SAVAGE, AUGUSTA

born Feb. 29, 1892, Green Cove Springs, Fla., U.S. died March 26, 1962, New York, N.Y. Gamin, painted plaster sculpture by Augusta Savage, 1929; in the National Museum of American ne Augusta Christine Fells American sculptor and educator who battled racism to secure a place for black women in the art world. Augusta Fells began modeling figures from the red clay soil of her native Florida at an early age. She married John T. Moore in 1907 and had her only child, Irene, in 1908. Moore died a few years later, and Augusta moved with her family to West Palm Beach, Florida, in 1915. About that time she married James Savage, but she divorced him in the early 1920s. Once she located a source for clay, Savage thrived artistically in West Palm Beach, receiving local encouragement and prizes. She moved to Jacksonville, Florida, hoping to make a living by executing commissioned busts of the city's well-to-do blacks. When that plan failed, she moved to New York City to study art. In 1921 she enrolled at Cooper Union in the four-year sculpture course, but her instructors quickly waived many of the classes in light of her talent. In 1923 Savage became the focus of a racial scandal involving the French government and the American arts community. She was among some 100 young American women selected to attend a summer program at Fontainebleau, outside Paris, but her application was subsequently refused on the basis of her race. Sculptor Hermon A. MacNeil was the only member of the committee to denounce the decision, and he invited Savage to study with him in an attempt to make amends. Also in 1923 Savage married for the third and final time, but her husband, Robert L. Poston, died the next year. Following this period, Savage worked in steam laundries to earn money to care for her family and to save for studies in Europe. Her plans were derailed, however, when her family suffered a series of tragedies. In the 1920s Savage received a commission to sculpt a portrait bust of W.E.B. Du Bois and then another of black nationalist Marcus Garvey; both pieces were hailed for their power and dynamism. On the strength of those works and especially the poignant Gamin (1929)a portrait bust of a streetwise boy and one of Savage's few extant piecesshe received a Julius Rosenwald Fellowship that enabled her finally to study in Paris in 192931. The Great Depression brought art sales to a virtual standstill, however, and when she returned to New York City she turned to teaching art, founding her own school of arts and crafts in Harlem in the early 1930s. In 1937 she became the first director of the Harlem Community Art Center, which played a crucial role in the development of many young African American artists. During this period, too, she became the first black elected to the National Association of Women Painters and Sculptors. Savage also fought successfully for the inclusion of black artists in Works Progress Administration projects. In the late 1930s Savage was commissioned to create a sculpture for the 1939 New York World's Fair. The piece, inspired by James Weldon Johnson's poem Lift Every Voice and Sing, became one of her best known. Unfortunately, it and many others of Savage's sculptures were never cast in permanent materials and were later lost or destroyed. Savage then opened a gallery specializing in art by blacks, but it did not long survive. She retired from art in the 1940s, moving to a farm in Saugerties, New York.