Allan Rohan Crite | |
|---|---|
| Born | (1910-03-20)March 20, 1910 |
| Died | September 6, 2007(2007-09-06) (aged 97) |
| Alma mater | School of the Museum of Fine Arts, Harvard University (ALB) |
| Known for | Oils, prints; drafting; author, publisher, and librarian |
| Awards | Harvard University Anniversary Medal |
Allan Rohan Crite (March 20, 1910 – September 6, 2007) was aBoston-based African American artist. He won several honors, such as the 350th Harvard University Anniversary Medal.[1]
Crite was born inNorth Plainfield, New Jersey, on March 20, 1910.[2] The family relocated to Massachusetts and from the age of one until his death Crite lived inBoston's South End. Crite's mother, Annamae, was a poet who encouraged her son to draw. Showing promise at a young age, he enrolled in the Children's Art Centre atUnited South End Settlements in Boston and graduated from theEnglish High School in 1929. His father, Oscar William Crite, was a doctor and engineer, one of the first black people to earn an engineering license.[3]
Though he was admitted to theYale School of Art, he chose to attend theSchool of the Museum of Fine Arts in Boston and graduated in 1936.[4] He was a draughtsman and illustrator in the Design Department of the Charlestown Navy Yard from 1941 until 1974.[5]
Recognition came early as well. His work was first shown at New York'sMuseum of Modern Art in 1936[4] and his first solo show at the Boston Athaneaum in 1948.[6] The Athenaeum exhibited a retrospective posthumously from October 2025 until January 2026 at the Boston Athenaeum.[7]
Crite then attendedHarvard Extension School, where he earned an ALB degree in 1968.[8]
Crite was among the few African-Americans employed by theFederal Art Project. In 1940, he took a job as an engineeringdraftsman with theBoston Naval Shipyard where he worked as an artist for 30 years.[2] After, he worked part time as a librarian at Harvard University'sGrossman Library. For many decades, he was a mentor and elder to burgeoning Black artists in the Boston area, includingNapoleon Jones-Henderson, Johnetta Tinker, Susan Thompson, and Aukrum Burton who formed the Boston Collective in the 1970s and 1980s.[9][10]
In 1986, Boston named the intersection of Columbus Avenue and West Canton Street, steps from his home, Allan Rohan Crite Square.[11]
In 1993, Crite married Jackie Cox-Crite. Together they established the Crite House Museum in their home at 410 Columbus Avenue in Boston's South End.[1]
Suffolk University awarded him an honorary doctorate in 1979.[12]
He died in his sleep of natural causes on September 6, 2007, at age 97.[4][13]
His widow established the Allan Rohan Crite Research Institute to safeguard his legacy, which Crite never thought important, by authenticating and cataloging his many scattered works.[14]
Crite hoped to depict the life of African-Americans living in Boston in a new and different way: as ordinary citizens or the "middle class"[3] rather thanstereotypical representations as jazz musicians or sharecroppers.[15][8] Through his art, he intended to tell the story of African Americans as part of the fabric of American society and its reality.[8] By using representational style rather thanmodernism, Crite felt that he could more adequately "report" and capture the reality thatAfrican Americans were part of[8] but often unaccounted for.[3]
Crite explained his body of work as having a common theme:[13]
I've only done one piece of work in my whole life and I am still at it. I wanted to paint people of color as normal humans. I tell the story of man through the black figure.
His paintings fall into two categories: religious themes and general African-American experiences, with some reviewers adding a third category for work depictingNegro spirituals.[2] Spirituals, he believed, expressed a certain humanity.[3] Crite was a devoutEpiscopalian, and his religion inspired many of his works.[16][17] His 1946 paintingMadonna of the Subway is an example of a blend of genres, depicting a Black Holy Mother and baby Jesus riding Boston'sOrange Line. Other pieces such asSchool's Out (1936) reflect on the themes of community, family, society.[18] On his faith and the role of liturgy in his pieces, Crite said in an interview:[3]
It was very useful, because it gave me a framework of discipline within which to do my work. So I used that, for example, as the frame of discipline to illustrate the spirituals, by making use of theliturgy, the vestments, and everything like that — using the vestments and appurtenances as, you might say, a vocabulary.
His work is recognizable in its use of rich earth tone colors. According to one biographer, his favorite color was "all colors" and his favorite time of year was "anything but winter."[2] According to one reviewer, "Crite's oils and graphics, even when restricted to black and white, are bright in tonality, fine and varied in line, extremely rhythmic, dramatic in movement, and often patterned."[17]
Crite's works hang in more than a hundred American institutions, including the Museum of Modern Art in New York, theArt Institute of Chicago and Washington’sPhillips Collection.[19] TheBoston Athenaeum holds the largest public collection of his paintings and watercolors, a bequest from Crite in gratitude for his long tenure there as a visiting artist.[citation needed]
Crite's illustrated books include:[14]
Crite's major exhibitions included:[16]
His works were shown in a coordinated series of posthumous exhibitions in 2007-08, at theBoston Public Library, theBoston Athenaeum, and the Museum of theNational Center of Afro-American Artists.[22]
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