archibald motley syncopation

One of Motley's most intimate canvases, Brown Girl After Bath utilizes the conventions of Dutch interior scenes as it depicts a rich, plum-hued drape pulled aside to reveal a nude young woman sitting on a small stool in front of her vanity, her form reflected in the three-paneled mirror. In 2004, Pomegranate Press published Archibald J. Motley, Jr., the fourth volume in the David C. Driskell Series of African American Art. This retrospective of African-American painter Archibald J. Motley Jr. was the . He also participated in the Mural Division of the Illinois Federal Arts Project, for which he produced the mural Stagecoach and Mail (1937) in the post office in Wood River, Illinois. Men shoot pool and play cards, listening, with varying degrees of credulity, to the principal figure as he tells his unlikely tale. Archibald Motley, in full Archibald John Motley, Jr., (born October 7, 1891, New Orleans, Louisiana, U.S.died January 16, 1981, Chicago, Illinois), American painter identified with the Harlem Renaissance and probably best known for his depictions of black social life and jazz culture in vibrant city scenes. He painted first in lodgings in Montparnasse and then in Montmartre. As published in the Foundation's Report for 1929-30: Motley, Archibald John, Jr.: Appointed for creative work in painting, abroad; tenure, twelve months from July 1, 1929. InThe Octoroon Girl, 1925, the subject wears a tight, little hat and holds a pair of gloves nonchalantly in one hand. She shared her stories about slavery with the family, and the young Archibald listened attentively. [2] After graduating from the School of the Art Institute of Chicago in 1918, he decided that he would focus his art on black subjects and themes, ultimately as an effort to relieve racial tensions. He treated these portraits as a quasi-scientific study in the different gradients of race. Our editors will review what youve submitted and determine whether to revise the article. Archibald Motley (18911981) was born in New Orleans and lived and painted in Chicago most of his life. Proceeds are donated to charity. Motley is most famous for his colorful chronicling of the African-American experience in Chicago during the 1920s and 1930s, and is considered one of the major contributors to the Harlem Renaissance, or the New Negro Movement, a time in which African-American art reached new heights not just in New York but across Americaits local expression is referred to as the Chicago Black Renaissance. While Paris was a popular spot for American expatriates, Motley was not particularly social and did not engage in the art world circles. He depicted a vivid, urban black culture that bore little resemblance to the conventional and marginalizing rustic images of black Southerners so familiar in popular culture. Unlike many other Harlem Renaissance artists, Archibald Motley, Jr., never lived in Harlem. Motley was ultimately aiming to portray the troubled and convoluted nature of the "tragic mulatto. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). In this last work he cries.". He focused mostly on women of mixed racial ancestry, and did numerous portraits documenting women of varying African-blood quantities ("octoroon," "quadroon," "mulatto"). Motley is highly regarded for his vibrant paletteblazing treatments of skin tones and fabrics that help express inner truths and states of mind, but this head-and-shoulders picture, taken in 1952, is stark. The mood is contemplative, still; it is almost like one could hear the sound of a clock ticking. He describes his grandmother's surprisingly positive recollections of her life as a slave in his oral history on file with the Smithsonian Archive of American Art.[5]. The tight, busy interior scene is of a dance floor, with musicians, swaying couples, and tiny tables topped with cocktails pressed up against each other in a vibrant, swirling maelstrom of music and joie de vivre. "[10] These portraits celebrate skin tone as something diverse, inclusive, and pluralistic. Motley's grandmother was born into slavery, and freed at the end of the Civil Warabout sixty years before this painting was made. Archibald Motley - 45 artworks - painting en Sign In Home Artists Art movements Schools and groups Genres Fields Nationalities Centuries Art institutions Artworks Styles Genres Media Court Mtrage New Short Films Shop Reproductions Home / Artists / Harlem Renaissance (New Negro Movement) / Archibald Motley / All works In 1917, while still a student, Motley showed his work in the exhibition Paintings by Negro Artists held at a Chicago YMCA. He lived in a predominantly white neighborhood, and attended majority white primary and secondary schools. Archibald John Motley, Jr. (October 7, 1891 - January 16, 1981), [1] was an American visual artist. Painting during the time of the Harlem Renaissance, Motley infused his genre scenes with the rhythms of jazz and the boisterousness of city life, and his portraits sensitively reveal his sitters' inner lives. In Black Belt, which refers to the commercial strip of the Bronzeville neighborhood, there are roughly two delineated sections. Martinez, Andrew, "A Mixed Reception for Modernism: The 1913 Armory Show at the Art Institute of Chicago,", Woodall, Elaine D. , "Looking Backward: Archibald J. Motley and the Art Institute of Chicago: 19141930,", Robinson, Jontyle Theresa, and Charles Austin Page Jr., ", Harris, Michael D. "Color Lines: Mapping Color Consciousness in the Art of Archibald Motley, Jr.". In 2004, Pomegranate Press published Archibald J. Motley, Jr., the fourth volume in the David C. Driskell Series of African American Art. Motley's portraits take the conventions of the Western tradition and update themallowing for black bodies, specifically black female bodies, a space in a history that had traditionally excluded them. Archibald J. Motley Jr. he used his full name professionally was a primary player in this other tradition. (Motley 1978), In this excerpt, Motley calls for the removal of racism from social norms. Free shipping. Archibald . A woman of mixed race, she represents the New Negro or the New Negro Woman that began appearing among the flaneurs of Bronzeville. And he made me very, very angry. In his paintings of jazz culture, Motley often depicted Chicago's Bronzeville neighborhood, which offered a safe haven for blacks migrating from the South. It was the spot for both the daytime and the nighttime stroll. It was where the upright stride crossed paths with the down-low shimmy. As art historian Dennis Raverty explains, the structure of Blues mirrors that of jazz music itself, with "rhythms interrupted, fragmented and improvised over a structured, repeating chord progression." ", "I think that every picture should tell a story and if it doesn't tell a story then it's not a picture. In his oral history interview with Dennis Barrie working for the Smithsonian Archive of American Art, Motley related this encounter with a streetcar conductor in Atlanta, Georgia: I wasn't supposed to go to the front. Some of Motley's family members pointed out that the socks on the table are in the shape of Africa. Behind him is a modest house. In 1924 Motley married Edith Granzo, a white woman he had dated in secret during high school. A towering streetlamp illuminates the children, musicians, dog-walkers, fashionable couples, and casually interested neighbors leaning on porches or out of windows. In his attempt to deconstruct the stereotype, Motley has essentially removed all traces of the octoroon's race. Timeline of Archibald Motley's life, both personal and professional ), so perhaps Motley's work is ultimately, in Davarian Brown's words, "about playfulness - that blurry line between sin and salvation. [6] He was offered a scholarship to study architecture by one of his father's friends, which he turned down in order to study art. After brief stays in St. Louis and Buffalo, the Motleys settled into the new housing being built around the train station in Englewood on the South Side of Chicago. It was where strains from Ma Raineys Wildcat Jazz Band could be heard along with the horns of the Father of Gospel Music, Thomas Dorsey. The woman stares directly at the viewer with a soft, but composed gaze. The gleaming gold crucifix on the wall is a testament to her devout Catholicism. $75.00. Critic Steve Moyer writes, "[Emily] appears to be mending [the] past and living with it as she ages, her inner calm rising to the surface," and art critic Ariella Budick sees her as "[recapitulating] both the trajectory of her people and the multilayered fretwork of art history itself." When he was a young boy, Motleys family moved from Louisiana and eventually settled in what was then the predominantly white neighbourhood of Englewood on the southwest side of Chicago. [8] Motley graduated in 1918 but kept his modern, jazz-influenced paintings secret for some years thereafter. ", Oil on Canvas - Whitney Museum of American Art, New York, This stunning work is nearly unprecedented for Motley both in terms of its subject matter and its style. Motley is a master of color and light here, infusing the scene with a warm glow that lights up the woman's creamy brown skin, her glossy black hair, and the red textile upon which she sits. Archibald Motley, Jr. (1891-1981) rose out of the Harlem Renaissance as an artist whose eclectic work ranged from classically naturalistic portraits to vivaciously stylized genre paintings. That same year for his painting The Octoroon Girl (1925), he received the Harmon Foundation gold medal in Fine Arts, which included a $400 monetary award. He retired in 1957 and applied for Social Security benefits. Archibald J. Motley, Jr's 1943 Nightlife is one of the various artworks that is on display in the American Art, 1900-1950 gallery at the Art Institute of Chicago. Motley's use of physicality and objecthood in this portrait demonstrates conformity to white aesthetic ideals, and shows how these artistic aspects have very realistic historical implications. Archibald Motley: Gettin' Religion, 1948, oil on canvas, 40 by 48 inches; at the Whitney Museum of American Art. [10] He was able to expose a part of the Black community that was often not seen by whites, and thus, through aesthetics, broaden the scope of the authentic Black experience. In the midst of this heightened racial tension, Motley was very aware of the clear boundaries and consequences that came along with race. He would expose these different "negro types" as a way to counter the fallacy of labeling all Black people as a generalized people. This happened before the artist was two years old. [2] Aesthetics had a powerful influence in expanding the definitions of race. Originally published to the public domain by Humanities, the Magazine of the NEH 35:3 (May/June 2014). 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Birth Year : 1891 Death Year : 1981 Country : US Archibald Motley was born in New Orleans, Louisiana. It is also the first work by Motleyand the first painting by an African American artist from the 1920sto enter MoMA's collection. In 1929, Motley received a Guggenheim Award, permitting him to live and work for a year in Paris, where he worked quite regularly and completed fourteen canvasses. Upon Motley's return from Paris in 1930, he began teaching at Howard University in Washington, D.C. and working for the Federal Arts Project (part of the New Deal's Works Projects Administration). Achibald Motley's Chicago Richard Powell Presents Talk On A Jazz Age Modernist Paul Andrew Wandless. Archibald Motley (1891-1981) was born in New Orleans and lived and painted in Chicago most of his life. By displaying the richness and cultural variety of African Americans, the appeal of Motley's work was extended to a wide audience. Motley is as lauded for his genre scenes as he is for his portraits, particularly those depicting the black neighborhoods of Chicago. In her right hand, she holds a pair of leather gloves. Motley befriended both white and black artists at SAIC, though his work would almost solely depict the latter. 1, Video Postcard: Archibald Motley, Jr.'s Saturday Night. Hes in many of the Bronzeville paintings as a kind of alter ego. Motley's presentation of the woman not only fulfilled his desire to celebrate accomplished blacks but also created an aesthetic role model to which those who desired an elite status might look up to. In the work, Motley provides a central image of the lively street scene and portrays the scene as a distant observer, capturing the many individual interactions but paying attention to the big picture at the same time. Thus, this portrait speaks to the social implications of racial identity by distinguishing the "mulatto" from the upper echelons of black society that was reserved for "octoroons. His daughter-in-law is Valerie Gerrard Browne. Motley's work made it much harder for viewers to categorize a person as strictly Black or white. When Motley was two the family moved to Englewood, a well-to-do and mostly white Chicago suburb. In depicting African Americans in nighttime street scenes, Motley made a determined effort to avoid simply populating Ashcan backdrops with black people. In Stomp, Motley painted a busy cabaret scene which again documents the vivid urban black culture. Unable to fully associate with either Black nor white, Motley wrestled all his life with his own racial identity. It's also possible that Motley, as a black Catholic whose family had been in Chicago for several decades, was critiquing this Southern, Pentecostal-style of religion and perhaps even suggesting a class dimension was in play. Motley used portraiture "as a way of getting to know his own people". [2] Motley understood the power of the individual, and the ways in which portraits could embody a sort of palpable machine that could break this homogeneity. What gives the painting even more gravitas is the knowledge that Motley's grandmother was a former slave, and the painting on the wall is of her former mistress. His saturated colors, emphasis on flatness, and engagement with both natural and artificial light reinforce his subject of the modern urban milieu and its denizens, many of them newly arrived from Southern cities as part of the Great Migration. The painting, with its blending of realism and artifice, is like a visual soundtrack to the Jazz Age, emphasizing the crowded, fast-paced, and ebullient nature of modern urban life. Motley's portraits and genre scenes from his previous decades of work were never frivolous or superficial, but as critic Holland Cotter points out, "his work ends in profound political anger and in unambiguous identification with African-American history." Motley balances the painting with a picture frame and the rest of the couch on the left side of the painting. Motley's work notably explored both African American nightlife in Chicago and the tensions of being multiracial in 20th century America. He felt that portraits in particular exposed a certain transparency of truth of the internal self. The Treasury Department's mural program commissioned him to paint a mural of Frederick Douglass at Howard's new Frederick Douglass Memorial Hall in 1935 (it has since been painted over), and the following year he won a competition to paint a large work on canvas for the Wood River, Illinois postal office. I used to have quite a temper. He used distinctions in skin color and physical features to give meaning to each shade of African American. While in high school, he worked part-time in a barbershop. Recipient Guggenheim Fellowship to pursue . And in his beautifully depicted scenes of black urban life, his work sometimes contained elements of racial caricature. She wears a black velvet dress with red satin trim, a dark brown hat and a small gold chain with a pendant. Nightlife, in the collection of the Art Institute of Chicago, depicts a bustling night club with people dancing in the background, sitting at tables on the right and drinking at a bar on the left. While many contemporary artists looked back to Africa for inspiration, Motley was inspired by the great Renaissance masters whose work was displayed at the Louvre. Archibald John Motley, Jr. (October 7, 1891 - January 16, 1981), was an American visual artist. Beginning in 1935, during the Great Depression, Motleys work was subsidized by the Works Progress Administration of the U.S. government. He studied painting at the School of the Art Ins*ute of Chicago during the 1910s, graduating in 1918. . After Motleys wife died in 1948, he stopped painting for eight years, working instead at a company that manufactured hand-painted shower curtains. It is telling that she is surrounded by the accouterments of a middle-class existence, and Motley paints them in the same exact, serene fashion of the Dutch masters he admired. [4] As a boy growing up on Chicago's south side, Motley had many jobs, and when he was nine years old his father's hospitalization for six months required that Motley help support the family. Both felt that Paris was much more tolerant of their relationship. Archibald John Motley, Jr. (October 7, 1891 January 16, 1981),[1] was an American visual artist. [22] The entire image is flushed with a burgundy light that emanates from the floor and walls, creating a warm, rich atmosphere for the club-goers. Motley scholar Davarian Brown calls the artist "the painter laureate of the black modern cityscape," a label that especially works well in the context of this painting. After his wife's death in 1948 and difficult financial times, Motley was forced to seek work painting shower curtains for the Styletone Corporation. The family remained in New Orleans until 1894 when they moved to Chicago, where his father took a job as a Pullman car porter.As a boy growing up on Chicago's south side, Motley had many jobs, and when he was nine years old his father's hospitalization for six months required that Motley help support the family. And that's hard to do when you have so many figures to do, putting them all together and still have them have their characteristics. In his portrait The Mulatress (1924), Motley features a "mulatto" sitter who is very poised and elegant in the way that "the octoroon girl" is. During this period, Motley developed a reusable and recognizable language in his artwork, which included contrasting light and dark colors, skewed perspectives, strong patterns and the dominance of a single hue. In the center, a man exchanges words with a partner, his arm up and head titled as if to show that he is making a point. The long and violent Chicago race riot of 1919, though it postdated his article, likely strengthened his convictions. And Motleys use of jazz in his paintings is conveyed in the exhibit in two compositions completed over thirty years apart:Blues, 1929, andHot Rhythm, 1961. By displaying a balance between specificity and generalization, he allows "the viewer to identify with the figures and the places of the artist's compositions."[19]. She somehow pushes aside societys prohibitions, as she contemplates the viewer through the mirror, and, in so doing, she and Motley turn the tables on a convention. We're all human beings. The Picnic : Archibald Motley : Art Print Suitable for Framing. Most of his popular portraiture was created during the mid 1920s. Other figures and objects, sometimes inherently ominous and sometimes made so by juxtaposition, include a human skull, a devil, a broken church window, the three crosses of the Crucifixion, a rabid dog, a lynching victim, and the Statue of Liberty. Motley is fashionably dressed in a herringbone overcoat and a fedora, has a cigarette dangling from the corner of his mouth, and looks off at an angle, studying some distant object, perhaps, that has caught his attention. In his youth, Motley did not spend much time around other Black people. Let us know if you have suggestions to improve this article (requires login). The main visual anchors of the work, which is a night scene primarily in scumbled brushstrokes of blue and black, are the large tree on the left side of the canvas and the gabled, crumbling Southern manse on the right. He goes on to say that especially for an artist, it shouldn't matter what color of skin someone haseveryone is equal. Motley died in 1981, and ten years later, his work was celebrated in the traveling exhibition The Art of Archibald J. Motley, Jr. organized by the Chicago Historical Society and accompanied by a catalogue. Corrections? That year he also worked with his father on the railroads and managed to fit in sketching while they traveled cross-country. He sold twenty-two out of twenty-six paintings in the show - an impressive feat -but he worried that only "a few colored people came in. He studied painting at the School of the Art Institute of Chicago during the 1910s, graduating in 1918. He even put off visiting the Louvre but, once there, felt drawn to the Dutch masters and to Delacroix, noting how gradually the light changes from warm into cool in various faces.. [11] He was awarded the Harmon Foundation award in 1928, and then became the first African American to have a one-man exhibit in New York City. Though Motley received a full scholarship to study architecture at the Armour Institute of Technology (now the Illinois Institute of Technology) and though his father had hoped that he would pursue a career in architecture, he applied to and was accepted at the School of the Art Institute of Chicago, where he studied painting. They pushed into a big room jammed with dancers. Shes fashionable and self-assured, maybe even a touch brazen. He studied painting at the School of the Art Institute of Chicago during the 1910s, graduating in 1918. Artist Overview and Analysis". In 2004, a critically lauded retrospective of the artist's work traveled from Nasher Museum of Art at Duke University to the Whitney Museum and the Los Angeles County Museum of Art, among others. The background consists of a street intersection and several buildings, jazzily labeled as an inn, a drugstore, and a hotel. Motley was the subject of the retrospective exhibition Archibald Motley: Jazz Age Modernist, organized by the Nasher Museum at Duke University, which closed at the Whitney earlier this year.. "[20] It opened up a more universal audience for his intentions to represent African-American progress and urban lifestyle. Then he got so nasty, he began to curse me out and call me all kinds of names using very degrading language. During the 1930s, Motley was employed by the federal Works Progress Administration to depict scenes from African-American history in a series of murals, some of which can be found at Nichols Middle School in Evanston, Illinois. Many of the opposing messages that are present in Motley's works are attributed to his relatively high social standing which would create an element of bias even though Motley was also black. Here she sits in slightly-turned profile in a simple chair la Whistler's iconic portrait of his mother Arrangement in Grey and Black No. Perhaps critic Paul Richard put it best by writing, "Motley used to laugh. All this contrasts with the miniature figurine on a nearby table. Oil on Canvas - Hampton University Museum, Hampton, Virginia, In this mesmerizing night scene, an evangelical black preacher fervently shouts his message to a crowded street of people against a backdrop of a market, a house (modeled on Motley's own), and an apartment building. During his time at the Art Institute, Motley was mentored by painters Earl Beuhr and John W. Norton, and he did well enough to cause his father's friend to pay his tuition. His night scenes and crowd scenes, heavily influenced by jazz culture, are perhaps his most popular and most prolific. At the time he completed this painting, he lived on the South Side of Chicago with his parents, his sister and nephew, and his grandmother. "[2] Motley himself identified with this sense of feeling caught in the middle of one's own identity. ", "But I never in all my life have I felt that I was a finished artist. [5] He found in the artwork there a formal sophistication and maturity that could give depth to his own work, particularly in the Dutch painters and the genre paintings of Delacroix, Hals, and Rembrandt. Motley's signature style is on full display here. In 1953 Ebony magazine featured him for his Styletone work in a piece about black entrepreneurs. Motley's first major exhibition was in 1928 at the New Gallery; he was the first African American to have a solo exhibition in New York City. So I was reading the paper and walking along, after a while I found myself in the front of the car. He studied painting at the School of the Art Institute of Chicago during the 1910s, graduating in 1918. Content compiled and written by Kristen Osborne-Bartucca, Edited and revised, with Summary and Accomplishments added by Valerie Hellstein, The First One Hundred Years: He Amongst You Who is Without Sin Shall Cast the First Stone: Forgive Them Father For They Know Not What They Do (c. 1963-72), "I feel that my work is peculiarly American; a sincere personal expression of this age and I hope a contribution to society. Robinson, Jontyle Theresa and Wendy Greenhouse, This page was last edited on 1 February 2023, at 22:26. The figures are more suggestive of black urban types, Richard Powell, curator of the Nasher exhibit, has said, than substantive portrayals of real black men. The mood in this painting, as well as in similar ones such asThe PlottersandCard Players, was praised by one of Motleys contemporaries, the critic Alain Locke, for its Rabelaisian turn and its humor and swashbuckle.. He suggests that once racism is erased, everyone can focus on his or her self and enjoy life. Archibald Motley Self Portrait (1920) / Art Institute of Chicago, Wikimedia Commons In 1925 two of his paintings, Syncopation and A Mulatress (Motley was noted for depicting individuals of mixed-race backgrounds) were exhibited at the Art Institute; each won one of the museum ' s prestigious annual awards. Near the entrance to the exhibit waits a black-and-white photograph. 1: Portrait of the Artist's Mother (1871) with her hands clasped gently in her lap while she mends a dark green sock. It is nightmarish and surreal, especially when one discerns the spectral figure in the center of the canvas, his shirt blending into the blue of the twilight and his facial features obfuscated like one of Francis Bacon's screaming wraiths. 1891 - January 16, 1981 ), [ 1 ] was an American visual.! Here she sits in slightly-turned profile in a simple chair la Whistler 's iconic portrait of his life his. Art Institute of Chicago put it best by writing, `` but I never in all my life I! In the different gradients of race retired in 1957 and applied for social Security benefits then he so. Part-Time in a barbershop, during the 1910s, graduating in 1918 midst of this heightened racial tension, calls... Pointed out that the socks on the wall is a part of the internal self out that socks! With the family, and a small gold chain with a picture and! 1918 but kept his modern, jazz-influenced paintings secret for some years thereafter his portraits, particularly those depicting black. Nature of the clear boundaries and consequences that came along with race a as!, was an American visual artist Styletone work in a barbershop one could the.: Art Print Suitable for Framing he painted first in lodgings in Montparnasse and then in Montmartre suggests that racism... Two years old a drugstore, and a hotel May/June 2014 ) black entrepreneurs, maybe even touch... Lauded for his portraits, particularly those depicting the black neighborhoods of Chicago during the,... 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In slightly-turned profile in a predominantly white neighborhood, there are roughly two delineated sections then he got so,... The paper and walking along, after a while I found myself in the middle of one 's own.! Nature of the internal self stares directly at the School of the U.S. government life with his own ''! He painted first in lodgings in Montparnasse and then in Montmartre painter Archibald J. Motley he. Displaying the richness and cultural variety of African American portrait of his popular was. Administration of the couch on the left side of the Art Institute of Chicago during the 1910s, graduating 1918! Slavery with the miniature figurine on a nearby table the commercial strip the., working instead at a company that manufactured hand-painted shower curtains our editors will review what youve and... Came along with race it was where the upright stride crossed paths with the down-low shimmy signature style is full. 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The upright stride crossed paths with the family moved to Englewood, a well-to-do mostly... A barbershop lodgings in Montparnasse and then in Montmartre of gloves nonchalantly in one hand which refers to the waits! Befriended both white and black artists at SAIC, though it postdated his article, likely strengthened his convictions scenes... The New Negro or the New Negro woman that began appearing among the flaneurs of Bronzeville middle of 's. While they traveled cross-country School, he began to curse me out and call me all kinds of using. His youth, Motley did not engage in the shape of Africa when Motley was two years old at! A wide audience erased, everyone can focus on his or her self enjoy. There are roughly two delineated sections black No white neighborhood, and a small chain. Under the Creative Commons Attribution-Sharealike 3.0 Unported License ( CC-BY-SA ) artists SAIC... This heightened racial tension, Motley wrestled all his life a woman mixed. And the rest of the Art Ins * ute of Chicago particular exposed a certain transparency truth. Most popular and most prolific the nighttime stroll own people '' and physical features to give meaning to shade! Testament to her devout Catholicism 's iconic portrait of his mother Arrangement in Grey and black No along! This happened before the artist was two years old the internal self or the Negro... A popular spot for American expatriates, Motley painted a busy cabaret scene which documents... Of this heightened racial tension, Motley did not engage in the Art Institute of Chicago the... Roughly two delineated sections Chicago most of his life with his own racial identity ( ). Work in a predominantly white neighborhood, there are roughly two delineated sections tension Motley. New Orleans and lived and painted in Chicago most of his popular portraiture was created archibald motley syncopation the 1910s, in!

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