Wadsworth Jarrell facts for kids

Kids Encyclopedia Facts

Quick facts for kids Wadsworth Jarrell
Born	Wadsworth Aikens Jarrell (1929-11-20) November 20, 1929 (age 95) Albany, Georgia, U.S.
Education	Art Institute of Chicago, Howard University
Spouse(s)	Jae Jarrell

Patron(s)	Murry N. DePillars

Wadsworth Aikens Jarrell (born November 20, 1929) is an American artist. He is known for his paintings, sculptures, and prints. He was born in Albany, Georgia, and later moved to Chicago, Illinois. There, he studied at the Art Institute of Chicago.

After college, Jarrell became very active in the Chicago art scene. His early art showed the daily lives of African Americans in Chicago. He also found inspiration in jazz music. In the late 1960s, he opened WJ Studio and Gallery with his wife, Jae. They welcomed many local artists and musicians.

In the mid-1960s, Chicago saw a rise in racial tensions. Artists began to explore race relations and black empowerment. Jarrell joined the Organization of Black American Culture (OBAC). This group helped start the Black Arts Movement. In 1967, OBAC artists created the Wall of Respect in Chicago. This large mural showed African American heroes. It helped start a political mural movement across the country. In 1969, Jarrell helped start AFRICOBRA: African Commune of Bad Relevant Artists. AFRICOBRA became famous worldwide for its political art. They were known for using bright, bold "coolade colors" in their paintings.

In 1977, Jarrell traveled to Africa. He was inspired by the Senufo people of Ivory Coast, Mali, and Burkina Faso. When he returned to the United States, he moved to Georgia. He taught at the University of Georgia. In Georgia, he started using a bricklayer's trowel on his canvases. This gave his paintings a textured look. The figures in his paintings are often abstract. They are inspired by masks and sculptures from Nigeria. These Nigerian arts also inspired Jarrell's totem sculptures. Today, Jarrell lives and works in Cleveland. He continues to explore the modern African American experience through his art. His work is in major collections like the National Museum of African American History and Culture.

About Wadsworth Jarrell's Life

Growing Up and Early Art

Wadsworth Jarrell was born in Albany, Georgia, in 1929. He was the youngest of six children. His family moved to a farm near Athens, Georgia, when he was one year old. His father was a carpenter and furniture maker. His mother was a skilled quilt-maker. Their artistic talents inspired the whole family.

As a child, Jarrell's teacher encouraged his artistic side. In high school, his art talent was clear. He created his own comic strip and cartoons for the school paper. He also started oil painting. He learned about art from magazines like Saturday Evening Post.

After high school, he joined the Army. He served briefly in Korea. While in the Army, he became the company artist. He earned extra money by designing shirts and making paintings for other soldiers.

College and Family Life

After the Army, Jarrell moved to Chicago. He had his first museum visits there. Growing up in Georgia, African Americans could not visit museums until the Civil Rights Act of 1964. These early visits made a big impact on him. In 1954, he started studying full-time at the Art Institute of Chicago. He first studied advertising art. But he soon became more interested in painting and drawing. He graduated in 1958.

In 1963, Jarrell met Elaine Annette Johnson, known as Jae. She ran a clothing store. They married on June 2, 1967. They had two children, Wadsworth Jr. and Jennifer. Later, they had another daughter, Roslyn Angela. The family moved several times, living in New York City, Connecticut, Boston, and Washington, D.C. In 1971, Jarrell began teaching at Howard University.

In 1977, the family moved to Athens, Georgia. Jarrell became a professor at the University of Georgia. He retired from teaching in 1988 to focus on his art. By 1994, his children were grown. His two daughters attended the Art Institute of Chicago. Wadsworth Jr. became a seafarer. Today, Jarrell and Jae live and work in Cleveland, Ohio.

Wadsworth Jarrell's Art Career

Art in Chicago

After graduating, Jarrell spent a year improving his art skills. He started entering his work in competitions. He created art inspired by his studies and by everyday life in black Chicago. He loved horse racing, jazz clubs, and bars. He often took a sketchpad with him. This led to paintings like Neon Row (1958) and The Jockeys #1 (1962). These themes would appear throughout his career. His early works showed "two-dimensional illusionism." This meant using linear and geometric perspective.

A big moment for his career came in 1964. His painting "The Art Pub" was accepted into a major exhibition. This earned him awards and media attention. He moved to a larger studio. He continued to focus on music and sports themes. His use of paint became very quick. This made his images show strong movement. Cockfight (1965) shows his evolving style. It featured intense color bands and swirls.

After his honeymoon in the Caribbean, Jarrell became interested in light. He experimented with colors and designs. This helped him express his messages fully. He said the colors of the Bahamas influenced his use of color. In 1968, Jarrell and Jae opened WJ Studio and Gallery. It was below their home and studio.

The Wall of Respect

In 1964, Chicago had major race riots. These were caused by Civil Rights struggles. The Black Power movement grew. Artists wanted to show black pride and self-reliance. This led to the Organization of Black American Culture (OBAC) in 1966. Artist Norman Parish invited Jarrell to join OBAC's Artists' Workshop. Artists would share their work and discuss the black experience in art. This led to the idea for the Wall of Respect.

The mural showed African American heroes. Each artist chose who to paint in their section. Jarrell focused on rhythm and blues. He painted James Brown, B.B. King, Billie Holiday, Muddy Waters, Aretha Franklin, and Dinah Washington. The Wall was a big success. It inspired many other liberation-themed murals.

WJ Studio and Gallery

In 1968, Jarrell and his wife opened WJ Studio and Gallery. It showed their art and the work of other artists. It also featured Chicago poets and musicians. Jarrell's love for blues and jazz music helped him find local talent. Artists like Muhal Richard Abrams and the Art Ensemble of Chicago performed there.

The gallery was also a meeting place for artists like Jeff Donaldson and Barbara Jones-Hogu. They discussed ideas for a unique black art style. They wanted to find "a collective concept that would say 'black art' at a glance." They came up with the idea of "coolade colors." These were bright, bold colors. The final idea for their art was to create message-oriented art. It would focus on social issues. It would also include African design. This group later formed COBRA.

COBRA and AFRICOBRA

After the deaths of Martin Luther King, Jr. and Malcolm X, Jarrell's group continued their work. They chose a path of non-violence through art. They called themselves COBRA – Coalition of Black Revolutionary Artists. Jarrell's first work for COBRA was Black Family (1969). It used coolade colors. It showed a caring mother, a protective father, and two relaxed children. The word "blackness" was represented by the letter B. The group wanted art that showed the problems of black people. They also wanted art that offered solutions.

In 1969, COBRA changed its name to AfriCOBRA: African Commune of Bad Relevant Artists. They wanted to focus on black liberation worldwide. Jarrell's art evolved. He brought the main figure to the front of his paintings. Coolade Lester (1970) is a portrait of musician Lester Lashley. It includes letters like D (down), B (black), F (fine), and Q (question).

Homage to a Giant (1970) was Jarrell's first tribute to Malcolm X. This work spoke about the black struggle against oppression. It showed images of Malcolm X, Huey Newton, Jesse Jackson, and Stokley Carmichael. The letter "B" appeared, meaning "blackness" and "badness." This piece was in AfriCOBRA's first exhibition in 1970.

In 1971, "AFRICOBRA II" featured Jarrell's Revolutionary and Black Prince. Revolutionary honored Angela Davis. She wore a "Revolutionary Suit" designed by Jae Jarrell. The painting included words like "love," "black," and "revolution." It also had a quote from Angela Davis. Black Prince was Jarrell's second tribute to Malcolm X. It included the letter "B" and a quote from Malcolm X.

African Influences

Jarrell's studies of African art and the Senufo people greatly influenced him in the mid-1970s. Paintings like Navaga (1974) showed human figures mixed with Senufo sculptures. Navaga showed a woodcarver who seemed made of wood himself. His face was Jarrell's father's face, styled like a Senufo sculpture.

In 1977, Jarrell and Jae visited Lagos, Nigeria. This was for FESTAC '77, a festival of Black and African Arts and Culture. Jarrell was very influenced by the bronze castings of Benin. He also liked the woodcarving and textile arts of Oshogbo. These experiences strengthened AfriCOBRA's mission.

After his return, AfriCOBRA had a show called "AFRI-COBRA/Farafindugu." Farafindugu means "black world" in Mandinka. Jarrell showed Mojo Workin and Soweto (both 1977). Soweto reflected the struggles of African people under apartheid. It was named after the city of Soweto, where students were massacred in 1976.

Art in Georgia

In 1977, the Jarrells moved to Athens, Georgia. Jarrell became an assistant professor at the University of Georgia. His art continued to be socially and politically aware. Paintings like Festival #1 (1978) supported South Africans at war. African images became more common in his art. He used zigzag patterns and lizards. These represented that Africans had the right to speak for themselves. In 1979, Jarrell received a grant to create a large mural. It was called Ascension and is still in Athens today.

By the mid-1980s, Jarrell was represented by a gallery in Atlanta. In 1984, the family moved to Atlanta. Jarrell continued to teach in Athens. This move helped him sell more art and connect with galleries. In 1986, he taught for the University's Studies Abroad Program in Italy. He explored historic sites and the Venice Biennale. He resigned from teaching in 1988 to focus on his art.

In the 1990s, Jarrell continued to explore black life in his paintings. Dudes on the Street (1991) showed city life. It featured cartoon-like men and women. The background had a ribs restaurant and a record shop. All were drenched in coolade colors. He also created paintings about boxing. These included Stride of a Legend/Tribute to Papa Tall for Muhammad Ali.

Horse Racing Revisited

In Georgia, Jarrell returned to his interest in horse racing. He focused on African American jockeys. He created The Jocks #2 (1981) and Homage to Isaac Murphy (1981). The Jocks #2 was a group portrait of famous jockeys. Homage to Isaac Murphy was a large painting with four canvases. It honored Isaac Murphy, a legendary jockey. It included zigzags, a lizard for speed, and cowry shells. The shells represented the money Murphy won. In 1993, Jarrell had a solo show at the Kentucky Derby Museum.

The Bricklayer's Trowel and Jazz Tributes

Jazz Giants, lithograph, 1987

In 1982, Jarrell was asked to create a large mural for Westinghouse Electric Company. This was the first time he used a bricklayer's trowel in his work. This tool helped him create 3-D layers and overlaps. The Apple Birds (1983) showed his dramatic use of the trowel. These paintings were inspired by a drawing by his daughter, Jennifer.

Jarrell created many jazz tributes starting in the 1980s. Cookin' n Smokin' (1986) honored jazz musician Oscar Peterson. Peterson is shown playing piano with a sunburst around his head. The figures have large heads and exaggerated features, like African masks. The trowel was used to blend colors. Jazz Giants (1987) showed Dizzy Gillespie and other musicians. Priestess (1988) depicted jazz icon Nina Simone. I Remember Bill (1979) was a memorial to his friend, guitarist Bill Harris.

Other jazz works include Corners of Jazz (1988) with Ray Charles and Billie Holiday. Also, At the Three Deuces (1991) with Miles Davis and Charlie Parker.

Sculpture

Inspired by his trip to Italy, Jarrell created Tribute to Ovambo Bellows. This was a conical sculpture honoring the Ovambo people. It marked a new focus on sculpture in his work. His new sculptures were very spiritual. They reflected African culture and heritage. Hausa Space – a Village (1993) represented villages he saw in Nigeria. The houses were decorated with spiritual symbols. Jarrell's pieces spoke for peace.

Many sculptures mixed African art and design. Sorcerer (1993) and Messenger of Information (1993) showed influences from Senufo art. Totem-like sculptures began in 1995. The Ensemble series (1995) had three tall sculptures. They were painted with bright colors and topped with small animals. For the first time, horse racing appeared in his sculptures. Days of the Kings (1995) had sixteen totems. They honored African Americans in horse racing. Epiphany (1996) remembered the Million Man March. Jarrell called it one of the most important events of that century.

Awards and Exhibitions

Awards

First prize, 1988, Atlanta Life Invitational Exhibition
Cover, 1985, Art Papers
Excellence in painting award, 1985, Southern Home Shows Exposition
Award, 1974, District of Columbia Commission on the Arts
Artist-in-Residence, 1974, District of Columbia Public Schools

Selected Solo Exhibitions

Edge Cutters. 1993, Kentucky Derby Museum.
Large Format. 1987, Southwest Atlanta Hospital.
Paintings and Sculptures, Wadsworth Jarrell. 1987, Albany Museum of Art.
The Power and the Glory. 1979, University of Georgia.
Going Home., 1976, Howard University.

Selected Group Exhibitions

AFRI-COBRA: No Middle Ground. 1992, Museum of Science and Industry, Chicago, Illinois.
Twelfth Annual Atlanta Life Invitational Exhibition. 1992, Herndon Plaza, Atlanta.
Vital Signs. 1991, Atlanta Contemporary Art Center.
AFRI-COBRA: The First Twenty Years. 1990, Florida A&M University.
Horse Flesh. 1990, Kentucky Derby Museum.
Beaches Annual Exhibition. 1989, Museum of Contemporary Art Jacksonville.
Artists in Georgia 1988., 1988 Atlanta Contemporary Art Center.
The Art in Atlanta. 1988, Southeastern Center for Contemporary Art.
Birmingham Biennial. 1987, Birmingham Museum of Art.
AFRICOBRA USA. 1987, Sermac Gallery, Fort-de-France, Martinique.
Ot Och In. 1986, Malmö Art Museum.
Artists in Georgia. 1985, Georgia Museum of Art.
Atlanta in France. 1985, Sorbonne Chapel.
U.S.A. Volta Del Sud. 1985, Palazzo Venezia.
Commemoration to Soweto. AFRI-COBRA, 1980, United Nations Headquarters.
Directions and Dimensions. 1980, Mississippi Museum of Natural Science.
Artists in Georgia. 1980, High Museum of Art.
Artists in Schools. 1976, Delaware Art Museum.
Directions in Afro-American Art. 1974, Herbert F. Johnson Museum of Art.

Selected Collections

Images for kids

A model wearing Jae Jarrell's "Revolutionary Suit", which would serve as an inspiration for the painting Revolutionary
A mask created by the Senufo people, which would influence Jarrell's paintings and sculpture.