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 John Anansa Thomas Biggers  (1924 - 2001)

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Lived/Active: Virginia/Texas      Known for: narrative mural painting-African-American subjects
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This biography from the Archives of AskART:
Following are excerpts from The New York Times obituary, January 30, 2001, by Holland Cotter:


John Biggers, a painter, printmaker and sculptor known for his meticulous depictions of African and African-American life, died on Thursday at his home in Houston. He was 76.

The cause was a heart attack, said Carl Ards, Mr. Biggers's brother-in- law.

Mr. Biggers's art, often in the form of public murals, was grounded in the humanistic spirit and social realist narrative style of the 1930's and 40's. Over the years it grew increasingly emblematic, with figures and architectural forms arranged in intricate patterns that suggested quilts, African textiles and modernist geometric abstraction.

Mr. Biggers was born in Gastonia, N.C., in 1924, the youngest of seven children, in a house built by his father, a schoolteacher, farmer and Baptist minister.  In 1941 he enrolled at Hampton Institute, later Hampton University, in Virginia,  He intended to study plumbing, and included a boiler room drawing with his application. But in his first year, he enrolled in a class taught by the influential emigre art educator Viktor Lowenfeld, who became his mentor.

Lowenfeld included Mr. Biggers's mural Dying Soldier in "Young Negro Art," an exhibition of work by Hampton students at the Museum of Modern Art in 1943.  Mr. Biggers also studied at Hampton with Elizabeth Catlett and Charles White, who became his close friends.

After two years in the Navy, he entered Pennsylvania State University, where he earned a master's degree in art education in 1948 and a Ph.D. in 1954.  He also created a series of murals for the University.

In 1949 Mr. Biggers joined the faculty of Texas State University for Negroes in Houston, now Texas Southern University, where he established and was chairman of the art department.

He was awarded first prize in 1950 for his painting The Cradle at the annual exhibition at the Museum of Fine Arts in Houston.  Segregationist policies, however, allowed black visitors into the museum only on Thursdays, so he could not attend the show's opening.  Later he completed many public murals in Houston and elsewhere, including two in 1991 for Winston-Salem State University in North Carolina.  Most of his murals are still in place.

In 1957 Mr. Biggers and his wife, Hazel, spent six months traveling in Ghana, Benin, Nigeria and Togo on a Unesco grant to study Western African cultural traditions.  Afterward, African design motifs and scenes of African life became important parts of his work.  He returned to Africa in 1969, 1984 and 1987.

He had one-man exhibitions at the Houston museum (1962), the African-American Cultural Center in Dallas (1978), the California Museum of Afro- American History and Culture in Los Angeles (1983) and Hampton University Museum (1990).  In 1995 the Houston and Hampton museums organized a retrospective, "The Art of John Biggers: View from the Upper Room," that traveled to Boston, Hartford and Raleigh, N.C.

Mr. Biggers retired from Texas Southern University in 1983.  He was awarded an honorary doctor of letters degree from Hampton University in 1990.


Biography from Michael Rosenfeld Gallery:
Known for his narrative murals and outstanding draftsmanship, John Biggers dedicated his work to the depiction of the human condition. Born in Gastonia, North Carolina, he studied at Hampton Institute (1941-1946) - later renamed Hampton University - under Victor Lowenfeld and Charles White.

In 1943, Biggers’s mural "Dying Soldier" was featured in the Museum of Modern Art’s landmark exhibition "Young Negro Art", organized by Lowenfeld.

After serving in the United States Navy (1943-1945), he enrolled in Pennsylvania State University (where Lowenfeld had relocated), earning a B.S. and M.S. (1948), and Ph.D. (1954). In 1949, Biggers moved to Houston, Texas where he founded and then chaired the art department at Texas Southern University.

In 1950, he was awarded first prize at the annual exhibition of the Museum of Fine Arts in Houston for his painting, "The Cradle". In 1957, he traveled to Africa on a UNESCO grant to study Western African cultural traditions, becoming one of the first black artists to travel to Africa. This opportunity, which he described as “the most significant in my life’s experiences,” led to the publication of "Ananse: The Web of Life in Africa" (1961), a book of drawings and text based on his journeys in Ghana, Nigeria and other parts of Africa.

Whether drawing African women dancing or creating one of his twenty-seven public murals, Biggers drew inspiration from his ancestral heritage, African art, Southern black culture, nature, and everyday experiences. Often labeled a social realist for his figurative social commentary of the 1940s, Biggers did work continually evolved over five decades, and in 1995, the Museum of Fine Arts in Houston and Hampton University Art Museum organized his first comprehensive retrospective, exposing the depth of his oeuvre.

John Biggers died in 2001, leaving behind a body of work that, as Maya Angelou stated, “leads us through his expressions into the discovery of ourselves at our most intimate level.”

Michael Rosenfeld Gallery is the exclusive representative of the Estate of John Biggers.

Biography from Rogallery.com:
Often labeled as a Social Realist for his figurative social commentary of the 1940s, James Bigger did work that continually evolved over five decades, and in 1995, the Museum of Fine Arts in Houston and Hampton University Art Museum organized his first comprehensive retrospective exposing the depth of his oeuvre.

John Biggers died in 2001, leaving behind a body of work that, as Maya Angelou said, "leads us through his expressions into the discovery of ourselves at our most intimate level."

Master Artist, Educator, Author, and Mentor, John Biggers (b.1924) has been a major contributor to the evolution of American art and culture as well as the changing consciousness of the African American experience.  With a career spanning 50 years, this prolific artist continues to document the human experience with a rich universal visual language.

In 1957, Biggers was one of the first black American artists to visit Africa, sponsored by a UNESCO fellowship. The landmark painting, Jubilee: Ghana Harvest Festival was created by Biggers between 1959 and 1963 and has come to represent the artistic breakthrough of this period as well as Biggers' profound vision and consummate skill.

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John Biggers is also mentioned in these AskART essays:
Black American Artists



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