Having moved to Harlem as a teenager, Lawrence would become the first major artist trained entirely within the neighborhood’s African American community. Throughout his long career he believed art should be a quest for both self and social identity, a notion reflected in this work, one of his liveliest and largest paintings. Teeming with more than forty figures, it depicts the vibrant streetscape at the intersection of Fulton Street (now Harriet Tubman Avenue) and Nostrand Avenue in Brooklyn, near where the artist lived at the time.
Annual Exhibition: Sculpture, Paintings, Watercolors, Drawings, Whitney Museum of American Art, New York, November 19. 1958-January 4, 1959.
American Sculpture and Painting: American National Exhibition in Moscow, The Pushkin Museum of Fine Arts, Moscow, July 25-September 5, 1959; Whitney Museum of American Art, New York, October 28-November 15, 1959.
Between the Fairs: Twenty-Five Years of American Art, 1939-1964, Whitney Museum of American Art, New York, June 24-September 23, 1964.
Contemporary Urban Visions, Wollman Hall, New School Art Center, New School for Social Research, New York, January 25-February 24, 1966.
Crossing State Lines: Twentieth-Century Art from Private Collections in Westchester and Fairfield Counties, Neuberger Museum of Art, Purchase College, State University of New York, March 26-June 18, 1995.
Jacob Lawrence Memorial Exhibition: Paintings, 1937-1999, DC Moore Gallery, New York, February 6-March 3, 2001.
Syncopated Rhythms: 20th-Century African American Art from the George and Joyce Wein Collection, Boston University Art Gallery, November 18, 2005-January 22, 2006.
|1958||(Alan Gallery, New York, NY)1|
|1958-1981||Alexander [1916-1969] and Sylvian Rittmaster [1917-1978], Woodmere, NY|
|1981||(Sotheby Parke Bernet, New York, May 29, 1981, lot 182, sold to the Terry Dintenfass Gallery)|
|1981-?||(Terry Dintenfass Gallery, New York, NY, sold to George and Joyce Wein)|
|By 1983-2007||George [b. 1925] and Joyce [1928-2005] Wein, New York, NY, consigned to the Michael Rosenfeld Gallery2|
|2007||(Michael Rosenfeld Gallery, New York, NY, sold to the Cleveland Museum of Art)|
|2007-||The Cleveland Museum of Art, Cleveland, Ohio|
1Jacob Lawrence sold the painting directly to the Alan Gallery in 1958.
2The Weins owned the painting by 1983, when it appeared in an exhibition as belonging to a “private collector, courtesy of Terry Dintenfass Gallery.”
Alan Gallery, bill of sale, Sept. 22, 1958, in CMA curatorial file.
Jacob Lawrence, purchase order for Alan Gallery, Sept. 11, 1958, in CMA curatorial file.
Mark Cole, email to Victoria Sears Goldman, April 8, 2014, in CMA curatorial file.
Nesbett, Peter T., Jacob Lawrence, and Michelle DuBois. The Complete Jacob Lawrence. Seattle: University of Washington Press in association with Jacob Lawrence Catalogue Raisonné Project, 2000.
Terry Dintenfass, Inc. records, 1970-1983, Box 5, folder 21: Jacob Lawrence 1981, letter from Terry Dintenfass to Jacob Lawrence, June 11, 1981, Archives of American Art, Smithsonian Institution.
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