William E. Smith's Linoleum Prints

         William E. Smith (USA, 1913-1997) is one of the many Cleveland artists associated with Karamu House.  Founded in 1915 and primarily famous for theater and performing arts, Karamu House was one of the first (and for a long time only) arts organizations in the USA committed to full racial, religious, and economic equality among its artists.  That’s where Smith got his start from living as a teenager by himself in the city to eventually becoming a well-respected artist and teacher.  Because of its inclusion of black artists, Karamu House fostered a community of artists in Cleveland who focussed on the African-American experience in their art, especially through the 1930s and 40s.

        Smith’s work reflects his experience and the experiences of the people around him through the Great Depression and World War II, making a wonderful artistic record of people whose experiences were not often highlighted in that era.  The depth of emotion in this second piece, entitled “War Fatigue,” is beautifully expressed.  The soldier’s posture is moving, but Smith’s use of stark black and white lighting and shadows heightens the impact.

        The man in the third piece also evokes dejection, but where the soldier’s despair is active and consuming, this man’s dejection has become lethargy.  Interestingly, Smith has given two different impressions of the same block different titles.  One is called “Poverty & Fatigue,” while the other is called “Siesta.”  Those give very different interpretations to the piece, and I wonder which title came first, why it was changed, and what Smith’s thought process was in making those decisions.  Either way, however, I love the masterful depictions of the folds and drape of the man’s trousers and the crown of his cap.  The carving is really extremely simple, especially in the background, but incredibly effective.  This is exactly the sort of carving I wish I could do!

        My favorite piece, however, is the first.  On the one hand, I love that this scene is absolutely universal: the love of a parent for an infant.  On the other hand, I love that Smith depicts it by celebrating people whose participation in this universal aspect of humanity is so often not shown.  Western art history has thousands of wonderful images of white mothers and children, but the love of black fathers and children has been almost invisible by comparison.  This piece, with the light beautifully revealing the tenderness of the man holding his infant son, reminds the world, both black and white, both women and men, that yes, this universal experience really can be something we all share.

[Pictures: My Son! My Son!, linoleum cut by William E. Smith, 1941;

War Fatigue, linocut by Smith, 1940;

Poverty & Fatigue, linoleum cut by Smith, 1940 (Images from Cleveland Museum of Art and The Melvin Holmes Collection of African American Art).]