The Harlem Renaissance is arguably one of the greatest landmarks in Black cultural history. As a place for African American creators to gain control of their representation, it instilled a renewed spirit of dignity, self-determination and allegiance to political activism.
Its impact on America – and eventually, on worldwide Black consciousness – was indelible. It redefined how people of other races viewed African Americans and understood the African American experience, but nevertheless, Black artists found it difficult to gain recognition in the art space at large.
Such was the case for Lois Mailou Jones (1905-1998), a prolific artist who shaped art, women’s and Black history by upholding Black art and the African diaspora throughout her decades-long career as a pioneer painter and educator. Her accomplishments are as much of a testimonial to her talent and passion as her refusal to allow discrimination to undermine her work or herself.
The Boston-born creator and longest-surviving artist of the Harlem Renaissance – often surrounded by prominent figures such as Carter G. Woodson, Langston Hughes and Josephine Baker – rose to fame while living in Paris during the 1930s and 1940s. Her remarkable story is spotlighted in the latest installment of “Soar Beyond the Expected,” a campaign sponsored by Martell Cognac (the oldest of the Big 4 Cognac Houses) in partnership with world-renowned artist Janelle Monáe to amplify the driving force of creative Black expression in the arts and in business through philanthropy and continuing education.
Inspired by Monáe’s illustrious influence across music, fashion and film, the brand launched the initiative in September 2021 to celebrate and inspire underrepresented creatives of color to push the boundaries of innovation and individualism. Through outlets in broadcast programming, social media and local workshops like that of a recent event sponsored by Martell and hosted by Monáe at Brooklyn’s black-owned art gallery, The Bishop Gallery, where a recreation of Jones’ historic ‘Little Paris Studio Group’ – a Parisian-style salon that gave up-and-coming Black artists the space to evolve artistically and personally, as Jones intended – are designed for today’s artists to draw vision and creativity.
In 1948, inspired by the movement and the Paris art scene, Jones returned stateside – and in Washington D.C., founded the Little Paris Studio Group, an atelier where local Black artists and students could thrive creatively. As large galleries refused works by Black artists, the Group would meet every week to create, critique artwork and hone their skills, serving as a way to cultivate and incentivize their craft. In the early 1940s, Jones herself would often seek to avoid race barriers by sending out her own paintings to out-of-town galleries and competitions in New York and Philadelphia without disclosing her race so that her work would be judged on merit only. Not until 1955 did she deem it safe to do so when she became the first Black elected to membership in the Society of Washington Artists.
Honored to join Martell in the campaign, Monáe, an innovator and creative disruptor in her own right, is committed to affecting positive change by connecting, producing mentorship, and remembering those – like Jones – who boldly redefine conventional processes so others will benefit: “It is important that we shine a spotlight on her [Jones] experiences and mission to build spaces like her historic salon, that are designed to uplift and create dialogue to inspire the future of creativity.”
In keeping with this spirit, Martell is investing in Monáe’s Fem the Future organization as well as the Restaurant Workers’ Community Foundation, to endow projects that continue to boost education and opportunities for BIPOC girls and women.
Doing so affords more new-age “salons” to be built – those where Black ingenuity advances – and aren’t forgotten.
