CATLETT, ELIZABETH

born April 15, 1915/19, Washington, D.C., U.S. expatriate American sculptor and printmaker renowned for her accessible and intensely political art. The granddaughter of slaves, Catlett was born into a middle-class Washington family; her father was a professor of mathematics at Tuskegee Institute. Disallowed entrance to the Carnegie Institute of Technology because she was black, Catlett enrolled at Howard University (B.A., c. 1936), where she studied design, printmaking, and drawing. While a muralist for two months during the mid-1930s with the Federal Art Project of the Works Progress Administration, she became influenced by the social activism of Mexican muralist Diego Rivera. In 1940 Catlett became the first student to earn a master's degree of fine arts in sculpture at the University of Iowa. The regionalist painter Grant Wood, a professor at the university at the time, encouraged her to present images drawn from black culture and experience, and he influenced her decision to concentrate on sculpture. After holding several teaching positions and continuing to expand her range of media, Catlett went to Mexico City in 1946 to create prints depicting Mexican life at the Taller de Grfica Popular artists' collective. As a left-wing activist, she endured investigation by the House Un-American Activities Committee during the 1950s. About 1962 she took Mexican citizenship. Catlett's fame rested largely on her sculptures, such as Homage to My Young Black Sisters (1968) and various mother-child pairings, which constituted one of her central themes. She was also an accomplished printmaker who valued prints for their financial accessibility to many people. Catlett alternately chose to illustrate famous subjects, such as Harriet Tubman and Malcolm X, as well as anonymous workersnotably strong, solitary black womenas depicted in the terra-cotta sculpture Negro Woman (c. 1960) and the prints Sharecropper (1968) and Survivor (c. 1978).