PrepTest 26, Section 4, Question 9

James Porter (1905�1970) was the first scholar to identify the African influence on visual art in the Americas, and much of what is known about the cultural legacy that African-American artists inherited from their African forebears has come to us by way of his work. Porter, a painter and art historian, began by studying African-American crafts of the eighteenth and nineteenth centuries. This research revealed that many of the household items created by African-American men and women�walking sticks, jugs, and textiles�displayed characteristics that linked them iconographically to artifacts of West Africa. Porter then went on to establish clearly the range of the cultural territory inherited by later African-American artists.

An example of this aspect of Porter's research occurs in his essay "Robert S. Duncanson, Midwestern Romantic-Realist." The work of Duncanson, a nineteenth-century painter of the Hudson River school, like that of his predecessor in the movement, Joshua Johnston, was commonly thought to have been created by a Euro-American artist. Porter proved definitively that both Duncanson and Johnston were of African ancestry. Porter published this finding and thousands of others in a comprehensive volume tracing the history of African-American art. At the time of its first printing in 1943, only two other books devoted exclusively to the accomplishments of African-American artists existed. Both of these books were written by Alain LeRoy Locke, a professor at the university where Porter also taught. While these earlier studies by Locke are interesting for being the first to survey the field, neither addressed the critical issue of African precursors; Porter's book addressed this issue, painstakingly integrating the history of African-American art into the larger history of art in the Americas without separating it from those qualities that gave it its unique ties to African artisanship. Porter may have been especially attuned to these ties because of his conscious effort to maintain them in his own paintings, many of which combine the style of the genre portrait with evidence of an extensive knowledge of the cultural history of various African peoples.

In his later years, Porter wrote additional chapters for later editions of his book, constantly revising and correcting his findings, some of which had been based of necessity on fragmentary evidence. Among his later achievements were his definitive reckoning of the birth year of the painter Patrick Reason, long a point of scholarly uncertainty, and his identification of an unmarked grave in San Francisco as that of the sculptor Edmonia Lewis. At his death, Porter left extensive notes for an unfinished project aimed at exploring the influence of African art on the art of the Western world generally, a body of research whose riches scholars still have not exhausted.

James Porter (1905�1970) was the first scholar to identify the African influence on visual art in the Americas, and much of what is known about the cultural legacy that African-American artists inherited from their African forebears has come to us by way of his work. Porter, a painter and art historian, began by studying African-American crafts of the eighteenth and nineteenth centuries. This research revealed that many of the household items created by African-American men and women�walking sticks, jugs, and textiles�displayed characteristics that linked them iconographically to artifacts of West Africa. Porter then went on to establish clearly the range of the cultural territory inherited by later African-American artists.

An example of this aspect of Porter's research occurs in his essay "Robert S. Duncanson, Midwestern Romantic-Realist." The work of Duncanson, a nineteenth-century painter of the Hudson River school, like that of his predecessor in the movement, Joshua Johnston, was commonly thought to have been created by a Euro-American artist. Porter proved definitively that both Duncanson and Johnston were of African ancestry. Porter published this finding and thousands of others in a comprehensive volume tracing the history of African-American art. At the time of its first printing in 1943, only two other books devoted exclusively to the accomplishments of African-American artists existed. Both of these books were written by Alain LeRoy Locke, a professor at the university where Porter also taught. While these earlier studies by Locke are interesting for being the first to survey the field, neither addressed the critical issue of African precursors; Porter's book addressed this issue, painstakingly integrating the history of African-American art into the larger history of art in the Americas without separating it from those qualities that gave it its unique ties to African artisanship. Porter may have been especially attuned to these ties because of his conscious effort to maintain them in his own paintings, many of which combine the style of the genre portrait with evidence of an extensive knowledge of the cultural history of various African peoples.

In his later years, Porter wrote additional chapters for later editions of his book, constantly revising and correcting his findings, some of which had been based of necessity on fragmentary evidence. Among his later achievements were his definitive reckoning of the birth year of the painter Patrick Reason, long a point of scholarly uncertainty, and his identification of an unmarked grave in San Francisco as that of the sculptor Edmonia Lewis. At his death, Porter left extensive notes for an unfinished project aimed at exploring the influence of African art on the art of the Western world generally, a body of research whose riches scholars still have not exhausted.