Elizabeth Catlett

In Phillis Wheatley I proved intellectual equality in the midst of slavery

1946, printed 1989

Philis Wheatley with a pensive look, writing with a feather, with three shackled women in the background.

Not on view

Date
1946, printed 1989

Classification
Prints

Medium
Linoleum cut

Dimensions
Sheet: 10 9/16 × 7 9/16 in. (26.8 × 19.2 cm) Image: 9 1/8 × 6 1/16 in. (23.2 × 15.4 cm)

Accession number
95.196

Series
The Negro Woman, 1946-47 (re-titled The Black Woman, 1989)

Edition
13/20 | Second print run

Publication
Printed by Robert Blackburn Printmaking Workshop

Credit line
Purchase, with funds from the Print Committee

Rights and reproductions
© Catlett Mora Family Trust / Licensed by VAGA at Artists Rights Society (ARS), New York

API
artworks/10147

Audio

Elizabeth Catlett, Prints

In Where We Are (Spanish)

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Elizabeth Catlett, Prints

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David Breslin: Elizabeth Catlett realizó esta serie de grabados llamada I Am the Negro Woman, en 1947, en su taller en la Ciudad de México.
Narrator: David Breslin es el Curador Familia DeMartini y Director de la colección.
David Breslin: Esta serie de obras son grabados sobre linóleo que muestran a personajes, como Harriet Tubman, Sojourner Truth y Phyllis Wheatley, y la idea de que su labor —ahora famosa labor de mujeres negras— debe ser celebrada, vista y convertida en un modelo a seguir. Como parte de esta serie también hay obras dedicadas a “mujeres desconocidas” y al trabajo invisible —bien fuera en el hogar, en los campos o en las fábricas—, una labor que pasaba inadvertida y que nadie consideraba heroica. La propuesta de Catlett era no sólo celebrar a figuras ejemplares como [Sojourner] Truth, sino celebrar también el trabajo diario de las desconocidas, de aquellas que realizan su trabajo sin recibir atención alguna.
Elizabeth Catlett, Prints

In Where We Are

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Elizabeth Catlett, Prints

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David Breslin: Elizabeth Catlett made this body of prints, I Am the Negro Woman, in 1947 at a workshop in Mexico City.
Narrator: David Breslin is the DeMartini Family Curator and Director of the collection.
David Breslin: This group of works are linoleum woodcuts that feature some known figures like Harriet Tubman, Sojourner Truth, and Phyllis Wheatley, and the idea that their labor—now-famous black women’s labor—should be celebrated, seen, and be made as a model. But also within this group of works are “unknown women” and the invisible labor. Whether it’s in the home, or in the field, or in the factory, that frequently wasn’t seen or wasn’t made heroic. For Catlett, the idea was not only to celebrate these exemplary figures like [Sojourner] Truth, but also to celebrate the everyday labor of ones who have not been noticed—who go unnoticed throughout their work.

Exhibitions

Installation photography

Installation view of Edges of Ailey (Whitney Museum of American Art, New York, September 25, 2024-February 9, 2025). From left to right: Norman Lewis, Phantasy II, 1946; Sam Gilliam, Swing 64, 1964; Bill Traylor, Untitled (Man in a Blue House), date unknown; Ralph Lemon, Bongos and Djembe, 1999; Ralph Lemon, Untitled (On Black music), 2001-07; Thornton Dial, Soul Train, 2004; Sam Doyle, Frank Capers, 2023; Sam Doyle, LeBe, 1970s; Wadsworth Jarrell, Together We Will Win, 1973; Faith Ringgold, United States of Attica, 1971; Wadsworth Jarrell, Revolutionary (Angela Davis), 1972; James Van Der Zee, Marcus Garvey Rally, 1924; Jeff Donaldson, Soweto/So We Too, 1979; Maren Hassinger, River, 1972/2012; Maren Hassinger, River, 1972/2012; Melvin Edwards, Utonga (Lynch Fragment), 1988; Aaron Douglas, Bravado, 1926; Melvin Edwards, Chitungwiza from the Lynch Fragment series, 1989; Aaron Douglas, Flight, 1926; Melvin Edwards, Katura from the Lynch Fragment series, 1986; Aaron Douglas, Surrender, 1970; Melvin Edwards, Cup of? From the Lynch Fragment series, 1988; In vitrine, from left to right: Elizabeth Catlett, I am the Negro Woman, 1947, printed 1989; Elizabeth Catlett, In Harriet Tubman I helped hundreds to freedom, 1946, printed 1989; Elizabeth Catlett, In Sojourner Truth I fought for the rights of women as well as Negroes, 1947, printed 1989; Elizabeth Catlett, In Phillis Wheatley I proved intellectual equality in the midst of slavery, 1946, printed 1989; From left to right: Kara Walker, African/American, 1998; Karon Davis, Dear Mama, 2024; Geoffrey Holder, Portrait of Carmen de Lavallade, 1976; Beauford Delaney, Marian Anderson, 1965; Loïs Mailou Jones, Jennie, 1943. Photograph by Ron Amstutz

From the exhibition Edges of Ailey
Installation view of Edges of Ailey (Whitney Museum of American Art, New York, September 25, 2024-February 9, 2025). In vitrine, from left to right: Elizabeth Catlett, I am the Negro Woman, 1947, printed 1989; Elizabeth Catlett, In Harriet Tubman I helped hundreds to freedom, 1946, printed 1989; Elizabeth Catlett, In Sojourner Truth I fought for the rights of women as well as Negroes, 1947, printed 1989; Elizabeth Catlett, In Phillis Wheatley I proved intellectual equality in the midst of slavery, 1946, printed 1989; From left to right: Kara Walker, African/American, 1998; Karon Davis, Dear Mama, 2024; Geoffrey Holder, Portrait of Carmen de Lavallade, 1976; Beauford Delaney, Marian Anderson, 1965; Loïs Mailou Jones, Jennie, 1943; Meta Vaux Warrick Fuller, Mother and Child (Secret Sorrow), c. 1914. Photograph by Ron Amstutz

From the exhibition Edges of Ailey