Augusta Savage: The Sculptor Who Built Monuments in People
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Introduction
Discover the remarkable story of Augusta Savage, the pioneering sculptor and educator whose true monuments stand not in bronze or marble, but in the countless artists she inspired during the Harlem Renaissance. Born in 1892 in Florida, Savage overcame poverty and discrimination to become the first Black woman to open an art gallery in America and the founding director of the Harlem Community Art Center. Though only 70 of her 160 sculptures survive today, her teaching legacy lives on through students like Jacob Lawrence, whose Migration Series might never have existed without her mentorship. This comprehensive guide explores Savage's journey from sculpting with Florida clay to establishing the Savage Studio of Arts and Crafts in Harlem, her triumph and tragedy with "The Harp" at the 1939 World's Fair, and her lasting impact on American art education. Learn why we chose to honor her fearless spirit and community-building vision in our own name—Savage Guild.
Who Was Augusta Savage?
Augusta Christine Savage (1892-1962) was an American sculptor and art educator who became one of the most influential figures of the Harlem Renaissance. Despite creating approximately 160 sculptures during her career, only about 70 survive today. Her true monuments, however, stand in museums worldwide through the work of students like Jacob Lawrence, Gwendolyn Knight, and Norman Lewis.
Born on February 29, 1892, in Green Cove Springs, Florida, Savage began sculpting with the area's natural red clay as a child. Her Methodist minister father viewed these creations as "sinful graven images" and, by her own account, "licked me four or five times a week and almost whipped all the art out of me."
As the first Black woman to open an art gallery in the United States, Savage founded the Savage Studio of Arts and Crafts in Harlem and later directed the Harlem Community Art Center from 1937 to 1939. Her monumental sculpture "The Harp" for the 1939 World's Fair became one of the most photographed attractions, though it would later be destroyed. Throughout her career, she mentored future masters including Jacob Lawrence, whose Migration Series might never have existed without her guidance.
Early Life: From Florida Clay to New York Dreams
Augusta Savage's Childhood in Florida
Augusta Christine Fells discovered her artistic calling in Green Cove Springs, Florida, where abundant clay deposits provided her first medium. The seventh of fourteen children in an impoverished family, she faced immediate opposition from her father Edward Fells, whose religious convictions labeled her sculptures as forbidden idols.
Her early years were marked by determination despite adversity. In 1907, at age 15, she married John T. Moore, and the following year gave birth to her daughter Irene. Widowed shortly after, these experiences would forge the resilience she'd need for the battles ahead. When the family moved to West Palm Beach in 1915, her artistic journey took a pivotal turn. At the 1919 West Palm Beach County Fair, she won $25 and a ribbon for "most original exhibit," catching the attention of fair superintendent George Graham Currie.
The Journey to New York City
After marrying carpenter James Savage (whose surname she kept after their divorce), Augusta struggled to find clay in West Palm Beach until discovering the Chase Potteries. Her breakthrough came at the 1919 West Palm Beach County Fair, where she won $25 and a ribbon for "most original exhibit."
In 1921, Augusta Savage arrived in New York City with just $4.60, carrying a letter of recommendation to sculptor Solon Borglum. She enrolled at Cooper Union, winning admission over 142 men on the waiting list.
The Fontainebleau Rejection That Changed History
What Happened at Fontainebleau?
The spring of 1923 brought both recognition and devastation for Augusta Savage. Selected from 100 American women artists for a prestigious scholarship to the Fontainebleau School of Fine Arts in France, her acceptance was rescinded when the selection committee discovered she was Black.
Two Alabama women had complained about traveling with a "colored girl," and the committee claimed they had made no arrangements for Black students. This rejection sparked Savage to launch a public campaign, garnering support from W.E.B. Du Bois and widespread media coverage.
Augusta Savage's Response to Racism
Savage wrote to the New York World editor: "I hear so many complaints to the effect that Negroes do not take advantage of the educational opportunities offered them. Well, one of the reasons is that as soon as one of us gets his head above the crowd, there are millions of feet ready to crush it back again."
This incident transformed Savage from artist to activist, establishing her lifelong commitment to creating alternative pathways for Black artists excluded from mainstream institutions.
Major Works: Creating Art Despite Poverty
"Gamin" (1929) - Augusta Savage's Breakthrough
"Gamin," Savage's portrait bust of nephew Ellis Ford, became her most celebrated work. The sculpture captured the young man wearing a newsboy cap with sensitive realism that challenged stereotypical depictions of African Americans in contemporary art.
The sculpture's success earned Savage the Julius Rosenwald Fellowship, finally enabling her to study in Paris from 1929 to 1931. Today, "Gamin" resides in the Smithsonian American Art Museum collection, exemplifying her approach to dignified portrayal of Black subjects. The work demonstrates her technical mastery while revealing the humanity and individuality of her subject—a hallmark of all her portraiture.
Other Notable Augusta Savage Sculptures
Working primarily in clay and plaster (bronze casting remained financially impossible), Savage developed a technique of painting plaster with brown paint mixed with shoe polish to mimic bronze's appearance.
Her body of work included powerful portraits that captured the dignity and humanity of her subjects. The bust of W.E.B. Du Bois from 1923 marked her first major commission, while her portrait of Marcus Garvey from the 1920s demonstrated her connection to key Harlem Renaissance figures. Works like "The Chase" (1930), "Susie Q" (1930s), and "Realization" (1930s) showcased her range as a sculptor, from dynamic movement to contemplative portraiture.
The Savage Studio: Where Masters Were Made
Establishing the Savage Studio of Arts and Crafts
Returning from Paris in 1932, Augusta Savage established the Savage Studio of Arts and Crafts in a basement on West 143rd Street. With support from a Carnegie Foundation grant, she created an inclusive space where anyone could learn art regardless of race or economic status.
The studio offered free or pay-as-you-go classes in painting, drawing, sculpture, and printmaking. Savage often provided materials for students who couldn't afford them, understanding that talent existed everywhere but opportunity did not. Beyond technical instruction, the studio became a gathering place for Harlem Renaissance intellectuals and artists, fostering community and cultural pride. As Savage noted, "We really have a lot of native talent in Harlem. I hope that I can make the school a permanent one 'cause there is a crying need for it. We've had to turn down 60 persons in the last six weeks for lack of space."
Augusta Savage's Famous Students
Among the young artists who found their calling at the Savage Studio was Jacob Lawrence, who would become one of America's most celebrated painters. Lawrence was just a teenager when Savage recognized his talent, securing him a scholarship to the American Artists School and later personally escorting him to WPA offices to obtain employment at age 21.
The studio nurtured an extraordinary generation of artists. Gwendolyn Knight became an accomplished painter and married Jacob Lawrence. Norman Lewis pioneered abstract expressionism among African American artists. Ernest Crichlow co-founded the Cinque Gallery, continuing Savage's mission of creating spaces for Black artists. Even Kenneth B. Clark, whose sociological research would contribute to the Brown v. Board of Education decision, studied under Savage. Each student received individual attention tailored to their interests and abilities, with Savage often securing scholarships, employment, and exhibition opportunities for them.
Building the Harlem Community Art Center
Augusta Savage and the WPA
In 1935, Savage co-founded the Harlem Artists Guild with Charles Alston to advocate for Black artists' inclusion in federal programs. Their persistent lobbying successfully opened Works Progress Administration opportunities to African American artists.
Directing the Harlem Community Art Center
In 1937, Augusta Savage was appointed first director of the Harlem Community Art Center. Under her leadership, it became what many considered the best of all WPA art centers nationwide.
In its first 16 months, the center served 1,500 students of all ages and abilities, offering classes in everything from painting and sculpture to costume design, metalcraft, and photography. The center employed a multiracial staff and organized exhibitions throughout New York City, providing unprecedented visibility for African American artists. It became, in the words of one observer, "the heart of the Harlem Renaissance as a learning and meeting place for the first generation of modern African-American artists."
The Tragic Story of "The Harp"
Creating "Lift Every Voice and Sing"
The 1939 New York World's Fair commissioned Savage to create her largest work—"Lift Every Voice and Sing," popularly known as "The Harp." This 16-foot painted plaster sculpture featured 12 African American singers forming a harp's strings, with God's arm and hand as the sounding board and a kneeling figure holding sheet music in the foreground.
Over 5 million visitors viewed "The Harp," making it one of the fair's most popular and photographed attractions. Small metal souvenirs of the sculpture sold throughout the fair, and the work appeared in countless publications. For her commission fee of just $360, Savage had created an iconic representation of African American cultural contribution that resonated with audiences across racial lines. Today, those small souvenirs sell at auction for $68,750 to $112,500—bitter reminders of what was lost.
The Destruction of Augusta Savage's Masterpiece
When the fair ended in 1940, Savage faced an impossible choice. Unable to afford bronze casting or storage, she watched bulldozers demolish her masterpiece. No institution stepped forward to preserve it, exemplifying how systemic racism and poverty destroyed irreplaceable cultural works.
Augusta Savage's Teaching Philosophy
Core Teaching Principles
"I have created nothing really beautiful, really lasting," Savage once said, "but if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work."
Savage's teaching methods emphasized technical excellence in European techniques while maintaining cultural pride and African American identity. She focused on professional development and advocacy skills alongside artistic training, providing individual attention tailored to each student's needs and abilities. Her approach balanced rigorous instruction with nurturing support, understanding that many of her students faced the same barriers she had overcome.
Creating Lasting Impact Through Education
Augusta Savage's teaching philosophy proved remarkably effective. She created what scholars describe as "a radical model for engaging with the arts in Harlem," democratizing access to professional training previously reserved for the wealthy.
Opening America's First Gallery for Black Artists
The Salon of Contemporary Negro Art
Even while working on "The Harp," Augusta Savage pursued another groundbreaking project. In 1939, she opened the Salon of Contemporary Negro Art in Harlem—the first gallery in the United States dedicated exclusively to works by African American artists.
The gallery represented both established and emerging artists, providing a professional venue that challenged the art world's segregation. Savage understood that creating excellent art meant nothing if African American artists had no venues to exhibit and sell their work. By establishing professional spaces and standards, she laid groundwork for future galleries and institutions that would support Black artists.
Impact Beyond the Gallery Walls
Though financial pressures forced the gallery's closure after only a few months, it established a precedent that others would follow. The Salon of Contemporary Negro Art demonstrated that Black artists could create, curate, and control their own exhibition spaces, inspiring future generations to establish independent galleries and cultural institutions.
The gallery's brief existence exemplified Savage's dual role as artist and advocate, showing how institutional change required not just creating art but building the infrastructure to support it. This pioneering effort would influence the establishment of spaces like the Studio Museum in Harlem and countless other institutions dedicated to Black artistic expression.
Augusta Savage's Legacy Today
Recognition and Honors
Major recognition came slowly but significantly for Augusta Savage. In 2001, the Augusta Savage House and Studio in Saugerties was listed on the National Register of Historic Places. The first major retrospective of her work, "Augusta Savage: Renaissance Woman," toured nationally from 2018-2020, introducing new audiences to her surviving sculptures. In 2024, PBS American Masters premiered "Searching for Augusta Savage," a documentary exploring her life and legacy, while the Smithsonian American Art Museum established the first Augusta Savage Curator of African American Art position.
Institutions Named for Augusta Savage
+ Augusta Fells Savage Institute of Visual Arts (Baltimore)
+ Augusta Savage Gallery (University of Massachusetts Amherst)
+ Various scholarships and programs nationwide
+ Augusta Savage in Art History
Today, Augusta Savage is recognized as central to the Harlem Renaissance and American art education. Her students' achievements—from Jacob Lawrence's Migration Series to Norman Lewis's abstract expressionism—demonstrate her lasting impact on American art.
Why We Chose the Name Savage Guild
The Dual Meaning of "Savage"
At Savage Guild, our name carries a powerful dual meaning. We embrace "savage" in its definition as fearless and assertive—qualities that defined Augusta Savage's approach to art and life. Like Augusta Savage, who fearlessly challenged institutions and assertively created new pathways for artists, we approach design with bold confidence and unwavering determination.
Honoring Augusta Savage's Guild Legacy
The "Guild" in our name directly honors Augusta Savage's pioneering work in creating the Harlem Artists Guild in 1935. She understood that individual talent needed collective support to thrive, establishing the first guild specifically for Harlem artists to advocate for their inclusion in federal art programs. This guild model—where masters share knowledge, members support each other, and collective strength overcomes individual barriers—guides our approach to building community through design.
Continuing the Mission Through Design
Our work builds on the intersection of Art Deco, Bauhaus, and Harlem Renaissance aesthetics that defined Savage's era. Like Savage, who believed "if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work," we see our products as vehicles for cultural education and community building. The Savage Guild name reminds us daily that excellence emerges not from individual achievement alone, but from the communities we build and the knowledge we share.
Frequently Asked Questions
When was Augusta Savage born?
Augusta Savage was born on February 29, 1892, in Green Cove Springs, Florida.
What is Augusta Savage famous for?
Augusta Savage is famous for being a pioneering African American sculptor and art educator during the Harlem Renaissance. She's best known for her sculpture "Gamin" and for teaching future masters like Jacob Lawrence.
What happened to Augusta Savage's sculptures?
Of approximately 160 sculptures Augusta Savage created, only about 70 survive today. Many were made in plaster and clay due to financial constraints and were lost or destroyed, including her monumental work "The Harp."
Who were Augusta Savage's most famous students?
Augusta Savage's most famous students include Jacob Lawrence (painter of the Migration Series), Gwendolyn Knight, Norman Lewis, Ernest Crichlow, and William Artis.
Why did Augusta Savage stop making art?
Augusta Savage largely stopped sculpting after 1945 due to accumulated frustrations including financial struggles, the destruction of her major works, lack of institutional support, and exhaustion from decades of fighting discrimination.
Where can I see Augusta Savage's work today?
Augusta Savage's surviving works can be seen at the Smithsonian American Art Museum, the Museum of Modern Art, and other major institutions. Small reproductions of "The Harp" occasionally appear at auction.
What was the Harlem Community Art Center?
The Harlem Community Art Center was a WPA-funded art school directed by Augusta Savage from 1937-1939. It served over 1,500 students and became a model for community art education nationwide.
How did Augusta Savage influence the Harlem Renaissance?
Augusta Savage influenced the Harlem Renaissance by creating inclusive art education spaces, mentoring the next generation of African American artists, and advocating for Black artists' inclusion in federal programs.