Relate to Your Heritage
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Object Label
John La Farge modeled these four robed figures with delicate graphite strokes that create subtle silvery tonalities well suited to the ethereal subject matter—a scene from the Bible’s book of Revelation in which an angel places seals on God’s faithful servants to designate them for salvation.
A multitalented artist, La Farge is best known for his stained glass and mural painting. Drawing played a crucial role in such decorative projects, and this sheet was a study for a stained-glass window in Trinity Church in Buffalo, New York.
Caption
Barbara Jones-Hogu American, 1938–2017. Relate to Your Heritage, 1971. Color screenprint, sheet: 34 x 43 in. (86.4 x 109.2 cm) image: 30 1/4 x 38 1/4 in. (76.8 x 97.2 cm) frame: 41 × 49 × 1 3/4 in. (104.1 × 124.5 × 4.4 cm). Brooklyn Museum, Gift of R.M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange, Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund, 2012.80.26. © artist or artist's estate (Photo: Brooklyn Museum, 2012.80.26_PS6.jpg)
Gallery
Not on view
Collection
Gallery
Not on view
Collection
Artist
Title
Relate to Your Heritage
Date
1971
Medium
Color screenprint
Classification
Dimensions
sheet: 34 x 43 in. (86.4 x 109.2 cm) image: 30 1/4 x 38 1/4 in. (76.8 x 97.2 cm) frame: 41 × 49 × 1 3/4 in. (104.1 × 124.5 × 4.4 cm)
Signatures
Unsigned as intended
Credit Line
Gift of R.M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange, Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund
Accession Number
2012.80.26
Rights
© artist or artist's estate
The Brooklyn Museum holds a non-exclusive license to reproduce images of this work of art from the rights holder named here. The Museum does not warrant that the use of this work will not infringe on the rights of third parties. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act. For further information about copyright, we recommend resources at the United States Library of Congress, Cornell University, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums, and Copyright Watch. For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright. If you have any information regarding this work and rights to it, please contact copyright@brooklynmuseum.org. If you wish to contact the rights holder for this work, please email copyright@brooklynmuseum.org and we will assist if we can.
Frequent Art Questions
Why is the light on these artworks so much darker than the light on other art in this gallery?
You're very perceptive. Works on paper, like these prints (watercolors would also fall into this category) are very sensitive to light and fade very easily. The light is kept low to help preserve the artworks. Works on paper cannot be exposed to light for long periods of time either. After this exhibition they will be returned to dark storage to "rest."Okay. Thank you. I noticed the dresses are displayed nearby. Does fabric have the same light issues?Textiles do share a lot of the same concerns. Temperature and humidity are also major considerations.What is this cross?
This cross-like symbol is called an ankh and it originated in ancient Egypt where it was a symbol of life. It was adopted by the Black Power Movement mostly as a sign of their connection to Africa.Thank you!I'd like to know more about this work of art and the printmaking-as-protest movement.
As a part of the new aesthetic of the Black Arts Movement, artists incorporated African cultural imagery using "Cool Ade" colors, named after the popular drink, to attract and relate to audiences comprised of community members and everyday people. Coupled with a social message, printmaking became a fast and relatively inexpensive way to disseminate political messaging. As these artist weren't necessarily institutionally supported at the time they found other means of exposure.Posters were not only easy to mass produce, but also easy to consume. This was affordable art that was available at exhibitions, book stores, galleries, and art fairs for $10 leading to a quick and wide distribution of the images.Who is the artist behind this piece?
The artist behind this piece is Barbara Jones-Hogu. Jones-Hogu was part of the AfriCOBRA coalition, a group who used bright colors and accessible printmaking techniques in their work, which focused, among other things, on concepts of community.
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