The Complete Jacob Lawrence: Over the Line: The Art and Life of Jacob Lawrence AND Jacob Lawrence: Paintings, Drawings, and Murals (1935-1999), A Catalogue Raisonne

The Complete Jacob Lawrence, a large, two-volume set on the late African American artist who died in June 2000, is so thoughtfully conceived that in addition to admiration, a reader feels gratitude for it. Over the Line, a book of biographical and critical essays, and its companion, a catalogue raisonn , are exactly what Lawrence deserves. A successful artist both in and out of the mainstream throughout most of the 20th century, he was also handily pigeonholed. A social realist, a modernist, and a storyteller, he was described as "self-taught," "primitive," "jazz-age," "narrative," and, above all, "African American." But the eight richly detailed essays in Over the Line show his complex work--in which the threads of abstraction and narrative are tightly woven--in all its magnitude. The books possess unusual authority, as all of the writers knew Lawrence to some extent, and Lawrence's wife, the artist Gwendolyn Knight, was instrumental in the project's fruition.

When Lawrence was a professor of painting, a graduate teaching assistant complained to him that her students resisted her instructions. His response was, "Tell them they're absolutely right. And then tell them to do it your way." This confidence in the validity of different points of view allowed him to express everything he knew about the hardships of African American life while remaining open and interested in everything the world had to offer. His last great series, "The Builders," is a moving metaphor for harmony, showing carpenters of all skin shades working together with hammers, nails, saws, and other tools to construct--what? A better life? A better country? A better world? Lawrence's point was never so reductive. It was enough that they were working side by side. As a Washington Post critic once wrote, "An aura of affection, goodwill and respect, both given and received, shines around the man, and like armor around his art." --Peggy Moorman