Augusta Savage, a trailblazing sculptor and advocate, emerged as a cornerstone of the Harlem Renaissance, using her artistic brilliance and unyielding spirit to shape the cultural landscape of African American art.
Augusta Savage was born Augusta Christine Fells on February 29, 1892, in Green Cove Springs, Florida to Cornelia and Edward Fells. She was the seventh of fourteen children. Her parents had both been born into slavery. Edward Fells worked as a house painter and was also a Methodist preacher.
Her Early Life
She began her artistic journey by modeling figures from the red clay of her hometown. His strict religious beliefs often clashed with Augusta’s artistic pursuits, as he viewed her clay sculptures as unholy images. Consequently, he discouraged her from pursuing an art career. Despite her father’s disapproval, she persevered and gained encouragement from her high school principal who hired her to teach a clay modeling class. She relocated to West Palm Beach, Florida in 1915.
Augusta married three times at a young age with tragic results. She married her first husband, John T. Moore in 1907 at 15 years old. They had a daughter named Irene Connie Moore in 1908. John T. Moore passed away a few years later. She married her second husband James Savage in 1915. He was a carpenter. Although their marriage ended in divorce in the early 1920s, Augusta kept his surname for the rest of her life. She married her third husband, Robert Lincoln Poston in 1923. He was a protégé of Marcus Garvey. He died of pneumonia in 1924 while returning from a trip to Liberia
Artist in the Making
Her first big break came when she entered her sculptures in the West Palm Beach county fair and won $25.00 and a ribbon. In 1921, Augusta moved to New York City with just $4.60 and a letter of recommendation in hand. She enrolled at Cooper Union, where her talent quickly became evident, allowing her to graduate in three years. Her career took off as she received commissions to sculpt portrait busts of notable figures like W.E.B. Du Bois and Marcus Garvey.
The Harlem Renaissance
Augusta’s studio became a vital hub during the Harlem Renaissance, nurturing young artists, particularly those from marginalized communities. She taught at the Harlem Community Art Center and her own Savage Studio of Arts and Crafts, where she inspired and mentored students, helping to shape the next generation of artists. She was responsible for the careers of many artists who later gained national recognition.
Savage also fought for equal rights for African Americans in the arts. She was a vocal advocate for equal opportunities for African American artists. She fought against racial discrimination in the art world and worked to ensure that black artists received the recognition and support they deserved.
Famous Artwork
The artist had two famous works that captured the essence of African American life and culture. “Gamin” earned her a scholarship to study art in Paris. While there, she exhibited her art twice at the famous Paris Salon. Unfortunately, she was denied a summer art program sponsored by the French government because she was African American.
“The Harp,” originally titled “Lift Every Voice and Sing,” was created for the 1939 New York World’s Fair. It reinterprets the musical instrument to feature twelve singing African American youth as its strings, with the harp’s sounding board transformed into an arm and a hand, believed to be the hand of God. In front, a kneeling young man offers music in his hands. The sculpture was destroyed at the end of the fair.
Augusta faced numerous challenges, including racial discrimination. Despite these obstacles, she remained dedicated to her art and teaching, leaving a lasting legacy. In her later years, she taught art to children in her home, wrote children’s books and worked in a cancer research facility. She passed away in New York City on March 27, 1962. To learn more about Augusta Savage, click here.