An Overview And Study Of Derrick Jackson Art Essay

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If there is any kind of profession that's gotten away with a kind of benign neglect of diversifying itself over the course of last 30 years, it's architecture, says Ted Landsmark, president of the Boston Architectural College and was formally the Dean of Graduate and Continuing Education at the Massachusetts College of  Art. During African Americans first big cultural renaissance known as the Harlem Renaissance, Black architects were not represented nationally as their artistic counter parts some even suggest that they were “missing” or “invisible”. For the purpose of this assignment, I will discuss the significance of the African American architects, their work, aspects of design, source of inspiration and how their skills and creative scope the history and present of Black and all of America culture.

The Invisible Trio, which consists of Julian Francis Abele, Hilyard Robinson, and Paul R. Williams were all Black architects in America during the twentieth century whose works of art range from historic museums to designing dwellings for famous entertainers. These African American architects gain their title for the non -credit, and recognition that were or should I say were not given to them. Julian F. Abele, own designs were credited to the name of another man in which his artistic abilities were never fully exposed nor credited hence making him a member of the Invisible Trio and erecting me to evaluate the legacy and work of Julian Abele. Mr. Julian Abele was a prominent African-American architect, and the chief designer in the offices of architect Horace Trumbauer. His

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Derrick Jackson

Art Appreciation

May 16, 2010

most inspired contributing includes the design of the Philadelphia Museum of Art, and much of the campus of Duke University.  u8Born in Philadelphia, April 29, 1881 Julian Abele attended the Quaker-run Institute for Colored Youth, which later became Cheney University, where he perfected in math and was chosen to deliver the commencement address. In 1898, he completed a two-year architectural drawing course at the Pennsylvania Museum School of Industrial Art  Following PMSIA, Abele became the first black architecture graduate of the University of Pennsylvania's Department of Architecture in 1902. His undergraduate career was distinguished by a number of awards which recognized both his design and rendering abilities, including a first prize for the Pretty Memorial of 1902, the Haverford Memorial Gateway (1901), the Arthur Spayd Brook Memorial (also 1902), and the T-Square Club membership prize. Abele's work often appeared in the annual exhibitions held by member societies of the Architectural League of New York. In 1901, he exhibited at the Toronto Architectural Club (A Loggia in a Park); in 1901/02 his design for a bird house appeared in the T-Square Club annual exhibition; and in 1903, after graduation, his work was included in the Pittsburgh Architectural Club's annual show (A Metropolitan Cathedral). Abele also attended classes in architectural design at the Pennsylvania Academy of the Fine Arts. After his studies in the States, Abele travelled to Europe to study even more at the Ecole Des Beaux Arts in Paris, Abele spent a great amount of time in France and Italy, an influence that was to direct his design work throughout his life. Abele additionally listed travel to England, Germany, Switzerland, and Spain on his

Derrick Jackson

Art Appreciation

May 16, 2010

application for membership in the American Institute of Architects. After his return from aboard Abele joined many organizations and firms, one in which he became assistant to the chief designer of a Philadelphia architect. Abele excelled so rapid to which once the chief designer left he advanced to that position which he held until his death 1938.

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There are two many buildings that I will focus on throughout the life time of work Mr. Abele contributed to our nation one in the Philadelphia Museum of Art and the other is the Chapel at Trinity University in Durham, N.C. which was later renamed Duke University. The Duke University Chapel is a chapel located at the center of the campus of Duke University in Durham, North Carolina It is an ecumenical Christian chapel and the center of religion at Duke, and has connections to the United Methodist Church. Constructed from 1930 to 1932, the Chapel seats about 1,800 people and stands 210 feet tall, making it one of the tallest buildings in Durham. It is built in the English Gothic style, which is a design method Abele believed to have pick up in Europe overwhelms the building by its large stones, pointed arches, and ribbed vaults. It also has a 50-bell carillon and three pipe organs, one with 5,033 pipes and another with 6,900 pipes. Renaissance artist who considered the style crude and barbaric first called one of the major medieval periods Gothic. Gothic style first conceived in 1147 by a French cleric who views artistic beauty inspires faith. The exterior design of this sculpture displays stone tracery and abstract decorative designs. Carved on the ornate entrance to the Chapel are ten figures important to Methodism, Protestantism, and the American South. On the outer arch above the portal is

Derrick Jackson

Art Appreciation

May 16, 2010

three carved figures pivotal to the American Methodist movement. On the left wall within the entrance portal are carved (from left to right) Girolamo Savonarola, Martin Luther and John Wycliffe. On the right wall are Thomas Jefferson, political leader of the South; Robert E. Lee, soldier of the South; and Sidney Lanier, poet of the South. John Wesley, founder of Methodism, stands atop the inner arch within the portal, directly above the Chapel doors On Lee's carving, the Italian sculptors inscribed 'US' on the belt buckle; it was partially chiseled away since Lee was a Confederate general but is still visible. For the interior use, Duke Chapel is cruciform with a nave that measures 291 ft. long, 63 ft. wide, and 73 ft. high. The walls and vaults of the nave and transepts are constructed from Guastavino tile, which is the “Tile Arch System”. A technique for constructing robust, self-supporting arches and architectural vaults using interlocking terracotta tiles and layers of mortar to form a thin skin, with the tiles following the curve of the roof as opposed to horizontally or perpendicular to the curve as in Roman vaulting. In 1976 the tile were sealed to increase the sound reverberation and enhance the sound of the organ. The Chapel also houses a Memorial Chapel and a crypt, which is a stone chamber or vault beneath the floor of the church usually used as a chapel or burial vault. The windows of the Memorial Chapel are made from silver-tinted grisaille glass, and those in the crypt are of purple glass framed in lead grilles. The stained glass is another Gothic signature touch, which was installed later. Along with the ability to utilize what Julian Abele learns through his years of studies, his travels also reflect his creativity expression on this sculpture.

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Derrick Jackson

Art Appreciation

May 16, 2010

The Philadelphia Museum of Art is the second building I will evaluate that Mr. Julian Abele design in his remarkable career. The museum is among the largest art museums in the United States. It is located at the west end of the Benjamin Franklin Parkway in Philadelphia's Fairmount Park. Originally called the Pennsylvania Museum and School of Industrial Art, its founding was inspired by the South Kensington Museum now the Victoria and Albert Museum in London, which grew out of the Great Exhibition of 1851. The quasi-Greek Revival design was produced by Horace Trumbauer, the president of the firm for  whom Mr. Abele worked. The Greek revival was an architectural movement of the late 18th and early 19th centuries, predominantly in Northern Europe, which has a similar post and lintel with a new sense of balance, more similar to the Parthenon of Athens, Greece. The columns rise from the steps as if you a entering some sort of kingdom distinguished for royalty. Sculptures and buildings like these will forever have an everlasting impression with the viewer as well as an eternal place in the history of art.