brush and palette, seeking always the folk character back of the individual, the psychology behind the physiognomy. In design also he looks not merely for decorative elements, but for the pattern of the culture from which it sprang. Without loss of naturalistic accuracy and individuality, he somehow subtly expresses the type, and without being any the less human, captures the racial and local. What Gauguin and his followers have done for the Far East, and the work of Ufer and Blumenschein and the Taos school for the Pueblo and Indian seems about to be done for the Negro and Africa.
NOTES TO THE BIBLIOGRAPHY
The bibliographical section of Negro-Americana has been compiled by Arthur A. Schomburg; the section on Negro Folk Lore by Arthur H. Fauset, with acknowledgment for assistance to Professor Monroe Work of Tuskegee Institute; other sections, The Negro in Literature, Negro Music, Negro Drama, African Culture, and The Negro Question, have been compiled by the editor.
