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Gwendolyn Knight-Lawrence

(1913-2005)

Gwendolyn Knight-Lawrence (1913-2005), Lullaby, 1992, offset lithograph, #46/96, 22” x 30"
$5,200

IMG_8723_edited.jpg

Professionally framed to 29.5" x 38"

Gwen Knight created Lullaby while visiting Philadelphia's Brandywine Workshop with her late husband, Jacob Lawrence. This print is also in the permanent collections of:

- Washington State Arts Commission
- Telfair Museums
- David Driskell Center, University of Maryland
- Seattle Art Museum
and many private collectors.

Knight was born in Barbados in 1913. When she was seven, her widowed mother entrusted her to close friends who brought her with them to the United States. In 1926, Knight moved with her foster family from their first home in St. Louis to Harlem, where her developing interest in the arts flowered in the creative atmosphere of the Harlem Renaissance. In Harlem, Knight became a daily participant in the workshop of sculptor Augusta Savage, in whom Knight found a mentor, and Savage's studio became a second home. Through Savage, Knight first came into contact with Claude McKay, Langston Hughes, Charles Alston, Ralph Ellison, Alain Locke, Aaron Douglas, Romare Bearden, and other writers, thinkers, and artists at the heart of Harlem's cultural ferment. 

In the mid-1930s, Knight went to work for the WPA's Fine Arts Project, assisting graphic designer and painter Charles Alston with a mural in the children's ward at Harlem Hospital. In 1934, in Alston's studio, she met Jacob Lawrence. They were married in 1941, forming a strong and enduring partnership. In 1971, when Jacob was offered a full-time tenured position at the University of Washington, the couple moved to Seattle. 

In Seattle, Knight joined the Francine Seders gallery, which also represented Jacob Lawrence. Knight's first solo exhibition was at the Seattle Art Museum in 1976. From the mid-1970s onward, her work gained a growing audience and recognition in the Northwest and beyond, with exhibits in venues in Georgia, Oregon, and Washington, D.C. Knight continued working until 2001, turning in her late work to a series of lyrical monoprints that captured her interest in improvisation and movement. In 2003 a retrospective of her work appeared at the Tacoma Art Museum to great acclaim.

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