Biography clark claude
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Claude Clark
African American painter (1915–2001)
Claude Clark | |
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Claude Clark in earlier years | |
| Born | (1915-11-11)November 11, 1915 Rockingham, Georgia |
| Died | April 21, 2001(2001-04-21) (aged 85) Oakland, California |
| Nationality | American |
| Education | Philadelphia Museum School of Art, Certificate, 1935-39 Studies at Barnes Foundation, Merion, PA, Fellowship, 1939-44 Sacramento State University, B.A. 1958 University of California, Berkeley, CA, M.A., 1962 |
| Known for | Painting, Black Studies Curriculum, West Coast Black Arts Movement |
| Notable work | Resting, Guttersnipe, Rain, Freedom Morning, Raising the Cross, Black Arts Perspective, A Black Teachers Guide to a Black Visual Arts Curriculum |
| Spouse | Diama (Effie) Lockhart Clark |
| Website | www.claudeclarkart.com |
Claude Clark (November 11, 1915 – April 21, 2001) was an American painter, printmaker and art educator. Clark's subject matter was the diaspora of African American cul
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Claude Clark
1915-2001
Works in the Collection
Biography
Claude Clark was born in Rockingham, Georgia in 1915. In 1923, he and his family moved to Philadelphia, PA. From 1935-1939, Clark received a full scholarship to study at the Philadelphia Museum School of Industrial Art (later the University of the Arts), and in 1939, he enrolled in classes at the Barnes Foundation where he studied until 1944. Clark worked for the WPA from 1939-1942 and married Effie May Lockhart in 1943. In 1948, the couple moved to Talladega College in Alabama where Clark was offered a position as Associate Professor of Art. He won a Carnegie Fellowship in 1950 which allowed him to spend the summers in the Caribbean and Puerto Rico.
In 1955, Clark enrolled at Sacramento State University, earning his bachelor’s degree in 1958. He then attended the University of California at Berkeley, earning his Master of Arts grad in 1962. A few years later in 1967, Clark helped curate the first national African
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"As a child in the churches, the schools and the community, I dreamed of a destiny. My search became a single purpose for the dignity of Black Americans instead of attempting to solve the concerns of all humanity. Early on, I was convinced a creative spirit must soar beyond compartments of religion and politics. It was through the roots of African Art that I learned of the creative source of most Western art. As I stood near the Nile at Cairo and looked toward the Mediterranean in awe, I envisioned how the Greeks, Persians, Romans, etc., had sailed up the Nile, taking away the fine arts, sciences, history and other disciplines. There were records on paper, on stone, on walls in the temples that rivaled anything produced later in the Renaissance. Over the years, I have painted representative and figurative subjects. About thirty years ago, I was introduced to Non-Objective Expressionism. I didn't attempt abstract art in the 1930s, nor did I try |