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You’ve heard their names. Jacob Lawrence. Charles Alston. Romare Bearden. Norman Lewis. These names have become iconic within the world of African American art.

However, many have not heard of the painter, graphic artist, illustrator, and educator who worked closely with all of them, Ernest Crichlow. Born in Brooklyn, NY in 1914 to Bajan immigrants, Crichlow worked with Alston and Lawrence in the 1930s upon joining the Harlem Artists Guild, an organization backed by the Works Progress Administration (WPA) in an effort to employ artists during the Depression. The impact of the program and its associated artistic collaborations on Crichlow was transformative as he thrived in what he believed to be its “essential” offerings for struggling artists, particularly those of color.  Accordingly, he once characterized the WPA as “the greatest stimulant the American art scene had ever had. It meant something to be an artist then. The WPA was our haven and offered us a real entrée into what was happening. We had a lot of hope . . . Before that, very few of us had anything resembling a real art education.”

Crichlow’s paintings largely focused on his Brooklyn neighborhood and its inhabitants. He loved to capture the range of emotions his subjects expressed and was particularly committed to the depiction of Black women for their confidence and beauty at a time when society did not attribute such aspects to them. Crichlow also used his art to point to the precarious state Black women found themselves in.

In his 1938 work, Lovers, he ironically depicted a Black woman being attacked in her bedroom by a hooded Klan member who, apparently, intends to rape her. The woman desperately struggles to fight off her attacker as represented by her thrashing arms and an overturned chair. Key to this image, and its more general symbolism of the hostile southern climate for Black women, is how the klansman’s robe reveals a striped pant leg beneath, a representation of business attire and status.

Ernest Crichlow
Lovers, 1938
Sale Date: December 4, 2021

Ever a supporter of his fellow Black artists, Crichlow was known to collaborate with his peers artistically and organizationally. In 1969, along with Bearden and Lewis, he cofounded Cinque Gallery, an institution committed to supporting and championing Black artists.

Crichlow’s artwork was regularly shown in leading American art galleries and, toward the end of his career, he was honored by President Jimmy Carter.

Ernest Crichlow died in 2005 in his beloved Brooklyn.

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Stephanie Robinson, Esq. is a Lecturer on Law at Harvard Law School, a national media figure, author, former Chief Counsel to Senator Edward M. Kennedy, and former President and CEO of The Jamestown Project, a national think tank focusing on democracy. Ms. Robinson hosted her own national radio show, Roundtable with Stephanie Robinson, a popular weekly 30-minute, talk-radio program focused on culture, politics, and relationships that aired on TSN. For over half a decade, Ms. Robinson was Political and Social Commentator for the Tom Joyner Morning Show where she spoke to between 9 and 10 million people weekly, offering her perspective on the day’s most pressing social and political issues.

Robinson is co-author of Accountable: Making America as Good as Its Promise, (Atria Books, 2009). She is a nationally recognized expert on issues relating to social policy, women, race, family, and electoral politics. She was featured as one of the 30 Young Leaders of the Future in Ebony Magazine and was profiled in the book As I Am: Young African American Women in a Critical Age, by Julian Okwu. Robinson is a frequent speaker expressing her views in countless media outlets including the Associated Press, The Washington Post, C-Span, Fox News, NewsOne and NPR.

Stephanie was a Member of President Clinton’s first Mission to Africa regarding children orphaned by AIDS. Robinson, a magna cum laude graduate of the University of Maryland and the Harvard Law School, is a native of Steubenville, Ohio. She lives in Massachusetts with her husband and two sons.

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