![]() ![]() ![]() Writing of an earlier reunion, at the Whitney Museum of American Art in 1974, Hilton Kramer noted that The moving power of this dynamic work is revealed every time the series is reunited-most recently in “One-Way Ticket,” the exhibition that was on view at moma in 2015. Lawrence was just twenty-three years old. The odd numbered panels went to Washington’s Phillips Collection the evens went to New York’s Museum of Modern Art. After showing at Edith Halpert’s Downtown Gallery-Lawrence was the first black American to be represented by a New York gallery-the series was acquired in its entirety through a joint institutional purchase. Sponsored by the Rosenwald Foundation, the series of 1940–41 launched Lawrence from the 135th Street Branch of the New York Public Library, where he conducted his historical research, to national acclaim. Accompanied by Lawrence’s tightly researched narrative, which supplies the title for each panel, the distilled forms tie the compositions together while connecting the episodes into a unified and abstracted whole. Painted all at once, color by color, the episodic panels present the early twentieth-century movement of black Americans from the rural South to the industrial North as a puzzle of dynamic shapes and vibrant hues. ![]() W here could Jacob Lawrence go after “The Migration Series”? Lawrence’s trailblazing work of sixty paintings, originally called “The Migration of the Negro,” pulled together the story of the Great Migration into a visual American epic. ![]()
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