Endnote

Endnote

  

 

My great indebtedness is to Dr. John Klein, professor at The Washington University in St. Louis and Dr. Keith Eggener, professor of the Univerwity of Missouri-Columbia, for their sincere help and encouraging me to complete this essay.
  

i   Opportunity vol. 12 (Dec., 1934), p. 372.
ii  Romare Bearden & Harry Henderson, A History of African-American Artists, Pantheon Books, New York, 1993.
iii Gail Gelburd, Thelma Golden, and Albert Murray, Romare Bearden in Black-and-White: The Photomontage Projections of 1964, Whitney Museum of American Art, 1997, p. 77.; Myron Schwartzman, Romare Bearden, His Life & Art, Harry N. Adams, INC., New York, 1990, pp. 10 – 18, pp. 69 – 71.

iv  Myron Schwartzman, Romare Bearden, His Life & Art, Harry N. Adams, INC., New York, 1990,
pp. 71 – 77.
v  National Gallery of Art, Washington, The Art of Romare Bearden, National Gallery of Art, Washington, 2003, p. 11.
vi  Lowery Stokes Sims, Romare Bearden, Rizzoli Art Series, New York, 1993, Fig. 1
vii  Associate Professor, Department of Art History & Criticism at The School of the Art Institute of Chicago.
viii  Kymberly N. Pinder, “Deep Waters: Rebirth, Transcendence and Abstraction in Romare Bearden’s Passion of Christ,” 2004, pp. 9 – 11, p. 23.

ix  Ibid, p. 3.; Lowery Stokes Sims, Romare Bearden, Rizzoli Art Series, New York, 1993. 
Not only Kym but also other scholars such as Lowery point out this religious series mean Bearden’s temporary departure from his former social realistic part. But I like to say though Bearden’s physical style changed from realistic to abstract style, his inner thought (social realistic thought) was still in this religious series. Now it is not so clear to me what is Kym’s exact point of view, because Kym Pinder in her essay seems to consider Bearden’s inner part in his Passion of Christ. 

x  Critique; a review of contemporary art Vol. 1 (Nov. 1946), pp. 20 – 22.
Romare Bearden, “The Negro Artist’s Dilemma.”
xi  Ibid, p. 17.
xii  Ibid, p. 17

xiii  Romare Bearden & Harry Henderson, A History of African-American Artists, Pantheon Books, New York, 1993, p. 192.

xiv  Lowery Stokes Sims, Romare Bearden, Rizzoli Art Series, New York, 1993.

xv  Ibid.
Romare Bearden learned calligraphy and theories of Chinese art from Mr. Wu. And Bearden has been pretty much influenced by Chinese art. Using water color might be one of Chinese art’s influences.

xvi  I would like to say the collage is much more realistic in terms of reality, because real photos are used as an artistic medium.

xvii  Gail Gelburd, Thelma Golden, and Albert Murray, Romare Bearden in Black-and-White: The Photomontage Projections of 1964, Whitney Museum of American Art, 1997, p. 21.; (recite) Quoted in Elton C. Fax, Seventeenth Black Artists, Dodd, Mead & Co., 1971, p. 143.

xviii  Cemeteries of the early Christians and contemporary Jews, arranged in extensive subterranean vaults and galleries. Besides serving as places of burial, the catacombs were used as hiding places from persecution, as shrines to saints and martyrs, and for funeral feasts; it is doubtful that they were ever regularly used for religious services. Catacombs exist at Rome and also at Naples, Venosa, Chiusi, and Syracuse, Italy, and at Alexandria, Carthage, and Susah in N Africa as well as in Asia Minor and other areas. The cemeteries at Paris that were once thought to be catacombs are actually depleted stone quarries and were not used for burial until the late 18th cent.     Human burial in subterranean rock chambers is an ancient pre-Christian, pre-Roman custom in the Mediterranean. Although cremation was the rule among Greeks and Romans, there was no bar against burial for Christians or Jews, and the catacombs were not constructed in secrecy. Ordinances forbade interment within the city limits. All the Roman catacombs consequently are outside the city gates.

xix  Opportunity vol. 12 (Dec., 1934), p. 372.
xx  Ibid, p. 371. 
xxi  Opportunity vol. 12 (Dec., 1934), p. 372.

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