MS01.01.03.B02.F23.088

Arthur A [s???????] Portrait Prize of $100 in [1933?].
Cultural context of objects But she
brushed aside Porter's criticism within three years later,
[nation of exhibition [illegible] [illegible] as he says the [illegible] [illegible] [illegible]]
[the foundation] of the Foundation's policy of
not exercising high [O]
aesthetic standards in its exhibitions Program. [*3*]
Regarding the Harmon exhibitions, Porter
wrote:

[Left margin: * She never ceased to [comment on]
with their art interest, often questioning
the seriousness of
their involvement
in art related
decisions and
events.]

In connection with these awards for "Negro Achievement in
the Fine Arts," it is impossible to set forth a definite theory of
the juries chosen by the Harmon Foundation. At times mem-
bers of these juries did counsel the Negro artist to exploit the
"racial concept," whatever that may be, and to strive for racial
feeling.^10 But the work offered was not technically or subjectively
homogenous. Both the absence in the Foundation officials of
a dogmatism on this question and the breadth of the Negro
artist's topical interest acted as a check on the preconceptions
of the jury committees, so that in all the Harmon exhibits the
competently mature was hung alongside the naïve and experi-
mental, modernism was juxtaposed with sober traditionalism.
One charge that can be brought against some of these exhibits
displayed from 1927 to 1933 is that of a too liberal taste in sub-
ject matter and too little concern for execution. There was always
an ample section of popular painting of the kind that unpleas-
antly suggests tawdry calendar landscapes and portraits. But
fortunately, intelligent work nearly always dominated the shows.

¢ Brady would neither forget nor forgive Porter, Locke or [trailing into right margin: *whomever called into question
the August workings of the one
organization to which she had
devoted her entire adult life*]
Although [Brady] she kept a close watch on the pool of recipients
who received the [of] Awards, including Porter, and maintained an interest
in the work of Locke ad Howard University
until his death in 1954, * [But Based]
[on the correspondence] Brady [carried on] corresponded
with a number of individuals over the
years, including this [?????] expressing her feelings about persons she felt did not understand fully the mission of the Foundation [may be] inclined to believe
that [Brady] she continued to be suspicious of
Locke's philosophy of art. suggesting that
he always went against the grain of
the Foundation's aesthetic directions as
late as 1965, [Brady] she [wrote] conveniently

[drawing: circled number 31] James A. Porter's book Modern Negro Art was within thesis form as
a requirement for the Master of Art in Art history at the Fine Arts Graduate
[drawing: circled numer 32] Center of New York University ( Institute of Fine Arts )
[James A] Porter, James, A. Modern Negro Art ( New York: The Drydew Press, 1943), P.107