id: 160187 accession number: 1998.11.5 share license status: Copyrighted url: https://clevelandart.org/art/1998.11.5 updated: 2023-03-15 15:46:30.728000 Selections from the Atlanta Period 1931-1946: Giddap, 1931–46. Hale Aspacio Woodruff (American, 1900–1980). Linoleum cut; sheet: 48.6 x 38 cm (19 1/8 x 14 15/16 in.); image: 30.3 x 23 cm (11 15/16 x 9 1/16 in.). The Cleveland Museum of Art, Gift of Agnes Gund and Daniel Shapiro 1998.11.5 © VAGA, New York, NY title: Giddap title in original language: series: Selections from the Atlanta Period 1931-1946 series in original language: creation date: 1931–46 creation date earliest: 1931 creation date latest: current location: creditline: Gift of Agnes Gund and Daniel Shapiro copyright: © VAGA, New York, NY --- culture: America, 20th century technique: linoleum cut department: Prints collection: PR - Linocut type: Portfolio find spot: catalogue raisonne: --- CREATORS * Hale Aspacio Woodruff (American, 1900–1980) - artist --- measurements: Sheet: 48.6 x 38 cm (19 1/8 x 14 15/16 in.); Image: 30.3 x 23 cm (11 15/16 x 9 1/16 in.) state of the work: edition of the work: support materials: description: LANA PUR FIL cream wove paper watermarks: inscriptions: inscription: numbered 13/300 in graphite, printer's blind stamp in lower left corner; artist's blind stamp in lower right corner: (©Hale Woodruff) translation: remark: --- CURRENT EXHIBITIONS --- LEGACY EXHIBITIONS * Our Stories: African American Prints and Drawings. Cleveland Museum of Art, Cleveland, OH (January 26 - May 18, 2014). --- PROVENANCE --- fun fact: In addition to printmaking, Hale Woodruff was a well-known muralist and studied with the Mexican master Diego Rivera. digital description: This print belongs to a series that Hale Woodruff created while living and teaching in Atlanta. Although he had worked primarily in abstraction previously, Woodruff's time in the South inspired him to move toward a more representational art that dealt with contemporary social issues—especially the legacy of racism. Here, a mob of white men prepares to lynch an African American man who stands bound in the back of a wagon. The men's threatening expressions and gestures combine with the stark tonal reversal of the print to suggest the irrevocable violence and injustice of the scene. Although such lynchings increased in frequency during the 1930s, formalized anti-lynching legislation failed to find support when it was proposed in 1935. wall description: This scathing scene of a mute mob lynching of an African American man speaks to the violence against African Americans that increased during the 1930s as the economy worsened, ending a decade-long period of steadily improving race relations. In 1933 alone, 28 lynchings occurred, yet in 1935 President Franklin Delano Roosevelt refused to support anti-lynching legislation. --- RELATED WORKS --- CITATIONS --- IMAGES