MS01.01.03.B02.F23.094

Mr. Herring had training at Syracuse University and at the Fogg
Museum. I never found him an easy man with whom to work with, but I had great
respect for his art integrity, and his effort to get art activities moving
in the group of educational institutions with which he was primarily concerned,
and who set standards that would meet top level requirements. I think he was
a very important root of progress.

At his age he will not be around too many more years, and I think
it would be a wonderful thing if in these final years he could have the satis-
faction of knowing that his leadership and building efforts were recognized,
particularly in art circles...

...It is my hope that if additional recognitions are to be given
out in this anniversary year, or if some special recognition could be given
to Mr. Herring, that it would be a wonderful tribute in these last years to
a very dedicated man who helped to promote art values at Howard that can grow
not only for the benefit of Howard, but for the benefit of our capital city
where such a high percentage of the population is now American of Negro descent,
and where the increase of cultural values are so dreadfully important.

Very sincerely yours,

(Miss) Mary Beattie Brady 39
Director

Seldom did one hear Brady speak
words of praise for Herring. She talked
of him being stubborn and self-
directed, yet her letter to John
Waeker leaves no doubt in the
reader's mind where she stood on
matters of principal
as she saw them.

Throughout her administration of the
Foundation's program of Awards for excellence,
in the visual arts for Black artists,
Brady managed to correspond with
the vast majority of Black visual artists
seattened(?) wound the nation. From the 1930 though(?) she was
constantly in touch with sculptor/
ceramicist Wiliam Artis(?) in Chadron,
Nebraska; Aaron Douglas in Nashville, Tennessee; Claude, Clark and Sargent Johnson in Oakland California,
James V. Sterring(?) in Washingto, D.C. and
Allan R. Crite(?) in Boston, to mention only a few. Genuine interest in people came
without little(crossed out) regard for race, creed or national
orgin, She knew that she was helping to place the Black artist in a position of advantage,
in matters of future concern, The Foundation's rasker(?) of Black artists listed 400 March 1, 1939.