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James Porter’s Biography


A pioneer in establishing the field of African American art history, James A. Porter was instrumental as the first scholar to provide a systematic, critical analysis of African American artists and their works of art. An artist himself, he provided a unique and critical approach to the analysis of the work. Dedicated to educating and writing about African American artists, Porter set the foundation for artists and art historians to probe and unearth the necessary skills essential to their artistic and scholarly endeavors. The cannon is borne from Porter’s determination to document and view African American art in the context of American art.

Born December 22, 1905 in Baltimore, Maryland, Porter had a long, illustrious career in the visual arts, as an artist and historian. Under the direction and encouragement from James V. Herring, head of the Art Department at Howard University, Porter studied painting, drawing, and art history. Upon graduating with a bachelor of science in 1927, he accepted a position as instructor of painting and drawing at Howard. Being an educator did not keep Porter from honing his artistic skill and creating art. Throughout his academic professional career, Porter painted and exhibited nationally and internationally. This dedication was acknowledged in 1933 when he received the Schomburg Portrait Prize, from the Harmon Foundation, for the painting entitled Woman Holding a Jug (1930). Porter was highly regarded for his finely rendered portraits, as exemplified in his award.

While Porter never stopped nurturing his artistic ability, he also did not stop educating himself. After he completed undergraduate work, Porter attended the Art Institute in New York. He also studied in Paris at the Institute of Art and Archeology at the Sorbonne, in which he received a Certificat de Presence in 1935. When Porter returned to the United States, he pursued a Master of Arts in Art History from New York University in 1937. Porter’s thesis, which would later become the foundation for Modern Negro Art, focused on African American artists and artisans.

During his educational pursuits, Porter met Dorothy Burnett, a librarian at the Harlem branch, where he researched neglected black artists. On December 27, 1929, Porter and Dorothy were married. They had one daughter, Constance Porter. This union would prove to be important, not only personally but also professionally. Dorothy worked with Porter, as she provided bibliographic information critical to his investigations. Dorothy, along with Porter, has a rich relationship with Howard University. She was the director of Moorland Spingran Research Center where she catalogued information about African American artists.
Porter’s interest in nearly forgotten and often ignored artists of African descent came from reading a brief article on African American landscape artist Robert Scott Duncanson. Due to the brevity of the account, Porter was inspired to research Duncanson and other artists of African descent. Were it not for this article, Modern Negro Art may have not come to be.

Porter, a devout educator, taught at Howard for more than forty years, heading the Art Department and the Art Gallery. Because of his dedication to the teaching profession, the National Gallery of Art selected him as one of the best art teachers in the nation. An honor he received with twenty-four others, he was presented the award by Lady Bird Johnson in 1965.

James A. Porter left a cultural and educational legacy to those passionately involved in the area of African American art. The drive to explore and firmly document artists of the Diaspora continues today. Porter’s artistic and historical work provides a solid foundation in which current and future scholars can build upon. Many scholars owe Porter for the inspiration to probe the depths of African American visual culture and attest to its significance to American culture.


-Jeffreen M. Hayes, The College of William & Mary