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Sargent Claude Johnson (1888–1967) was the first Black Modernist artist from the West Coast to gain national acclaim.
Johnson’s art made a national impact as part of the Harlem Renaissance (also called the Black Renaissance), even though he lived in California’s Bay Area and not the movement’s center of Harlem in New York City.
His artistic work stands out due to his skill with multiple mediums and his embrace of Black identity at a time when many popular depictions of Black people were racist. Besides his work as an artist, he was a passionate and dedicated teacher who believed creativity was an essential civic value.
As a child, Johnson studied music and art. His family thought education was essential. After both his parents died when he was a boy, his remaining family sent him and his siblings to a Catholic boarding school. In addition to obligatory religious studies, the school offered secular studies and emphasized the importance of music. Instruction included daily music theory and singing and weekly choir. This musical influence would later show in his work as a visual artist.
The Works Progress Administration (WPA, renamed Work Projects Administration in 1939) was created in 1935 as a program to help put unemployed people to work building infrastructure and public goods. As part of the U.S. government’s New Deal, the WPA sought to revitalize the economy during the Great Depression, which began in 1929 and ended in 1939.
Auditorium at the California School for the Blind, ca. 1972. Four elements from the commission are visible: Johnson's proscenium and three lunettes.
| Courtesy of California School for the Blind, Fremont, CA.Organ Screen is part of a larger WPA commission Johnson created for the California School for the Blind in the 1930s. Today, elements of the commission are in different museums and cultural institutions, and some are lost. As part of the 2024 exhibition on Sargent Claude Johnson at The Huntington, all surviving components of the work were reunited for the first time since Johnson made them. The other surviving components are:
Sargent Claude Johnson (1888–1967), Window Lunette, 1933–34. Gilded mahogany, 43 1/4 × 76 × 3/4 in. (109.9 × 193 × 1.9 cm).
| Courtesy of California School for the Blind, Fremont, CA. Photo © Cesar Rubio.Sargent Claude Johnson (1888–1967), Proscenium, 1937, Gilded and painted redwood, 86 × 247 × 5 1/2 in. (215.9 × 627.4 × 14.0 cm).
| University of California, Berkeley. Photo © Cesar RubioSargent Claude Johnson (1888–1967), Louis Braille, ca. 1937. Carved wood, 22 1/2 × 43 1/2 × 1 1/2 in. (57.2 × 110.5 × 3.8 cm).
| Courtesy of California School for the Blind, Fremont, CA. Photo © Cesar Rubio.Detail of Sargent Claude Johnson's Organ Screen. Note how Johnson used the redwood's grain to add texture and highlights to the carvings. He left it exposed in some parts but covered it with gold in others and added deep gouges to the trunk to add even more texture.
| The Huntington Library, Art Museum, and Botanical Gardens.Johnson worked well with a wide array of mediums. For Organ Screen, Johnson chose to work with redwood, a tree native to California, and gold. Carving redwood is difficult because it is soft and splinters easily, but Johnson carved it to great effect. He used the grain to add texture and highlights to the carvings and left it exposed in some parts but covered it with gold paint in others. The deep gouging along the tree trunk adds texture to the piece.
Sargent Johnson’s Proscenium at the California School for the Blind, Berkeley, 1939 in front of an audience.
| Courtesy of San Francisco Museum of Modern Art, The United States General Services Administration, formerly Federal Works Agency, Works Progress Administration (WPA), allocation to the San Francisco Museum of Modern Art, T2023.002_01The California School for the Blind opened in 1860 and moved to its Berkeley campus in 1867. The auditorium in Berkeley was a gathering place for students to engage with it. The school, now located in Fremont, California, emphasizes musical education.
The students at the California School for the Blind likely accessed Organ Screen and its related components in several ways. Because blindness is a spectrum, some students would have been able to see some of the artwork. Light reflecting off the gilding or shining through the holes in the window lunettes made the piece accessible to more students. In addition to using sight, people can access it through sound because it is a functional artwork: It was installed in front of an organ and affected how the sound traveled through space. The screen, lunettes, and proscenium created a sense of drama in the auditorium. Sighted, blind, and low-vision visitors could all experience the grandeur together.
The artwork also uses musical symbolism to bridge the natural and human worlds. We can see children playing music and listening to birdsong along with the animals who have come out to listen. Explore how Johnson worked with symbolism in Organ Screen:
Lauren Cross, Gail-Oxford Associate Curator of American Decorative Arts at The Huntington, said of Johnson’s thoughtfulness when it came to the blind students:
“Just to see how much time he spent to ensure that this auditorium was magnificent, amazing, and worthy to experience. I think that that says a lot of his ideas about humanity and that these students were worthy of great art… .”
Communicating through Art
Beauty and the Natural World
Coauthors
Victoria Gonzalez is the Digital Learning Specialist at The Huntington.
Rebecca Kon is the former Curriculum Development Specialist at The Huntington.
Contributors
Dennis Carr is the Virginia Steele Scott Chief Curator of American Art at The Huntington.
Lauren Cross is the Gail-Oxford Associate Curator of American Decorative Arts at The Huntington.
Reviewers
Kim Tulipana is the Associate Director of Public, School, and Digital Programs at The Huntington.
Renee Ergazos is an editor and the Owner and Managing Editor of Foresee Communications LLC.
Audio
Andrew Shewell is a Visitor Engagement Associate at The Huntington.
Maya Abee is the Volunteer Coordinator at The Huntington.
Boland de Marillac, M. L. (1954). History of Holy Family Institute, Holyoke, Massachusetts. Catholic University of America.
California School for the Blind. (n.d.) History of CSB. https://www.csb-cde.ca.gov/about/history/
Carr, D., Francis, J., Bowles, J. P., & Shaw, G. D. (2024). Sargent Claude Johnson. The Huntington Library, Art Museum, and Botanical Gardens.
Locke, A. (1925). The legacy of the ancestral arts. In The new negro: An interpretation (pp. 254–267). Albert and Charles Boni.
Page, T. (2011, April 29). Rare chance to see artworks the Huntington might purchase. The Huntington. https://www.huntington.org/verso/2018/08/rare-chance-see-artworks-huntington-might-purchase
Shaw, G. D. (2012, June 6). Creating a new negro art in America: Relocating Sargent Johnson’s African-inspired art, (108), 75–87. Transition. https://muse.jhu.edu/article/478409
Turner-Lowe, S. (2013, October 11). Monumental and melodious. The Huntington. https://www.huntington.org/verso/2018/08/monumental-and-melodious
Underhill, J. (2019, April 24). Virtual model of a masterful wood carving. The Huntington. https://huntington.org/verso/2019/04/virtual-model-masterful-wood-carving