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Aug 25, 2016 · Harlem Heroes: Photographs by Carl Van Vechten. Author Carl Van Vechten (1880–1964) began making portraits in 1932. Over the next three decades, he asked writers, musicians, athletes, politicians, and others to sit for him—many of them central figures in the Harlem Renaissance.
- April 1, 2017
- August 25, 2016
May 31, 2013 · Carl Van Vechten and the Harlem Renaissance. A Portrait in Black and White. by Emily Bernard. 376 Pages, 6.12 x 9.25 in, 41 b-w illus. Paperback. 9780300192520. Published: Friday, 31 May 2013. $37.00. BUY. eBook. 9780300183290. Published: Tuesday, 28 Feb 2012. $20.00. Buy. Also Available At: Amazon. Barnes & Noble. Bookshop. Indiebound. Indigo.
Carl Van Vechten (June 17, 1880 – December 21, 1964) was an American writer and artistic photographer who was a patron of the Harlem Renaissance and the literary executor of Gertrude Stein. [1] He gained fame as a writer, and notoriety as well, for his 1926 novel Nigger Heaven.
- December 21, 1964 (aged 84), New York City, U.S.
- June 17, 1880, Cedar Rapids, Iowa, U.S.
This book is a portrait of a once-controversial figure, Carl Van Vechten, a white man with a passion for blackness. Van Vechten played a crucial role in helping the Harlem Renaissance, a black movement, come to understand itself.
Apr 12, 2024 · Harlem Renaissance. Carl Van Vechten (born June 17, 1880, Cedar Rapids, Iowa, U.S.—died Dec. 21, 1964, New York City) was a U.S. novelist and music and drama critic, an influential figure in New York literary circles in the 1920s; he was an early enthusiast for the culture of U.S. blacks.
- The Editors of Encyclopaedia Britannica
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Van Vechten was a leading patron of the Harlem Renaissance. Entranced by Paul’s singing of Negro spirituals, Van Vechten introduced the Robesons to his inner circle of friends, which included composer George Gershwin, writer Theodore Dreiser, publishers Alfred & Blanche Knopf, financier Otto Kahn, and dancer Adele Astaire. 1933. Copyright.
Jun 10, 2013 · Many scholars have simply avoided Van Vechten over the years, downplaying his role in the Harlem Renaissance. Bernard understands his awkward, unavoidable importance. In the 1920s, Van Vechten was the self-appointed ambassador for New York’s black art, music and literary scene and the main interpreter of Harlem to white America.
