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“Etta Moten Barnett Dancing” by Jay Jackson (American) - Watercolor, ink, and charcoal on paper / c. 1940 - Delaware Art Museum (Wilmington) #WomenInArt #JayPaulJackson #DelawareArtMuseum #EttaMoten #EttaMotenBarnett #DanceArt #BlackHistory #art #artText #BlueskyArt #AmericanArtist #AmericanArt
Made for the 1940 “American Negro Exposition,” this image honors Etta Moten Barnett, a pioneering performer who “broke barriers” in American big-budget movies such as “Flying Down to Rio” and “Gold Diggers” as well as on the concert and theater stage. She became widely celebrated for her work in George Gershwin’s “Porgy and Bess,” and later for civic leadership and philanthropy. At the time, mainstream films refused to present Black women with glamour or complexity, but American artist Jay Jackson turns a spotlight into a declaration that Moten is a centered, stylish, and unmissable star. Cameras in the corners asks us to consider how Black brilliance was documented, consumed, and often edited into someone else’s story. It’s a stage scene in watercolor and ink showing the glamorous Black woman dancer with warm brown skin mid-dance under a bright oval spotlight. She leans forward with one arm extended, her torso twisting and her knees flexed in a poised, athletic stance. Her hair is styled in a short, dark bob with a deep teal headpiece. Her lips are painted a vivid red. A pale green, high-waisted skirt swirls around her hips, paired with a matching bra-top and green heels. Behind her, a dark, smoky background is washed in bluish grays and mossy greens, making the spotlight feel theatrical. At the lower left, a sketched cameraman appears as a loose charcoal outline aimed toward her, while at the upper right is a second camera that frames her as both performer and filmed icon. Jackson’s lines alternate between crisp contour and airy washes, letting movement read as vibration rather than blur. Jackson, whose drawings circulated in the Chicago Defender and who later created his own feature syndicate for the “Home Folks” cartoon, uses the visual language of modern media to insist on dignity. In the sweep of green fabric and the dancer’s forward reach, the work presents choreography of agency for a body in motion claiming space, light, and narrative on her own terms.
January 10, 2026 at 10:41 PM
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“Portrait of Etta Moten” by Mary Peterson (American) - Oil on canvas / 1949 - National Museum of African American History and Culture (Washington DC) #WomenInArt #art #nmaahc #artText #MaryPeterson #EttaMoten #artwork #EttaMotenBarnett #PortraitofaWoman #BlueskyArt #AfricanAmericanArt #OilPainting
This oil painting by American artist Mary C. Peterson depicts African American actress and contralto vocalist Etta Moten Barnett with beautiful bronze skin and dark hair styled in an updo. Her expression is serene and self-assured, with a hint of a playful smile. She's wearing a short-sleeved, horizontally-striped shirt featuring a variety of colors including red, green, yellow, brown, and teal. The shirt has a high, rounded neckline. Motrin wears a brown, possibly suede, skirt that is partially visible below the shirt. Her hands are clasped gently in front of her, resting demurely near her waist. On her left wrist, she wears a large, ornate bracelet composed of several pieces in shades of green and gold. In her hands, she holds a corner of a vibrant, patterned scarf with greens, yellows, and pinks, suggesting a tropical or floral design. The background is soft and muted in its colors, dominated by a light, yellowish-beige tone. There’s a patterned wallpaper visible behind Etta, with a faint design. To the left, a portion of a dark purple drape hangs, contrasting sharply with the lighter background. A dark brown wooden chair with ornate carving, is partially seen in the lower left corner of the painting. Up until the 1930s, the representation of Black women in movies was limited to maids or nannies (the “Mammy” archetype). Moten made a breakthrough with her roles in two musical films released in 1933 and is generally recognized as the first Black woman to do so. On January 31, 1934, Moten became the first African American to perform at the White House in the 20th century. She is commonly remembered for her signature role of "Bess" in American composer George Gershwin’s English-language opera “Porgy and Bess.” She also created other new roles for African-American women on stage and screen. After her performing career, Morten was active in Chicago as a major philanthropist and civic activist supporting cultural, social, and church institutions.
August 5, 2025 at 4:07 AM