The Poetry of Death: An Examination of the Language and Concepts of Death Articulated in the Iliad 'Our Tomb or Salvation?' The History of Ukrainian Immigration into Argentina in the Interwar Period, 1920-1939
These Legal Gentlemen: Becoming Prominent in Manitoba, 1870-1900 'In Hot Blood': White-on-White Lynching and the Social Construction of Whiteness in the American South, 1889-1910Įugen Schiffer: A Study in German Liberalism, 1904-1924Īldous Huxley on Drugs, Mysticism and the Humanization of Man 'Town among the Trees': Paternalism, Class, and Civil Rights in Anniston, Alabama, 1872 to Present Liberty, Tradition, and the Good Society: Antebellum Southern Conservatism The Struggle for School Reform in Alabama, 1896-1939 'Preach the Gospel unto Every Creature': Jehovah's Witnesses, Alabama, and the U.S. Executed in a loose style with bright colors, they playfully interpret shapes and perspective.īiography courtesy of Roger King Gallery of Fine Art, Study of the Influence of Economic, Social and Partisan Characteristics on Secession Sentiment in the South, 1860-61: A Multiple and Partial Correlation Analysis Employing the County as the Unit of Observation Among his most successful paintings are his still lifes and nudes which, while representational, are nevertheless influenced by his interest in abstraction. Carter worked in both representational and abstract styles. Like many artists of the 1930s, he also painted in tempera, a medium that lent itself to the narrative scenes and murals of the 1930s and which was then enjoying a revival. Carter worked in several media including pastel, watercolor, ink, gouache and oils. While part of the WPA, he worked alongside Eldzier Cortor, Charles White, Earl Walker, Charles Davis and other noted African-American artists. He was an instructor at the South Side Community Arts Center of Chicago. He studied at the Art Institute of Chicago and the University of Illinois and was part of the WPA's Illinois Federal Art Project from 1937-39 and the Illinois Art and Craft Project (1943). Louis, Missouri, William Carter (1909-1996) moved to Chicago in 1930, situating him in the midst of the Depression-era migration of African-Americans from the American South. His works are in collections at the Art Institute of Chicago, the DuSable Museum of African-American Art, and the South Side Community Art Center.īiography courtesy of Roger King Gallery of Fine Art, Born in St. Louis, and the Boston Institute of Modern Art. He also exhibited at Atlanta University, Howard University, the Library of Congress, Smith College, City Art Museum of St. Executed in a loose style with bright colors, they playfully interpret shapes and perspective.Ĭarter exhibited in the Chicago area at the Art League, Hull House, South Side Community Art Center, the Art Institute, and the American Negro Exposition of 1940.