Charles H. Alston

Charles Henry Alston (November 28, 1907 – April 27, 1977) was an American painter, sculptor, illustrator, muralist and teacher who lived and worked in the New York City neighborhood of Harlem. Alston was active in the Harlem Renaissance; Alston was the first African-American supervisor for the Works Progress Administration's Federal Art Project. Alston designed and painted murals at the Harlem Hospital and the Golden State Mutual Life Insurance Building. In 1990, Alston's bust of Martin Luther King Jr. became the first image of an African American displayed at the White House.

Personal life

Early life

Charles Henry Alston was born on November 28, 1907, in Charlotte, North Carolina, to Reverend Primus Priss Alston and Anna Elizabeth (Miller) Alston, as the youngest of five children. Three survived past infancy: Charles, his older sister Rousmaniere and his older brother Wendell. His father had been born into slavery in 1851 in Pittsboro, North Carolina. After the Civil War, he gained an education and graduated from St. Augustine's College in Raleigh. He became a prominent minister and founder of St. Michael's Episcopal Church, with an African-American congregation. The senior Alston was described as a "race man": an African American who dedicated his skills to the furtherance of the black race. Reverend Alston met his wife when she was a student at his school. Charles was nicknamed "Spinky" by his father, and kept the nickname as an adult. In 1910, when Charles was three, his father died suddenly of a cerebral hemorrhage. Locals described his father as the "Booker T. Washington of Charlotte".

In 1913, Anna Alston remarried, to Harry Bearden, brother of Romare Bearden's father. Through the marriage, Charles and Romare became cousins. The two Bearden families lived across the street from each other; the friendship between Romare and Charles would last a lifetime. As a child Alston was inspired by his older brother Wendell's drawings of trains and cars, which the young artist copied. Charles also played with clay, creating a sculpture of North Carolina. As an adult he reflected on his memories of sculpting with clay as a child: "I'd get buckets of it and put it through strainers and make things out of it. I think that's the first art experience I remember, making things." His mother was a skilled embroiderer and took up painting at the age of 75. His father was also good at drawing, having wooed Alston's mother Anna with small sketches in the medians of letters he wrote her.

In 1915, the Bearden/Alston family moved to New York, as many African-American families did during the Great Migration. Alston's step-father, Henry Bearden, left before his wife and children in order to get work. He secured a job overseeing elevator operations and the newsstand staff at the Bretton Hotel in the Upper West Side. The family lived in Harlem and was considered middle-class. During the Great Depression, the people of Harlem suffered economically. The "stoic strength" seen within the community was later expressed in Charles’ fine art. At Public School 179 in Manhattan, the boy's artistic abilities were recognized and he was asked to draw all of the school posters during his years there.

Harry and Anna Bearden had a daughter together, Aida C. Bearden (1917–2007). On June 9, 1943, in Manhattan, she married operatic baritone Lawrence Whisonant.

Higher education

Alston graduated from DeWitt Clinton High School, where he was nominated for academic excellence and was the art editor of the school's magazine, ''The Magpie''. He was a member of the Arista - National Honor Society and also studied drawing and anatomy at the Saturday school of the National Academy of Art . In high school he was given his first oil paints and learned about his aunt Bessye Bearden's art salons, which stars like Duke Ellington and Langston Hughes attended. After graduating in 1925, he attended Columbia University, turning down a scholarship to the Yale School of Fine Arts.

Alston entered the pre-architectural program but lost interest after realizing what difficulties many African-American architects had in the field. After also taking classes in pre-med, he decided that math, physics and chemistry "was not just my bag", and he entered the fine arts program. During his time at Columbia, Alston joined Alpha Phi Alpha, worked on the university's ''Columbia Daily Spectator'', and drew cartoons for the school's magazine ''Jester''. He also explored Harlem restaurants and clubs, where his love for jazz and black music would be fostered. In 1929, he graduated and received a fellowship to study at Teachers College, where he obtained his Master's in 1931.

Later life

For the years 1942–43 Alston was stationed in the army at Fort Huachuca in Arizona. Upon returning to New York on April 8, 1944, he married Dr. Myra Adele Logan, then an intern at the Harlem Hospital. They met when he was working on a mural project at the hospital. Their home, which included his studio, was on Edgecombe Avenue near Highbridge Park. The couple lived close to family; at their frequent gatherings Alston enjoyed cooking and Myra played piano. During the 1940s Alston also took occasional art classes, studying under Alexander Kostellow.

In January 1977, Myra Logan and Months later on April 27, 1977, Charles ''Spinky'' Alston both died after a long bout with cancer. His memorial service was held at St. Martins Episcopal Church on May 21, 1977, in New York City.Charles Henry Alston Memorial Service. May 21, 1977. Archives of American Art.

Professional career

While obtaining his master's degree, Alston was the boys’ work director at the Utopia Children's House, started by James Lesesne Wells. He also began teaching at the Harlem Community Art Center, founded by Augusta Savage in the basement of what is now the Schomburg Center for Research in Black Culture. Alston's teaching style was influenced by the work of John Dewey, Arthur Wesley Dow, and Thomas Munro. During this period, Alston began to teach the 10-year-old Jacob Lawrence, whom he strongly influenced. Alston was introduced to African art by the poet Alain Locke. In the late 1920s Alston joined Bearden and other black artists who refused to exhibit in William E. Harmon Foundation shows, which featured all-black artists in their traveling exhibits. Alston and his friends thought the exhibits were curated for a white audience, a form of segregation which the men protested. They did not want to be set aside but exhibited on the same level as art peers of every skin color.

In 1938, the Rosenwald Fund provided money for Alston to travel to the South, which was his first return there since leaving as a child. His travel with Giles Hubert, an inspector for the Farm Security Administration, gave him access to certain situations and he photographed many aspects of rural life. These photographs served as the basis for a series of genre portraits depicting southern black life. In 1940, he completed ''Tobacco Farmer'', the portrait of a young black farmer in white overalls and a blue shirt with a youthful yet serious look upon his face, sitting in front of the landscape and buildings he works on and in. That same year Alston received a second round of funding from the Rosenwald Fund to travel South, and he spent extended time at Atlanta University.

During the 1930s and early 1940s, Alston created illustrations for magazines such as ''Fortune'', ''Mademoiselle'', '' The New Yorker'', ''Melody Maker'' and others. He also designed album covers for artists such as Duke Ellington and Coleman Hawkins. Alston became staff artist at the Office of War Information and Public Relations in 1940, creating drawings of notable African Americans. These images were used in over 200 black newspapers across the country by the government to "foster goodwill with the black citizenry."

Eventually Alston left commercial work to focus on his own artwork. In 1950, he became the first African-American instructor at the Art Students League, where he remained on faculty until 1971. In 1950, his ''Painting'' was exhibited at the Metropolitan Museum of Art, and his artwork was one of the few pieces purchased by the museum. He landed his first solo exhibition in 1953 at the John Heller Gallery, which represented artists such as Roy Lichtenstein. He exhibited there five times from 1953 to 1958.

In 1956, Alston became the first African-American instructor at the Museum of Modern Art, where he taught for a year before going to Belgium on behalf of MOMA and the State Department. He coordinated the children's community center at Expo 58. In 1958, he was awarded a grant from and was elected as a member of the American Academy of Arts and Letters.

In 1963, Alston co-founded Spiral

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