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Sergeant Carney and the Death of General Shaw
Artist:
Hale Aspacio Woodruff
(American,1900-1980)
Date: ca. 1942
Medium: Tempera on masonite
Dimensions:
Overall: 11 x 28 13/16 in. (27.9 x 73.2 cm)
Classification: Modern art
Credit Line: Gift of Mr. A. Ailon
Copyright: © Estate of Hale Woodruff / Artists Rights Society (ARS), New York
Object number: 83.595
Terms
- African-American Artist
- U.S. Civil War
- Death
- Battle
- South Carolina
- Blue
- White
- Green
- Brown
- Black
- Yellow
- Red
- Pink
- Multi-colored
- Atlanta, GA
On view
DescriptionThis is tempera on masonite panel. The foreground is dominated by men in various active positions wearing a blue uniform. This painting documents the storming of Fort Wagner in South Carolina by the black soldiers of the Fifty-Fourth Massachusetts Regiment during the Civil War. The man in the center, Sergeant Carney, is being supported by one of the soldiers as he dies under the waving American flag.
Exhibition History"Rising Up: Hale Woodruff's Murals at Talladega College," High Museum of Art, Atlanta, Georgia, June 2 – September 2, 2012; Indianapolis Museum of Art, Indianapolis, Indiana, March 23 – June 16, 2013; Birmingham Museum of Art, Birmingham, Alabama, July 20 – Octoboer 13, 2013.
Label textHale Aspacio Woodruff
American, 1900–1980
Sergeant Carney and the Death of General Shaw, ca. 1942
Tempera on masonite
This chaotic scene depicts the Civil War battle at Fort Wagner, South Carolina in which the war’s first regiment formed of African American soldiers demonstrated great courage in the face of harrowing fire and heavy losses. Sergeant William H. Carney (pictured at the center carrying the American flag) was born into slavery in Norfolk and fought as a free man for the Union cause. He was awarded the Medal of Honor for his bravery in battle. While many of the artworks that hang nearby were created during or immediately after the Civil War, Hale Woodruff created this painting honoring the 54th Massachusetts Infantry Regiment nearly seventy-five years after the war’s end. It was a model for a proposed mural in Washington, D.C. honoring the heroism of African Americans throughout U.S. history.
Gift of Mr. A. Ailon 83.595
American, 1900–1980
Sergeant Carney and the Death of General Shaw, ca. 1942
Tempera on masonite
This chaotic scene depicts the Civil War battle at Fort Wagner, South Carolina in which the war’s first regiment formed of African American soldiers demonstrated great courage in the face of harrowing fire and heavy losses. Sergeant William H. Carney (pictured at the center carrying the American flag) was born into slavery in Norfolk and fought as a free man for the Union cause. He was awarded the Medal of Honor for his bravery in battle. While many of the artworks that hang nearby were created during or immediately after the Civil War, Hale Woodruff created this painting honoring the 54th Massachusetts Infantry Regiment nearly seventy-five years after the war’s end. It was a model for a proposed mural in Washington, D.C. honoring the heroism of African Americans throughout U.S. history.
Gift of Mr. A. Ailon 83.595
Published References
Brady Dyer, "A Great American Artist is Acknowledged," _The Chrysler_ (January/February 2004): cover detail, 4.
Martha N. Hagood and Jefferson C. Harrison, _American Art at the Chrysler Museum: Selected Paintings, Sculpture, and Drawings_ (Norfolk, Va.: Chrysler Museum of Art, 2005), 182-183, no. 115. ISBN: 0-940744-71-6
Stephanie Mayer Heydt, _Rising Up: Hale Woodruff's Murals at Talladega College_ (Atlanta: High Museum of Art, 2012), 42-43.
Provenance
Gift of Mr. A. Ailon to The Chrysler Museum, 1983.
Catalogue EntryHale Woodruff
Cairo, Ill. 1900-1980 New York, N.Y.
The Death of Crispus Attucks, c. 1934
Tempera on panel, 17 1/8 × 11 1/16 in. (43.5 × 28.1 cm)
Signed lower left: H. WOODRUFF
Inscribed on reverse: The Death of Crispus Attucks
Battle of Lake Erie, c. 1934
Tempera on panel, 11 1/4 × 11 in. (28.6 × 27.9 cm)
Signed lower left: H. WOODRUFF
Inscribed on reverse: Battle of Lake Erie
H.W.
Negroes with Jackson at New Orleans, c. 1934
Tempera on panel, 11 × 28 7/8 in. (27.9 × 73.3 cm)
Signed lower right: H WOODRUFF
Inscribed on reverse: "Negroes with Jackson at New Orleans"
study for mural
H.W.
Sergeant Carney and the Death of General Shaw, c. 1934
Tempera on panel, 11 × 28 13/16 in. (27.9 × 73.2 cm)
Signed lower right: H. WOODRUFF
Inscribed on reverse: Sgt. Carney + the
Death of Gen'l Shaw
Gift of Mr. A. Ailon, 82.95, 83.593-595, respectively
Reproductions © Estate of Hale Woodruff/Elnora Inc.; Courtesy of Michael Rosenfeld Gallery, LLC, New York, N.Y.
As a young art student in Indianapolis, Hale Woodruff was among the first artists to receive support from the Harmon Foundation, an organization devoted to recognizing African-American achievement. The publicity and prestige that attended his 1926 award helped him raise money for his first trip to Europe. An aspiring modernist, he spent four years abroad, most of it in Paris, where he took special interest in the paintings of Cézanne and the Musée de l'Homme's collections of African sculpture; he also sought out the elderly expatriate painter Henry Ossawa Tanner, the first black American elected to the National Academy of Design in New York.
Woodruff returned to the United States in 1931 and joined the faculty of Spelman College in Atlanta, a liberal arts school for black women that is now part of Atlanta University Center. He spent the Depression teaching in segregated Atlanta, where he mounted continuous shows by black artists in the college library, acquired five thousand teaching slides with help from the Carnegie Foundation, and challenged the High Museum of Art to admit him and his students to its galleries.
In the summer of 1934 Woodruff spent six weeks in Mexico as an unpaid assistant to mural painter Diego Rivera, the leader of a vigorous, revolutionary public-art movement in that country. When Americans were called upon to decorate schools, post offices, and courthouses for the New Deal's public art projects, Mexican muralists like Rivera were their mentors. Rivera's monumental paintings glorifying the history of the Mexican people served as a practical guide for Woodruff's work.
The Chrysler's paintings were probably made not long after Woodruff's return from Mexico, during a period when he also painted murals for an Atlanta high school and the Atlanta School of Social Work. Stylistically and thematically they evoke his most famous project, the 1936-39 Amistad murals for Talladega College in Alabama. That three-panel series documents an 1839 slave ship rebellion and ensuing events, including a trial that advanced the abolitionist cause in the United States.
The compositions in the Chrysler's four panels, like the Amistad murals, are built around powerful, stylized figures enacting violent yet stirring events; the tightly compressed narratives are enriched with detail drawn from historical accounts, engravings, and earlier paintings. Each panel illustrates the heroism of African-Americans in battle. The first, The Death of Crispus Attucks, represents the martyrdom of an African-American at the 1770 Boston Massacre, a prelude to the Revolutionary War. Battle of Lake Erie and Negroes with Jackson at New Orleans are episodes in the War of 1812. The final panel, Sergeant Carney and the Death of General Shaw, documents the storming of Fort Wagner in South Carolina by the black soldiers of the Fifty-Fourth Massachusetts Regiment during the Civil War. The paintings' irregular proportions indicate that they may have been designed to fit a specific location, but they are not mentioned in the published literature on Woodruff's career, and no further documentation has yet come to light.
MNH
Martha N. Hagood and Jefferson C. Harrison, _American Art at the Chrysler Museum: Selected Paintings, Sculpture, and Drawings_ (Norfolk, Va.: Chrysler Museum of Art, 2005), 182-183, no. 115.
Cairo, Ill. 1900-1980 New York, N.Y.
The Death of Crispus Attucks, c. 1934
Tempera on panel, 17 1/8 × 11 1/16 in. (43.5 × 28.1 cm)
Signed lower left: H. WOODRUFF
Inscribed on reverse: The Death of Crispus Attucks
Battle of Lake Erie, c. 1934
Tempera on panel, 11 1/4 × 11 in. (28.6 × 27.9 cm)
Signed lower left: H. WOODRUFF
Inscribed on reverse: Battle of Lake Erie
H.W.
Negroes with Jackson at New Orleans, c. 1934
Tempera on panel, 11 × 28 7/8 in. (27.9 × 73.3 cm)
Signed lower right: H WOODRUFF
Inscribed on reverse: "Negroes with Jackson at New Orleans"
study for mural
H.W.
Sergeant Carney and the Death of General Shaw, c. 1934
Tempera on panel, 11 × 28 13/16 in. (27.9 × 73.2 cm)
Signed lower right: H. WOODRUFF
Inscribed on reverse: Sgt. Carney + the
Death of Gen'l Shaw
Gift of Mr. A. Ailon, 82.95, 83.593-595, respectively
Reproductions © Estate of Hale Woodruff/Elnora Inc.; Courtesy of Michael Rosenfeld Gallery, LLC, New York, N.Y.
As a young art student in Indianapolis, Hale Woodruff was among the first artists to receive support from the Harmon Foundation, an organization devoted to recognizing African-American achievement. The publicity and prestige that attended his 1926 award helped him raise money for his first trip to Europe. An aspiring modernist, he spent four years abroad, most of it in Paris, where he took special interest in the paintings of Cézanne and the Musée de l'Homme's collections of African sculpture; he also sought out the elderly expatriate painter Henry Ossawa Tanner, the first black American elected to the National Academy of Design in New York.
Woodruff returned to the United States in 1931 and joined the faculty of Spelman College in Atlanta, a liberal arts school for black women that is now part of Atlanta University Center. He spent the Depression teaching in segregated Atlanta, where he mounted continuous shows by black artists in the college library, acquired five thousand teaching slides with help from the Carnegie Foundation, and challenged the High Museum of Art to admit him and his students to its galleries.
In the summer of 1934 Woodruff spent six weeks in Mexico as an unpaid assistant to mural painter Diego Rivera, the leader of a vigorous, revolutionary public-art movement in that country. When Americans were called upon to decorate schools, post offices, and courthouses for the New Deal's public art projects, Mexican muralists like Rivera were their mentors. Rivera's monumental paintings glorifying the history of the Mexican people served as a practical guide for Woodruff's work.
The Chrysler's paintings were probably made not long after Woodruff's return from Mexico, during a period when he also painted murals for an Atlanta high school and the Atlanta School of Social Work. Stylistically and thematically they evoke his most famous project, the 1936-39 Amistad murals for Talladega College in Alabama. That three-panel series documents an 1839 slave ship rebellion and ensuing events, including a trial that advanced the abolitionist cause in the United States.
The compositions in the Chrysler's four panels, like the Amistad murals, are built around powerful, stylized figures enacting violent yet stirring events; the tightly compressed narratives are enriched with detail drawn from historical accounts, engravings, and earlier paintings. Each panel illustrates the heroism of African-Americans in battle. The first, The Death of Crispus Attucks, represents the martyrdom of an African-American at the 1770 Boston Massacre, a prelude to the Revolutionary War. Battle of Lake Erie and Negroes with Jackson at New Orleans are episodes in the War of 1812. The final panel, Sergeant Carney and the Death of General Shaw, documents the storming of Fort Wagner in South Carolina by the black soldiers of the Fifty-Fourth Massachusetts Regiment during the Civil War. The paintings' irregular proportions indicate that they may have been designed to fit a specific location, but they are not mentioned in the published literature on Woodruff's career, and no further documentation has yet come to light.
MNH
Martha N. Hagood and Jefferson C. Harrison, _American Art at the Chrysler Museum: Selected Paintings, Sculpture, and Drawings_ (Norfolk, Va.: Chrysler Museum of Art, 2005), 182-183, no. 115.
