Resculpting Art History: Augusta Savage’s Impact in the Harlem Renaissance
- Chloe Cheng
- Jan 6
- 3 min read
Vera Chang
The Harlem Renaissance, describing race, art, and culture, marked a transformative period in the 20th century for African American expression. Located in New York City, Harlem was home to many Black artists, intellectuals, musicians, and writers seeking to celebrate their creativity and redefine their identity, becoming the largest and most diverse community in the United States in 1930. However, this movement was set amid a systemically racist society that excluded Black Americans from obtaining recognition and opportunities. Particularly in the case of artists, most were barred from mainstream art institutions and were under the racial ideology that Black people could not create quality art. Among the many Black artists affected by the social difficulties of the 20th century, Augusta Savage rose as a significant sculptor and advocate during this time.
Who she was
Augusta Savage, born in Florida in 1892, faced several challenges in pursuing an art career as a Black woman, including being put down by her father for her creations or being rejected for her scholarship to an art school in France for her race. However, Savage did not stop; rather, her struggles prompted her to champion Black artists and speak out on the racial barriers they faced, including misrepresentation and the lack of visibility and resources.
Works and Contributions
Before the expansion of the Harlem Renaissance, many artworks depicting Black subjects were derogatory, exaggerating facial features and perpetuating racial stereotypes. However, Savage’s aesthetic did not align with the exotic and primitive aesthetic of Black people that was popularized among White artists. She rejected the fetishization and embraced authentic representations of Black physiognomy, reshaping how Black art was viewed and valued. Created in 1929, one of Savage’s most successful works, Gamin, exemplified such a notion. Her work illustrated a nuanced, accurate portrayal of a Black boy, defying any caricatural exaggeration of the facial features or proportions. The artwork not only challenged dehumanizing representations of Black Americans but also celebrated a sense of dignity. Gamin showed Savage’s understanding of the impacts of her artwork on recognizing Black humanity, further paving a greater path for other Black artists to create art that went against the racial norms and stereotypes of Black representation in art. Furthermore, in the same year, Savage received a Rosenwald Fellowship award for Gamin, illustrating not only the height she had reached as a leading sculptor in the Harlem Community, but also proving to society the capabilities of Black artists.
Similarly, The Harp, which was a sculpture created by Savage as a public commission for the New York World’s Fair in 1939, also challenged notions about Black artist’s abilities. The sculpture, featuring a kneeling man and 12 singing children representing the strings of a harp, was Savage’s way of paying homage to J. Rosamond Johnson’s song Lift Every Voice and Sing, which was also known as the “Negro National Anthem.” It demonstrated her efforts in highlighting the talents and contributions of the Black community. By rooting in realism and pride, Savage’s works empowered the concept of identity and brought in a greater scale of acceptance for both Black artists and their works, allowing them to assert their creativity fearlessly.
Legacy
Augusta Savage’s work as an artist, advocate, and educator had significantly changed the trajectory of Black artists during the 1930s. With her sculptures, Savage redefined the stereotypes surrounding Black identity and ability as an artist, reshaping how Black art was valued. Her role as an artist, educator, and activist significantly influenced the careers of Black artists in Harlem. Augusta Savage’s legacy stands as a testament to her enduring commitment in empowering and facilitating opportunities for Black artists, impacting the marginalized community of the Harlem Renaissance.
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