Sculptor and Printmaker. Renowned for her respectful portrayals of African-American and Mexican working-class women. She used clay, wood and stone as her mediums. Considered one of the most important African-American artists of the twentieth century and one of the last living connections to the Harlem Renaissance. Her expansive collection of work reflected her commitment to the preservation of African-American cultural traditions and the depiction of the lives of everyday working class people. The mother-child bond was a recurring signature in her work and was inspired by the strong bond she had with her own mother and grandmothers. A pivotal point in her career occurred in 1946, when she was invited to work in Mexico City's Taller de Grafica Popular, a collective graphic arts and mural workshop. While in the company of other socially conscious artists, she deeply involved herself in Mexican culture and politics. She was barred from her home country for political activism during the McCarthy era. She made her home in Mexico since 1946, and became friends with the great Mexican muralist Diego Rivera and married Mexican artist Francisco Mora. In her own words, Ms. Catlett was more concerned with the social dimension of her art than its novelty or originality, she said "I have always wanted my art to service my people, to reflect us, to relate to us, to stimulate us, to make us aware of our potential."
Sculptor and Printmaker. Renowned for her respectful portrayals of African-American and Mexican working-class women. She used clay, wood and stone as her mediums. Considered one of the most important African-American artists of the twentieth century and one of the last living connections to the Harlem Renaissance. Her expansive collection of work reflected her commitment to the preservation of African-American cultural traditions and the depiction of the lives of everyday working class people. The mother-child bond was a recurring signature in her work and was inspired by the strong bond she had with her own mother and grandmothers. A pivotal point in her career occurred in 1946, when she was invited to work in Mexico City's Taller de Grafica Popular, a collective graphic arts and mural workshop. While in the company of other socially conscious artists, she deeply involved herself in Mexican culture and politics. She was barred from her home country for political activism during the McCarthy era. She made her home in Mexico since 1946, and became friends with the great Mexican muralist Diego Rivera and married Mexican artist Francisco Mora. In her own words, Ms. Catlett was more concerned with the social dimension of her art than its novelty or originality, she said "I have always wanted my art to service my people, to reflect us, to relate to us, to stimulate us, to make us aware of our potential."
Bio by: A. L. Parrish
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See more Catlett memorials in:
Records on Ancestry
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