Forward

Artist Jacob Lawrence American, 1917–2000

Date1967

MediumTempera on Masonite panel

Dimensions23 7/8 x 35 15/16 in. (60.6 x 91.3 cm)
Frame: 30 3/8 x 42 3/8 in. (77.2 x 107.6 cm)

ClassificationsPaintings

Credit LinePurchased with funds from the State of North Carolina

Object number70.8.1

On View

On view

ProvenanceCreated 1967; collection of the artist; [Terry Dintenfass Gallery, New York, 1970]; sold to NCMA, 1970.
Published References"Painting Purchased," North Carolina Museum of Art Calendar of Events 13 (June-July 1970), illus. (b-w) unnumbered page.

New Accessions USA (exhibition catalogue) (Colorado Springs, CO: Colorado Springs Fine Arts Center, 1970), cat. no. 21, illus. (b-w).

Dorothy Rennie, "Three Black Artists," North Carolina Museum of Art Bulletin 10, no 4 (June 1971), 3-13, illus. (color) cover, also (b-w) fig. 1.

"Acquisitions," North Carolina Museum of Art Bulletin 11, nos. 1 and 2 (December 1971), listed 71.

William Germain Dooley, "(article on NCMA's purchase of works by three black artists)," The Christian Science Monitor (April 24, 1972), illus. (b-w) 8.

N. E. Pendergraft, “Tracing the Rise of Afro-American Art in North Carolina,” Art Voices/South vol. 1, no. 2 (March/April 1978), briefly discussed and illus. (b-w) 76.

Ellen Harkins Wheat, Jacob Lawrence: American Painter (exhibition catalogue) (Seattle: University of Washington Press in association with the Seattle Art Museum, 1986), cat. no. 114, discussed 116, illus. (color) 138, pl. 71 and (b-w) 217, fig. 114.

"Lawrence to Deliver Annual Docent Lecture," North Carolina Museum of Art Preview (Spring 1987), 23-24, illus. (b-w) 24.

North Carolina State Alumni Magazine 62 (September 1989), illus. (color) 2.

Max Halperen, "Seeing Old Friends in a New Light at Museum of Art," Raleigh, NC: News and Observer (September 8, 1991), noted 3H.

Huston Paschal, "Rethinking Familiar Images." North Carolina Museum of Art Preview (Autumn 1991), noted 4.

Michael Kammen, Meadows of Memory: Images of Time and Tradition in American Art and Culture (Austin: University of Texas Press, 1992), discussed 113, illus. (b-w) 117, fig. 2-57.

Introduction to the Collections, rev. ed. (Raleigh: North Carolina Museum of Art, 1992), illus. (b-w) 278.

Larry Silver, Art in History (Englewood Cliffs, NJ: Prentice Hall, 1993), discussed 454-55, illus. (b-w) 454, fig. 10.29.

John Shelton Reed and Dale Volberg Reed, 1001 Things Everyone Should Know About the South (New York: Doubleday, 1996), illus. (b-w) 76.

Mary Ann Freese Witt, et al. The Humanities: Cultural Roots and Continuities, 5th ed. (Boston: Houghton Mifflin Co., 1997), 457, illus. (color) pl. XXXIII

Robert Henkes, Portraits of Famous American Women (Jefferson, NC: McFarland & Company, Inc., 1997), 140, illus. 142.

John W. Coffey, entry for Forward, in North Carolina Museum of Art: Handbook of the Collections, Rebecca Martin Nagy, ed. (Raleigh: North Carolina Museum of Art, 1998), 235, illus. (color).

Peter T. Nesbett and Michelle DuBois, eds., Jacob Lawrence: Paintings, Drawings, and Murals (1935-1999), a Catalogue Raisonné (Seattle and London: University of Washington Press, in association with Jacob Lawrence Catalogue Raisonné Project, Seattle, 2000), cat. no. P67-09, p. 169, illus. (color).

Patricia Hills, "Jacob Lawrence's Paintings during the Protest Years of the 1960s," In Over the Line: The Art and Life of Jacob Lawrence, Peter T. Nesbett and Michelle DuBois, eds. (Seattle and London: University of Washington Press, in association with Jacob Lawrence Catalogue Raisonné Project, Seattle, 2000), mentioned 187.

Christi Stanforth, "Portrait of the Artist: Jacob Lawrence," North Carolina Museum of Art Preview and Calendar of Events (January/February 2001), 28, illus. (b-w).

Obsidian III 4, no. 2 (Spring/Summer 2002), illus. (b-w) front cover.

"Highlights Include Kids' Favorites," Preview: The Magazine of the North Carolina Museum of Art (September/October 2003), briefly discussed and illus. (color) 7.

Patricia Hills, Painting Harlem Modern: The Art of Jacob Lawrence (Berkeley and Los Angeles: University of California Press, 2009), briefly discussed 93, illus. (color) 94, fig. 55.

John W. Coffey, entry for Forward, in North Carolina Museum of Art:Handbook of the Collections, rev. ed. (Raleigh: North Carolina Museum of Art, 2010), 502, illus. (color) 503

Celeste-Marie Bernier, Characters of Blood: Black Heroism in the Transatlantic Imagination (Charlottesville: University of Virginia Press, 2012), 317, 339–40, illus. (color) pl. 12.

Bethany Jay, Cynthia Lynn Lyerly, eds. Understanding and Teaching American Slavery (Madison, University of Wisconsin Press, 2016), illus.Exhibition HistoryColorado Springs, CO, Colorado Springs Fine Arts Center, "New Accessions USA," July 29-September 20, 1970, cat. no. 21, illus. (b-w).

Seattle, WA, Seattle Art Museum, "Jacob Lawrence, American Painter," July 10-September 7, 1986; Oakland, CA, The Oakland Museum, September 26-November 30, 1986; Atlanta, GA, High Museum of Art, December 16-March 1, 1987; Washington, DC, The Phillips Collection, April 3-June 1, 1987, cat. no. 114, illus. (color) pl. 71.

Raleigh, NC, North Carolina Museum of Art, "Becoming the NCMA: 10 Decades of Collecting, 1924-2022," June 11-August 21, 2022.

Raleigh, NC, North Carolina Museum of Art, "The People's Collection, Reimagined," October 7, 2022–present.

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