Lois Mailou Jones

Lois Mailou Jones (1905–1998) was an artist and educator.

Her work can be found in the collections of the Smithsonian American Art Museum, The Metropolitan Museum of Art, the National Museum of Women in the Arts, the Brooklyn Museum, the Museum of Fine Arts, Boston, Muscarelle Museum of Art, and The Phillips Collection.

She is often associated with the Harlem Renaissance.

Jones was born in Boston, Massachusetts, to Thomas Vreeland Jones and Carolyn Adams.

Her father was a building superintendent who later became a lawyer after becoming the first African-American to earn a law degree from Suffolk Law School. Her mother worked as a cosmetologist.

Jones's parents encouraged her to draw and paint using watercolors during her childhood.

Her parents bought a house on Martha's Vineyard, where Jones met those who influenced her life and art, such as sculptor Meta Warrick Fuller, composer Harry T. Burleigh, and novelist Dorothy West.

From 1919 to 1923, Jones attended the High School of Practical Arts in Boston.

During these years, she took night classes from the Boston Museum of Fine Arts through an annual scholarship.

Additionally, she apprenticed in costume design with Grace Ripley.

She held her first solo exhibition at the age of seventeen in Martha's Vineyard.

Jones began experimenting with African mask influences during her time at the Ripley Studio.

From her research of African masks, Jones created costume designs for Denishawn.

From 1923 to 1927, Jones attended the School of the Museum of Fine Arts in Boston to study design, where she won the Susan Minot Lane Scholarship in Design yearly.

She took night courses at the Boston Normal Art School while working towards her degree.

After graduating from the School of the Museum of Fine Arts, she received her graduate degree in design from the Design Art School of Boston in 1928.

Afterwards, she began working at the F. A. Foster Company in Boston and the Schumacher Company in New York City.

During the summer of 1928, she attended Howard University, where she decided to focus on painting instead of design.

Jones continued taking classes throughout her lifetime.

In 1928 she was hired by Charlotte Hawkins Brown after some initial reservations, and subsequently founded the art department at Palmer Memorial Institute, a historically black prep school, in Sedalia, North Carolina.

As a prep school teacher, she coached a basketball team, taught folk dancing, and played the piano for church services.

She began to exhibit her works with the William E. Harmon Foundation with a charcoal drawing of a student at the Palmer Memorial Institute, Negro Youth (1929).

In this period, she shifted away from designs and began experimenting with portraiture.

Jones developed as an artist through visits and summers spent in Harlem during the onset of the Harlem Renaissance or New Negro Movement.

Aaron Douglas, a Harlem Renaissance artist, influenced her seminal art piece The Ascent of Ethiopia.

Jones's career began in the 1930s and she continued to produce art work until her death in 1998 at the age of 92.

Her style shifted and evolved multiple times in response to influences in her life, especially her extensive travels.

She worked with different mediums, techniques, and influences throughout her long career.

Her extensive travels throughout Europe, Africa, and the Caribbean influenced and changed how she painted.

She felt that her greatest contribution to the art world was "proof of the talent of black artists".

She wished to be known as an American painter with no labels.

Her work echoes her pride in her African roots and American ancestry.

Jones' teaching career began shortly after finishing college.

The director of the Boston Museum School refused to hire her, telling her to find a job in the South where "her people" lived.

In 1930, she was recruited by James Vernon Herring to join the art department at Howard University in Washington, D.C., Jones remained as professor of design and watercolor painting until her retirement in 1977.

She worked to prepare her students for a competitive career in the arts by inviting working designers and artists into her classroom for workshops.

While developing her own work as an artist, she became an outstanding mentor and strong advocate for African-American art and artists.

In the early 1930s, Jones began to seek recognition for her designs and art work.

In 1934, she took classes on different cultural masks at Columbia University.

In 1945, she received a BA in art education from Howard University, graduating magna cum laude.