John T. Biggers
| ụdịekere | nwoke  |
|---|---|
| mba o sị | Njikota Obodo Amerika |
| aha enyere | John |
| aha ezinụlọ ya | Biggers |
| ụbọchị ọmụmụ ya | 13 Eprel 1924 |
| Ebe ọmụmụ | Nort Kárólínạ |
| Ụbọchị ọnwụ ya | 25 Jenụwarị 2001 |
| Ikwu | James Biggerso |
| asụsụ ọ na-asụ, na-ede ma ọ bụ were na-ebinye aka | Bekee |
| ọrụ ọ na-arụ | onye ese, illustrator |
| ebe agụmakwụkwọ | Pennsylvania State University, Hampton University |
| Ebe obibi | Houston |
| agbụrụ | Ndi Afrika nke Amerika |
| Archive na | Stuart A. Rose Manuscript, Archives, and Rare Book Library |
| Ihe nrite | North Carolina Award for Fine Arts |
| onye nnọchite anya nwebiisinka | ikike mmeputakwa nke CISAC-otu nọchiri anya ya |
| ikike nwebiisinka dị ka onye okike | Ọrụ nwebiisinka chekwara |
| omenkà faịlụ na | Smithsonian American Art and Portrait Gallery Library, Schomburg Center for Research in Black Culture |
| onu akụkọ ihe mere eme na | Stuart A. Rose Manuscript, Archives, and Rare Book Library |
John Thomas Biggers (úbọchị irí nà atọ n'ọnwa Eprel, 1924 rụo ụbọchị irí abụọ na isé n'ọnwa Jenụwari, 2001) bụ ónyé Africa-America na-ese ihe osise nké ghọrọ onye a ma ama mgbè Harlem Renaissance na njedebe nke Agha Ụwa nke Abụọ.[1] Biggers mepụtara ọrụ na-akatọ ikpe na-ezighị ezi agbụrụ na akụ na ụba. Ọ rụkwara ọrụ dị ka ónyé isi oche nke ngalaba nka na Houston's Texas State University for Negroes (nke bụzi Texas Southern University), kọleji ojii nke akụkọ ihe méré eme.
Mbido ndụ na agụmakwụkwọ
dezieA mụrụ Biggers n'ụlọ égbè nkè nnà ya wuru na Gastonia, North Carolina. Nna ya Paul bụ onye nkwusa Baptist, ónyé ọrụ ugbo, onye na-eme akpụkpọ ụkwụ, onye nkuzi ụlọ akwụkwọ, na ónyé isi ụlọ akwụkwọ nwéré ọnụ ụlọ atọ. Nne ya Cora bụ onye na-elekọta ụlọ maka ezinụlọ ndị ọcha. Ónyé kasị nta n'ime mmadụ asaa, a zụlitere Biggers n'ezinụlọ dị nso nke ji ihe okike na agụmakwụkwọ kpọrọ ihe.
Mgbè di Cora nwụrụ na 1937, ọ nwetara ọrụ n'ụlọ ụmụ mgbei màkà ụmụaka ojii. O zigara John na nwanne ya nwoke Joe na Lincoln Academy, ụlọ akwụkwọ American Missionary Association màkà ụmụaka ndị Africa America na Kings Mountain, North Carolina.[2]
Agụmakwụkwọ na ọrụ
dezieMgbè Viktor Lowenfeld hapụrụ Hampton iji kụzie agụmakwụkwọ nka na Mahadum Pennsylvania State, ọ gwara Biggers ka ọ soro. N'afọ 1946, Biggers debanyere aha na Pennsylvania State ebe ọ nwetara nzèrè bachelọ na masta na agụmakwụkwọ nka n'afọ 1948. N'otu afọ ahụ, ọ lụrụ Hazel Hales.[2] O nwetara nzere doctorate na Pennsylvania State n'afọ 1954.[3] E nyèrè ya nzere doctorate nke akwụkwọ édémédé na Mahadum Hampton n'afọ 1990.[4]
Enwere ike ịchọta ọrụ ya na Mahadum Hampton dị na Hampton, Virginia, karịsịa n'ọbá akwụkwọ campus. Ébé ngosi nka nke Mahadum na Mahadum Texas Southern nke Houston nwèrè nchịkọta nke ọrụ Biggers.
N'afọ 1950, Biggers nwetara ihe nrite mbụ màkà ihe osise ya The Cradle na ngosi kwa afọ na Museum of Fine Arts na Houston. "Ụkpụrụ nkewa, Otú ọ dị, nyéré ndị ọbịa ojii ohere ịbanye n'ebe ngosi ihe mgbè ochie naanị na Thursday, n'ihi ya, ọ pụghị ịga mmalite nke ihe ngosi ahụ. "[4]
Ọrụ
dezieMgbè Biggers mụrụ akụkọ ifo na akụkọ ifo ndị Afrịka, ọ dọtara mmasị ya karịsịa na akụkọ okike nke usoro deistic matriarchal, dị iche na ihe oyiyi ndị nnà ochie nke ụwa Europe. Ka echiche ya na ihe oyiyi ya nke Africa na-agwakọta na ncheta nke ndụ ya n'ime ime ọbọdọ nke Southern, ọrụ ya ghọrọ geometric, stylized na ihe nnọchianya.[5] O jiri ihe osise geometric dị ka ihe jikọtara ọrụ ya ma mee ka agba ya baa ọgaranya ma dịkwuo mfe. N'afọ ndị sochirinụ, Biggers gbanwere site n'ịmepụta ọrụ ndị na-akatọ ikpe na-ezighị ezi agbụrụ na akụ na ụba (Victim of the City Streets #2, 1946) gaa n'ọrụ ihe atụ (Birth from the Sea, 1964 na Shotguns: Third Ward, 1987).[6]
Robert Farris Thompson notes how Biggers gives iconic treatment to household items associated with everyday domestic life. For instance, he portrays the shotgun house as a symbol of collective dignity and cultural identity. The recurring symbol of the simple shotgun with a woman standing on the porch can be interpreted not only as the simplest type of housing but also as a reference to women, through whom all creation comes. He uses a repeated triangular roof shape similar to pieces of a quilt, a reference to making a beautiful whole cloth from many irregular pieces, as another symbol of the creative force.
Akwụkwọ
dezie- Biggers, John Thomas. Ananse: The Web of Life in Africa, University of Texas Press, 1962
Edensibia
dezie- ↑ Jason Sweeney, "Biggers, John Thomas". Texas State Historical Association.
- ↑ 2.0 2.1 John Biggers brought African influence to art | African American Registry. www.aaregistry.org. Archived from the original on 2016-02-05. Retrieved on 2016-03-17.
- ↑ Search Artists / American Art. americanart.si.edu. Archived from the original on 2020-07-01. Retrieved on 2016-02-26.
- ↑ 4.0 4.1 Cotter. "John Biggers, 76, Painter Who Explored African Life".
- ↑ Eglash, Ron. (2004). "A Geometrical Bridge Across the Middle Passage: Mathematics in the Art of John Biggers." The International Review of African American Art, Vol. 19, no. 3, pp. 29-33.
- ↑ Smalls (2017). Biggers, John. Grove Art Online. Oxford Art Online. Oxford University Press. Retrieved on 11 January 2017.
Njikọ mpụga
dezie- Ihe osise nke John T. Biggers
- Mgbidi Houston nke John Thomas Biggers
- Nchịkọta John T. Biggers na Harry Ransom Center na Mahadum Texas na Austin
- John Biggers Papers, Mahadum Emory
- Biggers, John na David Courtwright. John Biggers Oral History, Houston Oral History Project, September 15, 1975
- John Biggers na Minneapolis Institute of Art, Minneapolis, MN
- Ebe Ngosi Ihe Mere Eme nke African American
- Akwụkwọ John Biggers na Stuart A. Rose Manuscript, Archives, na Rare Book Library, Mahadum Emory
- N'ime Black America; John Biggers, n'afọ 1985-04-12, KUT Radio, American Archive of Public Broadcasting (WGBH na Library of Congress), Boston, MA na Washington, DC