MS01.05.00.B07.F12.0075

Dear David Driskell: 2/2/76
Just a note to wish you and your family a prosperous New Year.
I know that you are busy with with the F.A. Show and many other
concerns but I couldn't risk [^not] keeping in touch.
I've mailed a transparency of Slave Lynching to Mr. Stead and
I hope that it arrives in time to be of use, but I can't under-
stand how a letter mailed from L.A. on Jan 8, 1976 did not reach
me until Jan. 19TH. The reproduction of Slave Lynching was done
by a Black professional photographer, Johnathan Eubanks living
here in the Bay area. He exhibits salon prints and excels as expert
in photographing paintings and sculpture.
As I thought of the two painting that you had chosen - The
Burial (Pallbearers) and Slave Lynching, I considered my original
purposes as a painter - among other concerns was to record
and interpret events. Pall Bearrers was done in 1944 during WWII,
and Slave Lynching was done in 1946 after the war as a flashback-
because of murders and other treatment of returning Black warriors. At
that time other paintings were done of the service mans valor in the
war - reminding and cautioning the U.S. of their loyalty.
An earlier group of painting and prints included the Jitterbug Culture
(that lasted almost a generation) expressed in In the Groove, Boogie
Woogie, Hep Cat, Jumpin' Jive, Shorty George, Suzy Q and the Mooch.
When I last saw you at the Aaron Douglass Presentation last
April, you remaked to someone (referring to me) "He's
(over)