Paper

Student Artwork Guide

Tombstones

Name Class Date

Jacob Lawrence, Tombstones (1942), Whitney Museum of American Art. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Jacob Lawrence originaluniqueart.com/en/artists/jacob-lawrence/
Artist’s dates
1917 – 2000
Painted
1942
Medium
Tempera Pigment mixed with egg yolk — fast-drying, matt, and used for centuries before oil paint arrived.
Movement
Social Realism Painting hardship and working life deliberately, to make viewers notice injustice.
Period
Modern
Held at
Whitney Museum of American Art originaluniqueart.com/en/museums/whitney-museum-of-american-art-new-york/
Artistic style
Bold lines; Geometric shapes
Influences
American Social Realism
Notable elements or techniques
Dynamic cubism; Layered color blocking
Subject or theme
Death; Remembrance; Harlem community

In context

Tombstones — Jacob Lawrence

When was this painted?

  1. 1910
  2. 1920
  3. 1930
  4. 1940
  5. 1950
  6. 1960
  7. 1970
  8. 1980
  9. 1990
  10. 2000

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 83 at death.

Painted when the artist was 25. The artist lived to 83. 3 of the 55 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Jacob Lawrence (1917–2000) ▲ this work, 1942 every dated painting, decade by decade

First works: up to 1946 Main working years: 1946–1960 Late works: from 1960

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/jacob-lawrence-tombstones-D3FCEG-en/

Colours

Measured from the image

    Main colour

    Espresso #3e3428

    Catalogued palette

    • #3E3428
    • #939798
    • #5B6268
    • #895627

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Espresso
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Softly Mixed Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Jacob Lawrence over the last twelve months — 4 countries in all. Where these figures come from

    The ten leading countries

    1. 1 United States of America 45.5%
    2. 2 China 40.9%
    3. 3 Israel 9.1%
    4. 4 Latvia 4.5%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Jacob Lawrence

    1. 1 Pool Parlor, 1942 19.0%
    2. 2 The Library, 1960 19.0%
    3. 3 The Card Game, 1953 7.1%
    4. 4 Genesis Creation Sermon V: And God Created All the Fowls of the Air and Fishes of the Seas, 1989 7.1%
    5. 5 Genesis Creation Sermon IV: And God Created the Day and the Night and God Creatied and Put Stars in the Skies, 1989 4.8%
    6. 6 Genesis Creation Sermon VIII: And Creation Was Done and All Was Well, 1989 4.8%
    7. 7 The Shoemaker, 1945 4.8%
    8. 8 The Cue and the Ball, 1956 4.8%
    9. 9 When It Is Warm the Parks Are Filled with People, 1943 4.8%
    10. 10 Bar and Grill, 1941 2.4%
    11. 11 Library Series: The Schomburg, 1986 2.4%
    12. 12 Genesis Creation Sermon VI: And God Created All the Beasts of the Earth, 1989 2.4%
    13. 13 ...is life so dear or peace so sweet as to be purchased at the prices of chains and slavery? Patrick Henry-1775, 1955 2.4%
    14. 14 And a Woman Mans a Cannon, 1955 2.4%
    15. 15 Vaudeville, 1951 2.4%
    16. 16 The railroad stations were at times so over-packed with people leaving that special guards had to be called in to keep order 2.4%
    17. 17 They arrived in great numbers into Chicago, the gateway of the West 2.4%
    18. 18 Defeat, 1954 2.4%
    19. 19 ...if we fail, let us fail like men, and expire together in one common strugge... -Henry Clay, 1813, 1956 2.4%
    20. — Tombstones, 1942 this painting 0.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 77 works by this artist, of which 19 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Tombstones — Jacob Lawrence

    A Poignant Meditation on Mortality and Community

    In the somber, evocative landscape of Jacob Lawrence’s 1942 masterpiece, Tombstones, we are invited into a profound visual dialogue between life and death. Painted during the turbulent era following Pearl Harbor, this work serves as much more than a mere depiction of a graveyard; it is a soulful testament to the collective experience of African Americans in Harlem. Lawrence, a master of narrative storytelling, utilizes his signature dynamic cubism to weave a tapestry of remembrance that feels both deeply personal and universally resonant. The scene unfolds with a sense of quiet dignity, where the presence of crosses and headstones does not evoke terror, but rather a meditative stillness—a communal space where memory is held sacred amidst the shifting tides of history.

    The composition is masterfully structured to guide the viewer through a cycle of existence. A central staircase dominates the frame, acting as a powerful metaphor for the human journey; its ascent suggests aspiration and the upward reach of the spirit, while the descent reminds us of the inevitable return to the earth. Lawrence employs a flattened perspective that eschews traditional depth in favor of a rhythmic, layered arrangement. Figures are positioned throughout this architectural landscape—some ascending toward the light of upper windows, others lingering near the gravesites below—creating a sense of a community bound together by shared history and the shared reality of loss.

    The Language of Line and Earthy Tones

    Technically, Tombstones is a triumph of precision and restraint. Executed in tempera, the artwork relies on the deliberate application of color blocking and sharp, defining lines to construct its world. Lawrence avoids the distraction of heavy textures or realistic shading, opting instead for a geometric clarity that lends the piece an enduring, monumental quality. The lines that delineate the stair railings, the building's silhouette, and the very tombstones themselves are rendered with an unwavering certainty, providing a sense of structural order to the complex emotional narrative.

    The color palette is intentionally muted, grounded in an earthy spectrum of browns, deep greens, ochre yellows, and somber blues. These tones evoke the soil and the weathered stone of a memorial site, reinforcing the theme of mortality. Yet, within this subdued field, Lawrence introduces subtle contrasts that breathe life into the composition, ensuring that the eye remains engaged by the interplay of light and shadow across the flattened planes. For the collector or interior designer, this palette offers a sophisticated versatility, providing a focal point that commands attention through its tonal depth and historical weight rather than through garishness.

    A Timeless Legacy for the Modern Collector

    To possess a reproduction of Tombstones is to hold a piece of American Social Realism. Lawrence’s ability to blend the avant-garde techniques of modernism with the urgent social realities of his time creates an artwork that remains strikingly contemporary. The painting does not merely depict a moment in 1942; it captures the eternal rhythm of community, resilience, and the cyclical nature of life. It is a piece that invites long periods of contemplation, making it an ideal acquisition for those seeking to infuse their spaces with intellectual depth and emotional resonance.

    Whether displayed in a curated gallery setting or as a cornerstone of a thoughtfully designed residential interior, this work serves as a bridge between the past and the present. It offers a window into the heart of Harlem and the enduring strength of the human spirit, making it an incomparable choice for art lovers who value works that possess both aesthetic mastery and a profound, lingering soul.

    Artist and museum

    Artist

    Jacob Lawrence

    Born in Atlantic City, United States of America

    A Life Painted in Story: The World of Jacob Lawrence

    Jacob Armstead Lawrence, born in Atlantic City, New Jersey, in 1917, emerged as one of the most significant American artists of the 20th century. His life story is intrinsically woven into his art—a powerful narrative shaped by the realities of being African-American during a period of profound social change. Following his parents’ divorce in 1924, Lawrence experienced a childhood marked by movement and adaptation, spending time in foster care in Philadelphia before ultimately finding a home with his mother in Harlem during the vibrant years of the Harlem Renaissance. This immersion into the cultural heart of Black America would become the wellspring of his artistic vision. It was within the bustling streets and communal spirit of Harlem that Lawrence first encountered art, attending classes at Utopia Children’s House and later studying under Charles Alston at the Harlem Art Workshop—a formative experience that set him on a path to becoming a visual storyteller of unparalleled depth.

    Dynamic Cubism: A Style Born of Experience

    Lawrence didn't simply adopt artistic styles; he forged his own, famously describing it as “dynamic cubism.” This wasn’t an imitation of the European avant-garde but rather a unique synthesis of modernist principles and the lived experiences of his community. Influenced by the bold colors and flattened forms of African sculpture and Mexican muralists—artists who prioritized narrative and social commentary—Lawrence developed a visual language that was both strikingly modern and deeply rooted in Black culture. His paintings are characterized by strong, simplified shapes, vibrant color palettes, and a deliberate rejection of traditional perspective. This approach wasn’t merely aesthetic; it served to emphasize the emotional weight of his subjects and create a sense of immediacy and accessibility. He sought not to replicate reality but to distill its essence, capturing the spirit of a people and their history with unwavering honesty.

    Chronicling History & Everyday Life

    Lawrence’s artistic output is remarkable for its breadth and thematic consistency. He didn't focus on isolated portraits or landscapes; instead, he created sweeping series that tackled monumental historical events and the nuances of everyday Black life. His breakthrough came with The Migration Series, a powerful sequence of sixty panels depicting the Great Migration—the mass movement of African Americans from the rural South to the industrial North in search of opportunity and escape from Jim Crow segregation. This work, begun in 1940-41, catapulted Lawrence to national recognition, earning him accolades and securing his place as a leading voice in American art. But The Migration Series was just the beginning. He went on to create equally compelling series dedicated to figures like Toussaint L’Ouverture, Frederick Douglass, and Harriet Tubman—transforming historical narratives into accessible visual stories. Beyond these grand historical cycles, Lawrence also found beauty and significance in the ordinary: scenes of barbershops, diners, and domestic life became canvases for exploring themes of community, resilience, and identity. His painting Bar and Grill, a stark depiction of segregation within a New Orleans café, exemplifies his ability to distill complex social realities into potent visual statements. Similarly, Victory and Defeat, with its imposing wall of cannonballs, commemorates the pivotal siege of Yorktown, Virginia, offering a nuanced reflection on American history.

    Legacy & Enduring Influence

    Jacob Lawrence’s impact extends far beyond his impressive body of work. He was not only an artist but also a dedicated educator, teaching at institutions like Black Mountain College and the University of Washington for sixteen years. Through his teaching, he nurtured generations of artists, encouraging them to find their own voices and explore themes relevant to their experiences. Lawrence paved the way for countless African-American artists who followed, challenging prevailing norms and expanding the boundaries of American art. His work continues to resonate today, prompting critical conversations about race, history, and social justice. Featured in prominent museums such as the Smithsonian American Art Museum and the University of Washington’s collection, his paintings serve as enduring testaments to the power of art to illuminate the human condition and inspire change. He left behind a legacy not just of beautiful images but of courageous storytelling—a visual chronicle of a people's journey toward freedom and self-determination.

    Museum

    Whitney Museum of American Art

    On show in New York, United States of America

    A Sanctuary of American Spirit

    To step into the

    Whitney Museum of American Art

    is to enter a living chronicle of a nation’s soul. Located in the vibrant heart of Manhattan's Meatpacking District, the museum serves as much more than a mere repository for canvas and stone; it is a profound testament to the vision of

    Gertrude Vanderbilt Whitney

    , who believed that American creativity deserved a stage of its own, free from the heavy shadows cast by European traditions. Since its inception, the institution has acted as a vital pulse point for the American identity, capturing the grit of the Ashcan School, the haunting solitude of Edward Hopper’s urban landscapes, and the electric, boundary-pushing energy of contemporary movements.

    For the discerning collector or the lover of fine aesthetics, the Whitney offers an unparalleled journey through the evolution of a visual language that is uniquely, unapologetically American. The collection itself—a staggering assembly of over 21,000 works—is not a static archive but a breathing organism. It moves seamlessly from the stark realism of the early 20th century to the complex, multi-media installations of today. This continuity of innovation makes the Whitney an essential destination for those seeking to understand the trajectory of modern thought.

    Architectural Mastery and Light

    The museum's physical presence is as much a work of art as the masterpieces it houses. Moving from its historic Brutalist home on Madison Avenue to its current architectural marvel on Gansevoort Street, the Whitney now resides in a structure designed by the legendary

    Renzo Piano

    . This masterpiece of spatial fluidity is defined by its breathtaking integration of light and landscape. The building’s design prioritizes an effortless connection between the interior galleries and the bustling city outside, utilizing expansive terraces that offer sweeping views of the Hudson River.

    For interior designers and architects, the museum serves as a masterclass in how light can be harnessed to breathe life into texture and pigment. The galleries are bathed in a soft, diffused glow that allows the bold abstractions of

    Georgia O’Keeffe

    or the provocative Pop Art of

    Andy Warhol

    to resonate with their true, intended intensity. This interplay between the urban environment and the curated interior creates an immersive experience where the boundaries between art and life begin to dissolve.

    A Window into the Future

    What truly distinguishes the Whitney is its role as a cultural barometer, most notably through the prestigious

    Whitney Biennial

    . Since 1932, this recurring exhibition has functioned as a prophetic window into the future, showcasing emerging talents and sparking the intense debates that define the contemporary era. It remains the longest-running and most important survey of contemporary art in the United States.

    Beyond its exhibitions, the museum maintains a deep commitment to the study of American art through various specialized resources, including:

    The Edward and Josephine Hopper Research Collection:

    As the largest repository of Edward Hopper's artwork and archival materials in the world.

    The Sanborn Hopper Archive:

    Providing critical historical context to American urban landscapes.

    The Arshile Gorky Research Collection:

    Preserving the legacy of pivotal modernists.

    The Whitney Independent Study Program:

    Supporting artists, critics, and art historians through the theoretical study of contemporary practice.

    Where to read more

    Find this online

    QR code linking to the download page for Tombstones

    originaluniqueart.com/en/art/download/jacob-lawrence-tombstones-D3FCEG-en/

    Cite this artwork

    MLA
    Lawrence, Jacob. Tombstones. 1942, Whitney Museum of American Art. https://originaluniqueart.com/en/art/jacob-lawrence-tombstones-D3FCEG-en/
    APA
    Lawrence, Jacob (1942). Tombstones [Painting]. Whitney Museum of American Art. https://originaluniqueart.com/en/art/jacob-lawrence-tombstones-D3FCEG-en/
    Chicago
    Jacob Lawrence. Tombstones. 1942. Whitney Museum of American Art. https://originaluniqueart.com/en/art/jacob-lawrence-tombstones-D3FCEG-en/
    Harvard
    Lawrence, Jacob (1942) Tombstones. Whitney Museum of American Art. Available at: https://originaluniqueart.com/en/art/jacob-lawrence-tombstones-D3FCEG-en/

    Look closely

    Tombstones — Jacob Lawrence

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 5 — do you agree?)
    4. Our catalogue files this work under: harlem renaissance, death remembrance, community gathering. Do you agree? What would you add, or take away?
    5. Look back at Bar and Grill (1941), earlier in this guide. Name two things it shares with this work, and one that is different.

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Tombstones — Jacob Lawrence

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic style does Jacob Lawrence utilize in 'Tombstones', blending it with Social Realism?

      • A Impressionism
      • B Dynamic Cubism
      • C Surrealism
    2. 2. In the composition of 'Tombstones', what does the central staircase symbolically represent?

      • A The divide between social classes
      • B The cyclical nature of life and death (ascent and descent)
      • C The physical journey of the Great Migration
    3. 3. Which color palette best describes the mood of this artwork?

      • A Vibrant, neon, and high-contrast
      • B Muted earthy tones like browns, greens, and yellows
      • C Monochromatic shades of grey and black
    4. 4. During which historical period was 'Tombstones' painted?

      • A The Harlem Renaissance (1920s)
      • B Immediately following Pearl Harbor (1942)
      • C During the Civil Rights Movement (1960s)
    5. 5. How does Lawrence approach perspective and texture in this piece?

      • A Using traditional linear perspective and detailed shading
      • B A flattened perspective with color blocking instead of detailed texture
      • C Hyper-realistic depth with three-dimensional modeling

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2A · 3A · 4A · 5A

    Check any answer against the catalogue record for this painting

    Questions & Answers

    What use and space are recommended for "Tombstones" by Jacob Lawrence?

    "Tombstones" is suggested for accent, and the recommended space is a living room.

    Where should a reproduction of "Tombstones" by Jacob Lawrence be hung?

    With its portrait shape, a reproduction of "Tombstones" is suggested for a living room.

    Can I preview "Tombstones" by Jacob Lawrence before ordering?

    To preview a reproduction of "Tombstones" by Jacob Lawrence, open the artwork's Preview page.