contributors to the Harlem Renaissance, or the New Negro Movement, a time in which African-American art reached new heights not just in New York but across America - its local expression is referred to as the Chicago Black Renaissance. The Renaissance marked a period of a flourishing and renewed black psyche. There was a newfound appreciation of black artistic and aesthetic culture. Consequently, many black artists felt a moral obligation to create works that would perpetuate a positive representation of black people. During this time, Alain Locke coined the idea of the “New Negro,” which was very focused on creating progressive and uplifting images of blacks within society. The synthesis of black representation and visual culture drove the basis of Motley's work as "a means of affirming racial respect and race pride.” His use of color and notable fixation on skin-tone, demonstrated his artistic portrayal of blackness as being multidimensional. Motley himself was of mixed race, and often felt unsettled about his own racial identity. Thus, his art often demonstrated the complexities and multifaceted nature of black culture and life.
==Youth and schooling==
Unlike many other Harlem Renaissance artists, Archibald Motley, Jr. never lived in Harlem. He was born in New Orleans and spent the majority of his life in Chicago. He lived in a predominantly white neighborhood, and attended all white primary and secondary schools.〔 He graduated from Englewood High School in Chicago.〔Georgiady, N., L. Romano, and R. Green, ''Archibald J. Motley: American Negro Artist''. Franklin Publishers, Inc, Milwaukee, Wisconsin, 1969.〕 He was offered a scholarship to study architecture by one of his father's friends, which he turned down in order to study art.〔("Motley, Archibald Jr. 1891–1981" ), Encyclopedia.com.〕 He attended the Art Institute of Chicago,〔 where he received classical training, but his modernist-realist works were out of step with the school's then-conservative bent. During his time at the Art Institute, Motley was mentored by painters Earl Beuhr and John W. Norton,〔 and he did well enough to cause his father's friend to pay his tuition. While he was a student, in 1913, other students at the Institute "rioted" against the modernism on display at the Armory Show (a collection of the best new modern art).〔Martinez, Andrew, "A Mixed Reception for Modernism: The 1913 Armory Show at the Art Institute of Chicago," ''The Art Institute of Chicago Museum Studies'', vol. 19, no. 1, 1993, p. 31.〕 Motley graduated in 1918 but kept his modern, jazz-influenced paintings secret for some years thereafter.〔Woodall, Elaine D. , "Looking Backward: Archibald J. Motley and the Art Institute of Chicago: 1914–1930," ''Chicago History: The Magazine of the Chicago Historical Society'', Spring 1979, vol. VIII, no. 1, pp. 53–57.〕 Motley received training within the field of westernized portraiture, and consequently, he understood certain artistic nuances that went along with the aesthetics. With this education in aesthetic phrenology and physiognomy, he understood particular visual cues that would help portray (black) subjects more positively. For example, in Motley’s "self-portrait," he painted himself in a way that aligns with many of these physical pseudosciences. The slightly squinted eyes and tapered fingers are all subtle indicators of insight, intelligence, and refinement.〔
By asserting the individuality of African Americans in portraiture, Motley essentially demonstrated blackness as being “worthy of formal portrayal." By displaying the richness and cultural variety of blacks, the appeal of Motley’s work was extended to a wide audience. Many were captivated by his portraiture due to the fact that it contradicted stereotyped images, and instead displayed the “contemporary black experience.”〔 Many whites wouldn't give Motley commissions to paint their portraits, yet ironically the majority of his collectors were white.〔 His pieces were captivating in that they encompassed a novel perspective of what blackness was in the context of the mainstream art world aesthetic. In this way, he was able to expose a part of the black community that was often not seen by whites, and thus, through aesthetics, broaden the scope of the authentic black experience.
Motley experienced success early in his career; in 1927 his piece ''Mending Socks'' was voted the most popular painting at the Newark Museum in New Jersey.〔Robinson, Jontyle Theresa, and Charles Austin Page Jr., "(Mending socks and tales of Africa )," ''The Christian Science Monitor'', October 15, 1987. Retrieved 2015-10-03 from www.csmonitor.com.〕 He was awarded the Harmon Foundation award in 1928, and then became the first African American to have a one-man exhibit in New York City. He sold 22 out of the 26 exhibited paintings.〔 Motley would go on to become the first black artist to have a portrait of a black subject displayed at Chicago’s Art Institute. This was especially groundbreaking in expanding the scope of this visual culture. The vast visibility of Motley’s work made his artistry all the more impactful and socially progressive.
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