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AfromodernismsParis, Harlem and the Avant-Garde$
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Fionnghuala Sweeney and Kate Marsh

Print publication date: 2013

Print ISBN-13: 9780748646401

Published to Edinburgh Scholarship Online: May 2014

DOI: 10.3366/edinburgh/9780748646401.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 07 July 2022

‘Death to any one that puts his foot in No Man[’s] Land’

‘Death to any one that puts his foot in No Man[’s] Land’

‘Afromodernist’ Reimagining and Aesthetic Experimentation in Horace Pippin’s World War I Manuscripts and Paintings

(p.169) Chapter 7 ‘Death to any one that puts his foot in No Man[’s] Land’

Celeste-Marie Bernier

Edinburgh University Press

This chapter analyzes the experienced and representative significance of World War I to the work of African American artists and writers who rejoined the civilian population following the end of the war. It explores the interwoven aesthetic intricacies of the manuscripts and paintings of Horace Pippin, and other writers and artists of his generation and experience, who provided first-hand aesthetic reflections of the terrible nature of modern warfare, which were often written out of this most significant of modern events — one frequently configured as a white European tragedy. Grappling with a context in which black military experiences were caricatured or erased in white mainstream representations, their artistic and literary production confirms the Great War as the ‘locus of Afromodernism par excellence’.

Keywords:   African American artists, Horace Pippin, warfare, black military experience

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