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THE PHILLIPS COLLECTION

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People on the Move: Beauty and Struggle in Jacob Lawrence's Migration Series


Jacob Lawrence, The Migration Series, Panel no. 1: During World War I there was a great migration north by southern African Americans., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 4: All other sources of labor having been exhausted, the migrants were the last resource., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Museum of Modern Art, New York. Gift of Mrs. David M. Levy © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 9: They left because the boll weevil had ravaged the cotton crop., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York


Jacob Lawrence, The Migration Series, Panel no. 11: Food had doubled in price because of the war., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 19: There had always been discrimination., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 22: Migrants left. They did not feel safe. It was not wise to be found on the streets late at night. They were arrested on the slightest provocation., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Museum of Modern Art, New York. Gift of Mrs. David M. Levy © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York


Jacob Lawrence, The Migration Series, Panel no. 24: Their children were forced to work in the fields. They could not go to school., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Museum of Modern Art, New York. Gift of Mrs. David M. Levy © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 31: The migrants found improved housing when they arrived north., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 33: Letters from relatives in the North told of the better life there., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York


Jacob Lawrence, The Migration Series, Panel no. 37: Many migrants found work in the steel industry., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 38: They also worked on the railroads., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Museum of Modern Art, New York. Gift of Mrs. David M. Levy © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 42: To make it difficult for the migrants to leave, they were arrested en masse. They often missed their trains., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Museum of Modern Art, New York. Gift of Mrs. David M. Levy © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York


Jacob Lawrence, The Migration Series, Panel no. 45: The migrants arrived in Pittsburgh, one of the great industrial centers of the North., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 46: Industries boarded their workers in unhealthy quarters. Labor camps were numerous., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Museum of Modern Art, New York. Gift of Mrs. David M. Levy © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 49: They found discrimination in the North. It was a different kind., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York


Jacob Lawrence, The Migration Series, Panel no. 50: Race riots were numerous. White workers were hostile toward the migrant who had been hired to break strikes., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Museum of Modern Art, New York. Gift of Mrs. David M. Levy © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 51: African Americans seeking to find better housing attempted to move into new areas. This resulted in the bombing of their new homes., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 53: African Americans, long-time residents of northern cities, met the migrants with aloofness and disdain., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York


Jacob Lawrence, The Migration Series, Panel no. 55: The migrants, having moved suddenly into a crowded and unhealthy environment, soon contracted tuberculosis. The death rate rose., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 57: The female workers were the last to arrive north., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 58: In the North the African American had more educational opportunities., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Museum of Modern Art, New York. Gift of Mrs. David M. Levy © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York


Jacob Lawrence, The Migration Series, Panel no. 59: In the North they had the freedom to vote., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942 © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, The Migration Series, Panel no. 60: And the migrants kept coming., 1940–41. Casein tempera on hardboard, 12 x 18 in. The Museum of Modern Art, New York. Gift of Mrs. David M. Levy © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Whitfield Lovell: The Kin Series and Related Works


Whitfield Lovell, Kin I (Our Folks), 2008. Conté on paper, paper flags, and string, 30 x 22 1/2 in. Collection of Reginald and Aliya Browne © Whitfield Lovell and DC Moore Gallery, New York

Whitfield Lovell, Kin VI (Nobody), 2008. Conté on paper and wooden chain, 30 in x 22 1/2 x 7/8 in. Collection of Julia J. Norrell © Whitfield Lovell and DC Moore Gallery, New York

Whitfield Lovell, Kin VII (Scent of Magnolia), 2008. Conté on paper,silk flower wreath, 30 x 22 ½ x 3 in. Collection of Julia J. Norrell © Whitfield Lovell and DC Moore Gallery, New York


Whitfield Lovell, Kin XX (Be My Knife), 2010. Conté on paper, knife, and museum board, 30 x 22 1/2 in. Collection of Alan and Sally Mills, Indianapolis © Whitfield Lovell and DC Moore Gallery, New York

Whitfield Lovell, Kin XXXV (Glory in the Flower), 2011. Conté on paper, vintage clock radio, 30 x 22 3/4 x 5 3/4 in. The Phillips Collection, Washington, DC, The Dreier Fund for Acquisitions, 2013 © Whitfield Lovell and DC Moore Gallery, New York

Whitfield Lovell, Kin XLI (Fauna), 2011. Conté on paper, stuffed bird, 30 x 22 1/2 x 3 1/2 in. The Phillips Collection, Washington, DC, Gift of Mr. and Mrs. C. Richard Belger, Linda Lichtenberg Kaplan, and Carolyn C. Alper, 2013 © Whitfield Lovell and DC Moore Gallery, New York


Whitfield Lovell, Kin XLV (Das Lied von der Erde), 2011. Conté on paper and string of pearls, 30 x 23 x 1/8 in. The Phillips Collection, Washington, DC, The Dreier Fund for Acquisitions, 2013 © Whitfield Lovell and DC Moore Gallery, New York

Whitfield Lovell, Kin LX (The Rouge and the Noir), 2011. Conté on paper and twigs, 30 x 22 3/8 x 6 1/2 in. Collection of Hans Dorsinville © Whitfield Lovell and DC Moore Gallery, New York

Whitfield Lovell, After an Afternoon, 2008. Radios with sound, 59 x 72 x 11 in. Courtesy DC Moore Gallery © Whitfield Lovell and DC Moore Gallery, New York


Whitfield Lovell, At Home and Abroad, 2008. Charcoal on wood and found objects, 65 x 45 x 3 1/2 in. Purchased in honor of the 100th Anniversary of the Muskegon Museum of Art through the Art Acquisition Fund, the 100th Anniversary Art Acquisition Fund, the support of the Alcoa Foundation, and the gift of Dr. Anita Herald. © Whitfield Lovell and DC Moore Gallery, New York

Whitfield Lovell, Bleck, 2008. Conté crayon on wood and boxing gloves, 44 1/2 x 21 x 11 in. Courtesy DC Moore Gallery © Whitfield Lovell and DC Moore Gallery, New York

Whitfield Lovell, North, 2000. Charcoal on wood and found objects, 40 ½ x 33 x 17 in. Greenville County Museum of Art, Museum purchase with funds from the Gannett Foundation and gift of Mrs. B.C. Jones © Whitfield Lovell and DC Moore Gallery, New York


Whitfield Lovell, Dawn to Dawn, 2006. Charcoal on wooden barn door and found objects, 97 x 219-1/2 x 40 in. Courtesy DC Moore Gallery © Whitfield Lovell and DC Moore Gallery, New York

Whitfield Lovell, Gin Song, 2004. Charcoal on wood with found objects (saxophone, metal cups), 77 1/4 x 45 3/16 x 13 in. Courtesy of the Pennsylvania Academy of the Fine Arts, Philadelphia. Mary W.F. Howe Fund © Whitfield Lovell and DC Moore Gallery, New York

Whitfield Lovell, Whispers- Rising River Blues, 1999. Charcoal on wood with found objects, 90 1/2 x 52 1/2 x 48 in. Courtesy DC Moore Gallery © Whitfield Lovell and DC Moore Gallery, New York

Arlene Shechet: From Here On Now


Arlene Shechet, Best Behavior, 2014. Glazed ceramic, glazed kiln shelf, and painted and carved hardwood, 45 1/2 x 20 x 20 in. Courtesy of the artist and Sikkema Jenkins & Co.

Arlene Shechet, Go Figure (detail), 2016. Glazed ceramic, gold, and steel, 72 5/8 x 16 x 13 1/2 in. Courtesy of the artist and Sikkema Jenkins & Co. 

Arlene Shechet, Go Figure, 2016. Glazed ceramic, gold, and steel, 72 5/8 x 16 x 13 1/2 in. Courtesy of the artist and Sikkema Jenkins & Co. 


Arlene Shechet, Seeing Asteroids, 2016. Glazed ceramic and steel, 39 1/4 x 19 x 50 in. Courtesy of the artist and Sikkema Jenkins & Co.

Arlene Shechet, Seeing Asteroids (detail), 2016. Glazed ceramic and steel, 39 1/4 x 19 x 50 in. Courtesy of the artist and Sikkema Jenkins & Co.

SELECTED IMAGES


Pierre-Auguste Renoir, Luncheon of the Boating Party, 1880-81, The Phillips Collection, Washington, DC, Acquired 1923

Milton Avery, Black Sea, 1959, The Phillips Collection, Washington, DC, Acquired 1965

Pierre Bonnard, The Open Window, 1921, The Phillips Collection, Washington, DC, Acquired 1930


Georges Braque, The Round Table, 1929, The Phillips Collection, Washington, DC, Acquired 1934

Jacob Lawrence, The Migration Series, Panel no. 1: During World War I there was a great migration north by southern African Americans., between 1940 and 1941, Casein tempera on hardboard 12 x 18 in. The Phillips Collection, Washington, DC Acquired 1942 © Estate of Gwendolyn Knight Lawrence/Artists Rights Society (ARS), New York

Paul Cézanne, Self-Portrait, 1878−1880, The Phillips Collection, Washington, DC, Acquired 1928


Honoré Daumier, The Uprising (L'Emeute), 1848 or later, The Phillips Collection, Washington, DC, Acquired 1925

Hilaire-Germain-Edgar Degas, Dancers at the Barre, 1880s–c. 1900, The Phillips Collection, Washington, DC, Acquired 1944

Willem de Kooning, Asheville, 1948, The Phillips Collection, Washington, DC, Acquired 1952


Wolfgang Laib, Wax Room: Wohin bist Du gegangen – wohin gehst Du? (Where have you gone – where are you going?), 2013, Beeswax, light bulb, The Laib Wax Room is supported by The Phillips Collection Dreier Fund for Acquisitions; gifts in memory of trustee Caroline Macomber; Brian Dailey and Paula Ballo Dailey; a community of online contributors; and a partial gift of the artist. Wax donated by Sperone Westwater, New York

Edward Hopper, Sunday, 1926, Oil on canvas, 29 x 34 in. The Phillips Collection, Washington, DC, Acquired 1926

Georgia O'Keefe, Ranchos Church, No. II, NM, 1929. Oil on canvas, 24 1/8 x 36 1/8 in. The Phillips Collection, Washington, DC, Acquired 1930


Esther Bubley, General Service Department, 30 Rockefeller Plaza, New York City, c. 1950s. Gelatin silver print, 9 3/8 in x 6 3/8 in. The Phillips Collection, Washington, DC, Gift of Cam and Wanda Garner, 2012

DOROTHY KOSINSKI, DIRECTOR


Dorothy Kosinski, Director

PHILLIPS EXTERIOR


Carriage House-Phillips Collection Center for the Study of Modern Art

Phillips Collection House-Front View

Hunter Courtyard

PHILLIPS INTERIOR


The Rothko Room

Sant Building gallery

Music Room

Archival Photos


1) Marjorie and Duncan Phillips in front of Renoir's Luncheon of the Boating Party (1880-81), ca. 1954. Photo by Naomi Savage

2) Duncan Phillips, founder of The Phillips Collection. Photo by Clara E. Sipprel, ca. 1922.

3) Duncan Phillips on a transatlantic journey, 1930s. Courtesy of The Phillips Collection, Washington, DC


4) The house at 21st and Q Streets, NW, ca. 1900.