As the co-owner of Sears, Roebuck & Company, Julius Rosenwald established the Julius Rosenwald Fund in 1917 for "the well-being of mankind" and, by way of a unique fellowship program, supported African Americans and white southerners in a variety of scientific, academic, and cultural fields. Designed specifically to facilitate the accomplishments of "Negro creative workers," the Rosenwald Fellowship Program became one of the most important sources of funding for black visual artists during the 1930s and 1940s. Although most discussions of patronage by whites during the Harlem Renaissance are limited to figures such as Carl Van Vechten and Charlotte van der Veer Quick Mason, who focused primarily on supporting writers and musicians, only recently have scholars investigated the assistance offered to visual artists. In fact, most information regarding patronage of the visual arts is restricted to isolated reviews and to monographs of individual artists. In this thesis I conduct an in-depth analysis of the creation and administration of the Rosenwald Fellowship Program, not only examining its methods of selection and distribution of financial aid, but also its impact on the development of African American painters, sculptors, and photographers with particular attention to Augusta Savage, William Edouard Scott, Richmond Barthé, Aaron Douglas, Charles Alston, William Ellisworth Artis, and Haywood "Bill" Rivers, respectively.
|Commitee:||Alane Aronson, Julie, Hirayama, Mikiko|
|School:||University of Cincinnati|
|School Location:||United States -- Ohio|
|Source:||MAI 51/03M(E), Masters Abstracts International|
|Subjects:||African American Studies, Black history, Art Criticism, Art history|
|Keywords:||African-American, Harlem Renaissance, New Negro Movement, Rosenwald Fellowship Program, Rosenwald Fund, Rosenwald, Julius, Visual artists|
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