MS01.01.03.B02.F23.086

While Brady felt the need to acknowledge Locke's
role in promoting the work of ^Black^ American artists
[strike: of African descent] in The Harmon Foundation
exhibitions and in other culture contexts,
she, never-the-less, [strike: saw him] thought it
best to keep [strike: a comfortable] her distance from him
[strike: in his] when he spoke strongly about
the [strike: relationship] iconographic ties Black American artists
should be making ^in their work^ with the art of
black Africa. Locke's essay "The African
Legacy and the Negro Artist" in the Catalogue
of the 1931 Exhibition of the Work
of Negro Artists at the Art Center, 65 East
56th Street in New York encourage Black
artists to take advantage of their physical
lineage with their African past and learn
the sound lessons [strike: therein] that African art
had when [strike: European] it informed "leading modernists"
such as Picasso, Modigliani, Matisse and
others of their generation. But Locke's
statement on the "obvious advances"
of Mary Brady's brainchild, The Harmon
Foundation's art exhibition, was totaly
out of line with Brady's own thinking
about ^the increasing use of Black^subject matter
[strike: appropriate to Black artists] in these exhibitions.
Locke wrote: "One of the obvious advances of these
successive Harmon exhibitions has been the
study increasing emphasis upon racial
types and characters in the work submitted
and displayed. In this downfall