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Claude Clark, Sr., Alabama’s new museum opening, Barnes convinced the how the parts of a sculpture ft together. When he was frst asked to teach African-American
(seated), art historian
Steven Jones and keynote speakers to cancel their participation. Barnes’ Studies, he said there was nowhere to turn for a reference.
Evelyn Redcross successful boycott of the museum was done in support Following is an interesting excerpt from the book: Consequently, after careful research, he created his own
at October Gallery.
of Claude Clark and in support of human rights. “Nothing can justify art as good except its power reference materials. His class, initially ofered as an
of giving pleasure to someone, of satisfying and “inconsequential” elective for upperclassmen, was soon
So I found myself studying at the Barnes Foundation.
fulflling the natural aesthetic impulses of a very much in demand.
Te art and the information were so exciting that I
human being. If a person cannot get this pleasure
continued for four years. We scrutinized each painting My friend and teacher, Claude Clark, departed this
from a Negro statue, after giving a fair amount
and object and considered the art periods and the life in 2001, one year before my own dear father passed
of open-minded reception to its qualities, there
traditions by which the art was infuenced. Interestingly, away. It was because of this educator, who reminded
is no reason for him to pretend to like it; he is
without condescension, the Barnes classes gave credit me of my father, a man with large hands like Dad’s,
simply not so constituted; for him it is not good
to the infuence of African art where they believed it that I was connected to art. Claude pushed me to
art, whatever it may be for others. But, as has
applied. achieve and taught me for my own growth. I enjoyed
been said before, one’s native powers of enjoyment
the casual conversations we shared (that turned out to
Clark said it was Dr. Barnes who invited him and fellow In fact, a diverse collection of African sculpture was are often underdeveloped or narrowed by habit or be instructional).
Black artists Aaron Douglas, Gwendolyn Bennett and located on the second foor of the Barnes Foundation prejudice; some efort may be required to make
Paul Moses to the Foundation to participate in some of while I attended. Te instructors referred to the oneself genuinely open-minded and receptive, to I shared the lessons I learned at the Barnes Foundation
the frst classes in art analysis. Aside from these artists, collection, but the reference book Primitive Negro perceive distinctly the sights and sounds that are with my family, patrons and friends. Te lessons have

Barnes also taught several Argyrol Factory workers (the Sculpture, which discussed and illustrated the art forms, coming to him. Analysis that is devoted simply enabled us to realize that spending time viewing and
factory that produced a drug patented by Barnes) and was listed as “out of print” in the Foundation’s bookstore. to pointing out the forms that exist in a work musing about art, whether in one’s home or at a gallery
students from Lincoln University, all of whom helped Years later, Richard J. Wattenmaker, a former Foundation of art can never diminish enjoyment of them. or in museums or at any other place, is a gift to one’s
to shape and propagate the teachings. student, became one of my Foundation teachers. He It may seem to do so temporarily, while one is self that leads to broader understanding and wider

gave me the book as a gift. I will always be grateful. engaged in the drudgery of learning to see, feel possibilities.
Barnes was supportive of Clark inside and outside
and respond to new stimuli, as in learning to
the Foundation. Clark said that the principal of his
Te book, published in 1926 and written by Paul play the piano, or to read a new language… ”
former Philadelphia high school was very doubtful that
Guillaume and Tomas Munro, openly acknowledges (Primitive Negro Sculpture, pages 44-45)
the well-known Dr. Barnes would personally attend a
that critics trained in Greek standards may have
celebrated exhibition of his artwork. Clark felt that in For me, one of the most powerful lessons learned at
had difculty recognizing the importance of African
the City of Brotherly Love racial sentiments were still the Barnes Foundation is that getting pleasure from any
sculpture. Tey go on to say, “Today it is impossible to
both subtly and openly expressed. Barnes did attend, the artwork is not dependent upon knowing who created
deny its importance as an infuence on contemporary
ofce of the doubting principal was crammed with Dr. it, what it represents, what its name is or even what
art and the number is considerable of critics who
Barnes, the trustees of the Foundation and several other stories about it exist. Te art stands for itself, without
place it among the world’s great sculptural traditions.”
prominent Foundation stafers. “We all marched into addenda, without colorful adjectives and persuasive
Guillaume and Munro were students of Dr. Barnes.
the auditorium,” wrote Clark, “as the orchestra played add-ons, without the use of earphones or ceremony.

Of We Go Into the Wild Blue Yonder.” John Dewey, Guillaume and Munro say that most African art
who could not attend, mailed a letter to Roxborough collections in museums around the world were collected Clark was not only an artist but also a student of the
High School congratulating Clark. Today, that letter is primarily for their ethnological value rather than for culture of Africa and the African Diaspora. He was a
a prized collectible. their artistic merit. great teacher and friend to me. To his knowledge, he
was one of the frst teachers of African-American Studies Rockin’ Chair by Claude Clark, Sr.
A second story that Clark recalled took place in 1949 Te book analyzes the traditions, forms and intricacies on the college level. He explained to me that there were
while he was teaching at Talladega College, in Alabama. of sculpture, including simple lines, angular planes and
no such departments in those years.
Because Blacks were not allowed at the University of bulky versus slender renderings. Te authors clarify

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