Reading Reflection 2
Caleb Q
Painted in 1912, this portrait for the Crisis magazine, details a woman leaving a house with a baby in her arms (Robert S. Cox Special Collections and University Archives Research Center, n.d.). The painter is William Farrow, someone who through further research does not appear to have an image or much information. The aforementioned lack of data acknowledges the erasure of Black culture, something that is pointed out within "Of Our Spiritual Strivings" (Du Bois, 2018a). Du Bois mentions "falling stars" that "die sometimes before the world has rightly gauged their brightness,” reinforcing the concept that Black people were intentionally forgotten about (2018a, p. 4). Farrow can be thought of as one of the "falling stars," for he has great talent that may never be praised to the full extent (2018a, p. 4).
References:
Magazine Title
The title of this magazine can reveal the dark situation many Black Americans were in during the 1900s (Farrow, 1912; see also Robert S. Cox Special Collections and University Archives Research Center, n.d.). Looking at "The Souls of White Folk," there are concerns of "murder" and "killing" amongst Black people during this period, which the title emulates with the use of the word "Crisis" (Du Bois, 2007, para. 10; Farrow, 1912). The fact that the title is also in all caps demonstrates a sense of urgency and exhibits a necessary call to action (Farrow, 1912). Du Bois is no stranger to initiating an alarm. His use of the words "must" (Du Bois, 2018b, p. 53) and "duty" (p. 57) within "Of Mr. Booker T. Washington and Others," emphasize his strong tone and commandment of the reader to act upon their own rights (2018b).
Du Bois also advocates for "a firm adherence to . . . higher ideals" (2018b, p.53), something that is appropriately conveyed through the bold and somewhat intimidating font (Farrow, 1912). The title is one of the first things that draws the reader into the painting (Farrow, 1912), and this lines up with keeping a clear and organized goal that will one day be achieved (Du Bois, 2018b). The bold font acts as a reminder to not cast aside Black peoples' "reasonable rights," and to ultimately upkeep the fight for a better future (Du Bois, 2018b, p. 53; Farrow, 1912).
Woman in White
The use of white within the painting (Farrow, 1912) feels significant to combat how Black people were thought of during the times of segregation, slavery, and when they faced ultimate prejudice (see also Du Bois, 2018a, p. 4; Robert S. Cox Special Collections and University Archives Research Center, n.d.). The use of white in clothing and imagery can be considered virtuous and clean, which feels purposeful to oppose the harmful ideas that Black people are dirty and shameful. Black people have experience with stereotypes of being "dirty," and this can be seen within the Origin movie, where a Black boy is not able to go into the pool with worries of polluting the water (DuVernay, 2023, 01:58:00). Both the movie and this image also portray a sense of betrayal and ostracization. The image can be interpreted as a Black woman escaping from an unwelcomed house (Farrow, 1912), while the movie shows a boy being cast aside from an unwelcomed pool (DuVernay, 2023, 01:58:00). Du Bois further holds ties to the portrait with his own story of blatant racism provided in "Of Our Spiritual Strivings" (2018a). The woman's head appears down (Farrow, 1912), and this could be interpreted as shame and embarrassment, similar to what Du Bois must have felt when someone "refused" him a card with a "glance" (2018a, p. 2). Both the words "refused" and "glance" elicit strong emotional negativity, and the posture of the women helps to emulate how this would be portrayed by the body (Du Bois, 2018a, p. 2; Farrow, 1912).
The Season
The magazine cover being allotted a slot for the spring season feels intentional (Farrow, 1912). Spring is connected to growth, something that is related to the arguments presented by Du Bois (2018b, p. 53). The scholar acknowledges that change is not going to come overnight, and this connects to the spring and how flowers take time to flourish (Du Bois, 2018b, p. 53). Du Bois claims in "Of Mr. Booker T. Washington and Others," that Black people "must insist continually," and that change will not come "at the blast of a trumpet," connecting nicely to how the growing of plants and flowers takes time (2018b, p. 53).
The Haze
Something that stands out within this portrait is the mask of dark colors adorning the page (Farrow, 1912). The haziness of the portrait by Farrow (1912) feels connected to the "veil" experienced by Du Bois in "Of Our Spiritual Strivings," revealing how Black people feel "shut out from" the "world" (2018a, p. 2). The dark hues portray a sense of heaviness, almost as if there is a kind of "veil" covering the page, which further reveals a sense of uneasiness (Du Bois, 2018a, p. 2; Farrow, 1912). Haze is also related to the unknown, something experienced by Black people during enslavement. There is a moment in the Origin movie where slaves are screaming as they are taken off a ship, showcasing their fear of the undetermined and what is going to happen to them (DuVernay, 2023, 01:53:30).
Connected to the unknown is ambiguity, which the haze further helps to convey. The smoky aspect along with the lack of features present on the body of the woman help to make the piece of art relatable to all (Farrow, 1912). The woman does not look like one single person, and so any Black woman could look at the cover and connect to the sense of loneliness and possible hardship felt by the figure. Black people have continuously faced "strife" (Du Bois, 2018a, p. 3), and the inclusion of the blur (Farrow, 1912) ultimately does a good job of alluding to the sullen nature experienced by Black communities.
The Baby
Something else significant about the woman is that she is carrying a White baby in her arms (Farrow, 1912). The fact that the woman is Black and the baby is White could be alluding to the idea that a large part of the reason why White people felt successful during the 1900s, and the centuries preceding, was likely due to the work of Black people (Du Bois, 2007, lines 37–38). Du Bois calls attention to this idea in "The Souls of White Folk," where in "The Riddle of the Sphinx" poem at the end of the chapter he states, "Who raised the fools to their glory, But black men" (2007, lines 37–38). The portrait could possibly be commenting on this stance of power, for it appears that the Black woman is the one who is helping to raise the baby and provide for it (Farrow, 1912). The Black woman is likely the one who is doing all of the work while others have the chance to relax and not worry. Based on Du Bois' mention of the work of Black people (2007, lines 37–38), I wonder if it was intentional to use a different race for the baby (Farrow, 1912). I wonder if it was used to illustrate the idea that Black people were the ones who fostered the growth of the nation and what it has come to today (Du Bois, 2007, lines 37–38; Farrow, 1912).
Reading Reflection 2
Caleb Quinn
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Transcript
Reading Reflection 2
Caleb Q
Painted in 1912, this portrait for the Crisis magazine, details a woman leaving a house with a baby in her arms (Robert S. Cox Special Collections and University Archives Research Center, n.d.). The painter is William Farrow, someone who through further research does not appear to have an image or much information. The aforementioned lack of data acknowledges the erasure of Black culture, something that is pointed out within "Of Our Spiritual Strivings" (Du Bois, 2018a). Du Bois mentions "falling stars" that "die sometimes before the world has rightly gauged their brightness,” reinforcing the concept that Black people were intentionally forgotten about (2018a, p. 4). Farrow can be thought of as one of the "falling stars," for he has great talent that may never be praised to the full extent (2018a, p. 4).
References:
Magazine Title
The title of this magazine can reveal the dark situation many Black Americans were in during the 1900s (Farrow, 1912; see also Robert S. Cox Special Collections and University Archives Research Center, n.d.). Looking at "The Souls of White Folk," there are concerns of "murder" and "killing" amongst Black people during this period, which the title emulates with the use of the word "Crisis" (Du Bois, 2007, para. 10; Farrow, 1912). The fact that the title is also in all caps demonstrates a sense of urgency and exhibits a necessary call to action (Farrow, 1912). Du Bois is no stranger to initiating an alarm. His use of the words "must" (Du Bois, 2018b, p. 53) and "duty" (p. 57) within "Of Mr. Booker T. Washington and Others," emphasize his strong tone and commandment of the reader to act upon their own rights (2018b).
Du Bois also advocates for "a firm adherence to . . . higher ideals" (2018b, p.53), something that is appropriately conveyed through the bold and somewhat intimidating font (Farrow, 1912). The title is one of the first things that draws the reader into the painting (Farrow, 1912), and this lines up with keeping a clear and organized goal that will one day be achieved (Du Bois, 2018b). The bold font acts as a reminder to not cast aside Black peoples' "reasonable rights," and to ultimately upkeep the fight for a better future (Du Bois, 2018b, p. 53; Farrow, 1912).
Woman in White
The use of white within the painting (Farrow, 1912) feels significant to combat how Black people were thought of during the times of segregation, slavery, and when they faced ultimate prejudice (see also Du Bois, 2018a, p. 4; Robert S. Cox Special Collections and University Archives Research Center, n.d.). The use of white in clothing and imagery can be considered virtuous and clean, which feels purposeful to oppose the harmful ideas that Black people are dirty and shameful. Black people have experience with stereotypes of being "dirty," and this can be seen within the Origin movie, where a Black boy is not able to go into the pool with worries of polluting the water (DuVernay, 2023, 01:58:00). Both the movie and this image also portray a sense of betrayal and ostracization. The image can be interpreted as a Black woman escaping from an unwelcomed house (Farrow, 1912), while the movie shows a boy being cast aside from an unwelcomed pool (DuVernay, 2023, 01:58:00). Du Bois further holds ties to the portrait with his own story of blatant racism provided in "Of Our Spiritual Strivings" (2018a). The woman's head appears down (Farrow, 1912), and this could be interpreted as shame and embarrassment, similar to what Du Bois must have felt when someone "refused" him a card with a "glance" (2018a, p. 2). Both the words "refused" and "glance" elicit strong emotional negativity, and the posture of the women helps to emulate how this would be portrayed by the body (Du Bois, 2018a, p. 2; Farrow, 1912).
The Season
The magazine cover being allotted a slot for the spring season feels intentional (Farrow, 1912). Spring is connected to growth, something that is related to the arguments presented by Du Bois (2018b, p. 53). The scholar acknowledges that change is not going to come overnight, and this connects to the spring and how flowers take time to flourish (Du Bois, 2018b, p. 53). Du Bois claims in "Of Mr. Booker T. Washington and Others," that Black people "must insist continually," and that change will not come "at the blast of a trumpet," connecting nicely to how the growing of plants and flowers takes time (2018b, p. 53).
The Haze
Something that stands out within this portrait is the mask of dark colors adorning the page (Farrow, 1912). The haziness of the portrait by Farrow (1912) feels connected to the "veil" experienced by Du Bois in "Of Our Spiritual Strivings," revealing how Black people feel "shut out from" the "world" (2018a, p. 2). The dark hues portray a sense of heaviness, almost as if there is a kind of "veil" covering the page, which further reveals a sense of uneasiness (Du Bois, 2018a, p. 2; Farrow, 1912). Haze is also related to the unknown, something experienced by Black people during enslavement. There is a moment in the Origin movie where slaves are screaming as they are taken off a ship, showcasing their fear of the undetermined and what is going to happen to them (DuVernay, 2023, 01:53:30).
Connected to the unknown is ambiguity, which the haze further helps to convey. The smoky aspect along with the lack of features present on the body of the woman help to make the piece of art relatable to all (Farrow, 1912). The woman does not look like one single person, and so any Black woman could look at the cover and connect to the sense of loneliness and possible hardship felt by the figure. Black people have continuously faced "strife" (Du Bois, 2018a, p. 3), and the inclusion of the blur (Farrow, 1912) ultimately does a good job of alluding to the sullen nature experienced by Black communities.
The Baby
Something else significant about the woman is that she is carrying a White baby in her arms (Farrow, 1912). The fact that the woman is Black and the baby is White could be alluding to the idea that a large part of the reason why White people felt successful during the 1900s, and the centuries preceding, was likely due to the work of Black people (Du Bois, 2007, lines 37–38). Du Bois calls attention to this idea in "The Souls of White Folk," where in "The Riddle of the Sphinx" poem at the end of the chapter he states, "Who raised the fools to their glory, But black men" (2007, lines 37–38). The portrait could possibly be commenting on this stance of power, for it appears that the Black woman is the one who is helping to raise the baby and provide for it (Farrow, 1912). The Black woman is likely the one who is doing all of the work while others have the chance to relax and not worry. Based on Du Bois' mention of the work of Black people (2007, lines 37–38), I wonder if it was intentional to use a different race for the baby (Farrow, 1912). I wonder if it was used to illustrate the idea that Black people were the ones who fostered the growth of the nation and what it has come to today (Du Bois, 2007, lines 37–38; Farrow, 1912).