From the late 1910s through the 1950s, particularly, the Caribbean
nation of Haiti drew the attention and imaginations of many key
U.S. artists, yet curiously, while significant studies have been
published on Haiti's history and inter-American exchanges, none
analyze visual representations with any depth. The author calls not
only on the methodologies of art history, but also on the
interdisciplinary eye of visual culture studies, anthropology,
literary theory, and tourism studies to examine the fine arts in
relation to popular arts, media, social beliefs, and institutional
structures. Twa emphasizes close visual readings of photographs,
illustrations, paintings, and theatre. Extensive textual and
archival research also supports her visual analysis, such as
scrutinizing the personal papers of this study's artists, writers,
and intellectuals. Among the literary and artistic luminaries of
the twentieth century that Twa includes in her discussion are
Richmond Barthe, Eldzier Cortor, Aaron Douglas, Katherine Dunham,
Langston Hughes, Zora Neale Hurston, Alexander King, Jacob
Lawrence, James Weldon Johnson, LoA-s Mailou Jones, Eugene O'Neill,
and William Edouard Scott. Twa argues that their choice of Haiti as
subject matter was a highly charged decision by these American
artists to use their artwork to engage racial, social, and
political issues.
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