Edmonia Lewis (1844-1907)
Neoclassical African-American and Native American sculptor
https://www.britannica.com/biography/Edmonia-Lewis
Hiawatha / 1868 / Marble / 13 3/4”x7 3/4”x5 1/2”
Bill Traylor (1853/54-1949)
African-American self-taught artist
https://americanart.si.edu/artist/bill-traylor-4852
Edward Mitchell Bannister (1828-1901), African-American painter of landscapes and pastoral subjects
https://americanart.si.edu/artist/edward-mitchell-bannister-226
Scene along the Connecticut River, Westmoreland / c.1870 / Oil on canvas / 30”x20”
Harriet Powers (1837-1910), African-American folk artist and quilt maker
https://www.civilwarwomenblog.com/harriet-powers/
Robert S. Duncanson (1821-1872), Nineteenth century African-American painter
https://www.google.com/culturalinstitute/beta/exhibit/NQJyYinFqXw_Lw
Landscape with Rainbow / 1859 / Oil on canvas / 30”x52 1/4”
James Presley “JP” Ball (1825-1904)
African-American photographer, abolitionist, and entrepreneur
https://danishimmigrants.weebly.com/montana.html
Prince Demah (c.1745 – March 1778)
African-American painter active in Boston in the late 1700s
https://outofthearchives.org/2015/01/10/prince-demah-portrait-painter
Portrait of William Duguid / 1773 / Oil on canvas / 20 3/4”x15 3/4”x1 1/8”
Joshua Johnson (c.1763-c.1824)
Biracial American painter
https://americanart.si.edu/artist/joshua-johnson-2479
Mrs. Abraham White, Jr., and Daughter Rose / 1808-09 / Oil on canvas / 30”x25 1/2”
[Betty] Parsons’s role as a leading promoter of abstract art is well known. Less well known is that she was an artist.
“Betty led a double life,” a nephew, William P. Rayner, said. “Being an artist was her first priority. That’s why she was such a good dealer and that’s why her artists liked her.”
FROM http://www.nytimes.com/1992/06/28/nyregion/betty-parsons-s-2-lives-she-was-artist-too.html?pagewanted=allOnce referred to as “the den mother of Abstract Expressionism,” Betty Parsons was an early advocate of the great Abstract Expressionists, including Pollock,
Rothko, Reinhardt, Still and Newman, long before they all achieved notoriety. Her midtown gallery, which opened in 1946 (and closed every summer so that Parsons could focus on her own art), gave the Abstract Expresionist artists their first large-scale exposure, making it one of the most
prestigious art galleries in New York.
FROM http://www.theartstory.org/gallery-betty-parsons.htm“I’ve learned a great deal about business, but I wasn’t a businesswoman,” Betty Parsons told Grace Lichtenstein in a profile that originally ran in the March 1979 issue of ARTnews, published just three years before Parsons’s death, in 1982.
FROM http://www.artnews.com/2017/06/16/from-the-archives-betty-parsons-gallerist-turned-artist-takes-the-spotlight-in-1979/Throughout her storied career as a gallerist, she maintained a rigorous artistic
practice, painting during weekends in her Long Island studio. Parsons’ eye for innovative talent stemmed from her own training as an artist and guided her commitment to new and emerging artists of her time, impacting the canon of Twentieth-Century art in the United States. Includes slideshow and biography~
FROM http://www.alexandergray.com/artists/betty-parsons?view=slider#2
Link~ J.C. Leyendecker, Father of the New Year’s Baby
“Joseph Christian Leyendecker wasn’t the first artist to use an infant to represent the new year. But over the span of 36 years, he made the New Year’s baby as familiar to Americans as Father Time.
A consummate illustrator — and mentor to Norman Rockwell — Leyendecker was continually searching for better ways to depict the holidays. He created many fanciful covers that caught the spirit of Christmas, Fourth of July, Easter, and Thanksgiving. But the New Year’s babies are arguably his most memorable.
His first baby was delivered for the December 29, 1906, issue of the Post. It shows a cherub atop a globe, turning over a fresh page in a book of New Year’s resolutions. The series continue without interruption until 1943…”
http://www.saturdayeveningpost.com/2014/12/31/art-entertainment/art-and-artists/new-years-babies.html
More black cats here:
https://schristywolfe.com/2018/08/17/august-17-black-cat-appreciation-day-2018/
Theo van Gogh (1857-1891) first worked as an art dealer in 1873 in the Brussels art gallery owned by his uncle Hendrick van Gogh. A few months later, he was sent to the Hague as an employee of Goupil & Co., an internationally-known Parisian merchant…
Vincent, his brother and elder by four years, preceded him in this career as early as
1869. He acted as Theo’s mentor…These exchanges continued in Paris, where Theo was sent for the 1878 World Fair. He settled there and around 1880 he became director of the Paris branch of Goupil & Co. As for Vincent, he left Goupil & Co. in 1876 and decided, after much hesitation, to become a painter. In 1886 he came to Paris, staying with his brother, before going two years later to the south of France.
FROM Theo van Gogh : art-dealer, collector, Vincent’s brother ~Musée d’Orsay
Marie Anna Zacharias (November 11, 1828 – February 15, 1907) was a German art patron, amateur artist, and co-founder & deputy president of the Hamburg Kunstfreunde (Friends of Art), a society of Hamburg’s fine arts patrons formed in 1893 and attached closely to the Hamburger Kunsthalle art museum.
Marie Zacharias was the center of a large circle of intellectual and artistic people. She enjoyed music, played the piano, painted, drew, wrote about art and cultural history, and was well known for the musical evenings at her home where artists, merchants, and officials gathered together.
In 1893, Zacharias’ close friend [Hamburger Kunsthalle director] Alfred Lichtwark founded the Gesellschaft Hamburgischer Kunstfreunde. Collectors, art lovers, and amateurs gathered for an exchange of ideas, up-to-date information about the Hamburger Kunsthalle, and the new acquisitions of the collection. Once a year they held an exhibition which included art by the members.
The society published a yearbook from 1895-1912, which was designed by the members 
themselves. Each volume contained vignettes and illustrations contributed by members. Until her death in 1907, Zacharias was represented in almost every volume of the society’s yearbooks. Later in life she concentrated on woodcuts, and she wrote her memoirs, “Family, City and Children Stories”. Marie Zacharias died at the age of 78 years; until 14 days before her death she was still taking drawing lessons. Her work can be found in the Museum of Hamburg History, the State Archives, and the Hamburger Kunsthalle. Three portraits of Zacharias painted by Leopold von Kalckreuth in 1904 at the suggestion of Lichtwark are also in the collection of the Hamburger Kunsthalle.
The Misty Miss Christy 