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<!DOCTYPE html> <html lang="en" class="nytapp-vi-interactive" xmlns:og="http://opengraphprotocol.org/schema/"> <head> <meta charset="utf-8" /> <title data-rh="true">Inside 100 Years of the Harlem Renaissance - The New York Times</title> <meta data-rh="true" name="robots" content="noarchive, max-image-preview:large"/><meta data-rh="true" name="description" content="The Harlem Renaissance changed the world. We’ve gathered dozens of images, many that we’ve never published, showing the people and the art that they created."/><meta data-rh="true" property="twitter:url" content="https://www.nytimes.com/interactive/2024/arts/harlem-renaissance-100-anniversary.html"/><meta data-rh="true" property="twitter:title" content="A Visual History of the Harlem Renaissance"/><meta data-rh="true" property="twitter:description" content="The Harlem Renaissance changed the world. We’ve gathered dozens of images, many that we’ve never published, showing the people and the art that they created."/><meta data-rh="true" property="twitter:image" content="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-Lindy-Hop/HR-Harlem-Hub-The-Lindy-Hop-videoSixteenByNine3000-v2.jpg"/><meta data-rh="true" property="twitter:image:alt" content="A Lindy Hop dance at the Savoy Ballroom in Harlem. The swing-style jazz dance incorporated fast feet, twirls, jumps and partner tossing."/><meta data-rh="true" property="twitter:card" content="summary_large_image"/><meta data-rh="true" property="og:url" content="https://www.nytimes.com/interactive/2024/arts/harlem-renaissance-100-anniversary.html"/><meta data-rh="true" property="og:type" content="article"/><meta data-rh="true" property="og:title" content="A Visual History of the Harlem Renaissance"/><meta data-rh="true" property="og:image" content="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-Lindy-Hop/HR-Harlem-Hub-The-Lindy-Hop-facebookJumbo-v2.jpg"/><meta data-rh="true" property="og:image:alt" content="A Lindy Hop dance at the Savoy Ballroom in Harlem. The swing-style jazz dance incorporated fast feet, twirls, jumps and partner tossing."/><meta data-rh="true" property="og:description" content="The Harlem Renaissance changed the world. 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 <div id="g-2024-04-16-hr-photogrid" class="birdkit-body g-2024-04-16-hr-photogrid" data-preview-slug="2024-04-16-hr-photogrid" data-birdkit-hydrate="f426adfac10f0143" > <div class="mega-container s-kAIGIrFFw536"> <div class="loose-grid s-4o_grEXSYd-K"> <button class="show-hide-captions s-pYtLn_fz4Ct8" style="--opacity: 0;">See All Captions </button> <div id="painting-hayden" class="loose-grid-item item-0 image span-1 s-R11yBucKCbEV" style="--order:0;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2125" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/28/multimedia/HR-Harlem-Hub-Palmer-Hayden-bvck/HR-Harlem-Hub-Palmer-Hayden-bvck-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 868px)" srcset="https://static01.nyt.com/images/2024/05/28/multimedia/HR-Harlem-Hub-Palmer-Hayden-bvck/HR-Harlem-Hub-Palmer-Hayden-bvck-jumbo.jpg"><source media="(min-width: 869px)" srcset="https://static01.nyt.com/images/2024/05/28/multimedia/HR-Harlem-Hub-Palmer-Hayden-bvck/HR-Harlem-Hub-Palmer-Hayden-bvck-superJumbo.jpg"> <img alt="A painting that depicts a man painting at an easel in a small room, with a woman holding a baby sitting nearby." loading="lazy" decoding="async" width="1800" height="2125" src="https://static01.nyt.com/images/2024/05/28/multimedia/HR-Harlem-Hub-Palmer-Hayden-bvck/HR-Harlem-Hub-Palmer-Hayden-bvck-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“The Janitor Who Paints,” a 1937 work by Palmer Hayden, who described it in a 1969 interview as a “protest painting.” The piece is featured in “The Harlem Renaissance and Transatlantic Modernism” exhibit at the Metropolitan Museum of Art.</span> <span class="g-credit s-R11yBucKCbEV">Palmer Hayden, Smithsonian American Art Museum</span></div> </div><div class="loose-grid-item header s-4o_grEXSYd-K" style="--order:1"><div class="g-header-container g-theme-news g-align-center g-style-default s-WxiNLIoGK6tg g-transparent-masthead"><header class="g-header s-WxiNLIoGK6tg"> <div class="g-heading-wrapper s-WxiNLIoGK6tg"><h1 class="g-heading s--WEV63UuptOE">A Visual History of the Harlem Renaissance</h1></div> <div class="g-leadin-wrapper s-WxiNLIoGK6tg"><p class="g-interactive-leadin s-OS7wonkUyFOO">The Harlem Renaissance changed the world. We’ve gathered dozens of images, many that we’ve never published, showing the people and the art that they created.</p></div> <div class="g-byline-wrapper s-WxiNLIoGK6tg"><p class="g-byline s-oyjqywUozi8_"> <span class="g-last-byline s-oyjqywUozi8_">By The New York Times</span> </p> <span class="g-timestamp-wrapper"><time class="g-interactive-timestamp s-w590EQv4ALB0" datetime="2024-06-28T12:31:36-04:00">June 28, 2024 </time></span></div> </header> </div> <span class="cta s-4o_grEXSYd-K" data-svelte-h="svelte-fcgqki">Tap an image to read more</span> <span class="cta-desktop s-4o_grEXSYd-K" data-svelte-h="svelte-11qty64">Hover over an image to read more</span> <div class="custom-byline-wrapper s-4o_grEXSYd-K"><p class="s-4o_grEXSYd-K"><span class="byline s-4o_grEXSYd-K">By The New York Times</span> <span class="date s-4o_grEXSYd-K">Updated Oct. 9, 2024</span> </p></div> <div class="g-sharetools s-4o_grEXSYd-K"><div class="g-sharetools-wrapper s-PuG7Na1_HXs6 g-align-left"> </div></div> </div> <div id="norma-miller" class="loose-grid-item item-1 image span-1 s-R11yBucKCbEV" style="--order:1;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 475/594" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-harlem-hub-lindy-hop-2-qmkv/HR-harlem-hub-lindy-hop-2-qmkv-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-harlem-hub-lindy-hop-2-qmkv/HR-harlem-hub-lindy-hop-2-qmkv-jumbo-v2.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-harlem-hub-lindy-hop-2-qmkv/HR-harlem-hub-lindy-hop-2-qmkv-superJumbo-v2.jpg"> <img alt="A black and white photograph of two people dancing. The man leans back and holds the woman, who is laid across his knees with her legs spread in the air." loading="lazy" decoding="async" width="475" height="594" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-harlem-hub-lindy-hop-2-qmkv/HR-harlem-hub-lindy-hop-2-qmkv-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Norma Miller and her longtime dance partner, Billy Ricker, performing in Chicago in 1940. Known as the “Queen of Swing,” Miller was a pioneering dancer of the Lindy Hop, a swing-style jazz dance.</span> <span class="g-credit s-R11yBucKCbEV">Maurice Seymour/Michael Ochs Archives, via Getty Images</span></div> </div> <div id="video-harlem-1" class="loose-grid-item item-2 video span-2 s-R11yBucKCbEV" style="--order:2;"><div class="video-item visible s-R11yBucKCbEV"><div id="" class="g-videoplayer_wrapper s-Y6SN2yb7Dnoq" style="--g-aspect-ratio: 1.7777777777777777"> <noscript><video class="g-videoplayer readystate-0 s-s57Zm-smfWP_" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/harlem_streets_night-320w.mp4" autoplay poster="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/harlem_streets_night-320w.jpg" width="" height="" loop playsinline preload="auto" disableremoteplayback muted></video></noscript> <img alt="" class="g-videoplayer_poster s-Y6SN2yb7Dnoq active" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/harlem_streets_night-320w.jpg"> <div class="g-videoplayer_loading s-mBL8LwzEGGUE"><svg xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" viewBox="0 0 70 70"><defs><linearGradient id="g-videoplayer-loading-gradient-3" x1="37.18" y1="35" x2="72.18" y2="70" gradientTransform="translate(-2.18)" gradientUnits="userSpaceOnUse"><stop offset="0.17" stop-color="#fff"></stop><stop offset="0.18" stop-color="#fefdfd"></stop><stop offset="0.35" stop-color="#bcbbbb"></stop><stop offset="0.52" stop-color="#858384"></stop><stop offset="0.67" stop-color="#5b5859"></stop><stop offset="0.81" stop-color="#3c393a"></stop><stop offset="0.92" stop-color="#2a2627"></stop><stop offset="1" stop-color="#231f20"></stop></linearGradient><mask id="g-videoplayer-loading-mask-4" x="35" y="35" width="35" height="35" maskUnits="userSpaceOnUse"><rect fill="url(#g-videoplayer-loading-gradient-3)" x="35" y="35" width="35" height="35" transform="translate(0 105) rotate(-90)"></rect></mask></defs><g mask="url(#g-videoplayer-loading-mask-4)"><path d="M70,35H60A25,25,0,0,1,35,60V70A35,35,0,0,0,70,35Z" class="s-pAgMu2OHe-sl"></path></g><path d="M70,35h0v1.56C70,36,70,35.52,70,35Z" class="s-pAgMu2OHe-sl"></path><path d="M35,70V60a25,25,0,0,1,0-50V0a35,35,0,0,0,0,70c.52,0,1,0,1.56,0Z" class="s-pAgMu2OHe-sl"></path></svg> </div> </div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Harlem in 1938. In the 1920s and ’30s the Manhattan neighborhood became home to an influx of Black Americans from the South. The resulting convergence of Black artistic voices set off the Harlem Renaissance.</span> <span class="g-credit s-R11yBucKCbEV">CriticalPast</span></div> </div> <div id="portrait-langston" class="loose-grid-item item-3 image span-1 s-R11yBucKCbEV" style="--order:3;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2275" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Langston-Hughes/HR-Harlem-Hub--Langston-Hughes-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 811px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Langston-Hughes/HR-Harlem-Hub--Langston-Hughes-jumbo.jpg"><source media="(min-width: 812px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Langston-Hughes/HR-Harlem-Hub--Langston-Hughes-superJumbo.jpg"> <img alt="A black and white photograph of Langston Hughes, wearing a tweed blazer, paisley tie and hat, as he looks off to his right." loading="lazy" decoding="async" width="1800" height="2275" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Langston-Hughes/HR-Harlem-Hub--Langston-Hughes-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Langston Hughes, already an acclaimed figure of the Harlem Renaissance, signed his first book contract after winning the top prize in a literary contest run by Opportunity magazine. He wrote in an accessible way, which differed from his literary counterparts of the time, the critic Donald B. Gibson said.</span> <span class="g-credit s-R11yBucKCbEV">Carl Van Vechten, via Beinecke Rare Book & Manuscript Library/James Weldon Johnson Memorial Collection</span></div> </div> <div id="book-weary-blues" class="loose-grid-item item-4 image span-1 s-R11yBucKCbEV" style="--order:4;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2546" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-Weary-Blues-vbjq/HR-Harlem-Hub-The-Weary-Blues-vbjq-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-Weary-Blues-vbjq/HR-Harlem-Hub-The-Weary-Blues-vbjq-superJumbo-v2.jpg"> <img alt="The cover of the book “The Weary Blues” by Langston Huges. The orange, black and yellow design features a man sitting at a piano with his hands hovering above the keys and his face raised to the sky." loading="lazy" decoding="async" width="1800" height="2546" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-Weary-Blues-vbjq/HR-Harlem-Hub-The-Weary-Blues-vbjq-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“The Weary Blues” is the debut poetry collection by Langston Hughes, one of the best-known writers of the era. The titular poem tells the story of a Black piano player’s performance of a sad, slow blues song.</span> <span class="g-credit s-R11yBucKCbEV">Collection of the Smithsonian National Museum of African American History and Culture</span></div> </div> <div id="text-graf-1" class="loose-grid-item item-5 graf span-2 s-R11yBucKCbEV" style="--order:5;"><p class="g-graf s-R11yBucKCbEV">Travel through early 20th-century Harlem in this visual history: a curated collection of photographs, videos, paintings and books that gave the Jazz Age its swing. <span class="cta s-R11yBucKCbEV">Tap the images and articles to learn more.</span> <span class="cta-desktop s-R11yBucKCbEV">Hover over an image or click an article to learn more.</span></p> </div> <div id="" class="loose-grid-item item-6 link span-1 s-R11yBucKCbEV" style="--order:6;"><div class="g-related-links_item s-EZHox4p8DxYU"><a href="https://www.nytimes.com/interactive/2024/09/03/arts/dance/harlem-renaissance-dance-100-anniversary.html" class="s-EZHox4p8DxYU"> <div class="g-related-links_thumb s-EZHox4p8DxYU"><img alt="" loading="lazy" decoding="async" width="600" height="451" src="https://static01.nyt.com/images/2024/08/15/multimedia/00HR-DANCE-PROMO/00HR-DANCE-PROMO-articleLarge.jpg" class="g-image s-hnZj3vywzwdn nojs"></div> <div class="g-related-links_info"><h4 class="g-related-links_item-headline s-EZHox4p8DxYU">Keeping the Spirit of Harlem Dance Alive</h4></div> <p class="link-out s-EZHox4p8DxYU" data-svelte-h="svelte-jqxv15">Read the article</p></a> </div> </div> <div id="painting-motley" class="loose-grid-item item-7 image span-2 s-R11yBucKCbEV" style="--order:7;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1302" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Nightlife-pcwl/HR-Harlem-Hub-Nightlife-pcwl-mobileMasterAt3x-v4.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Nightlife-pcwl/HR-Harlem-Hub-Nightlife-pcwl-jumbo-v4.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Nightlife-pcwl/HR-Harlem-Hub-Nightlife-pcwl-superJumbo-v4.jpg"> <img alt="A painting of a crowded dance hall." loading="lazy" decoding="async" width="1800" height="1302" src="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Nightlife-pcwl/HR-Harlem-Hub-Nightlife-pcwl-mobileMasterAt3x-v4.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“Nightlife,” a 1943 painting by Archibald Motley Jr., depicts a crowded cabaret in the Bronzeville neighborhood of Chicago. Though the movement known as the Harlem Renaissance was centered in New York, Motley lived and worked in Chicago, also a destination of newly arrived African Americans through the Great Migration. The piece is featured in the Metropolitan Museum’s “The Harlem Renaissance and Transatlantic Modernism” exhibit.</span> <span class="g-credit s-R11yBucKCbEV">Nightlife, Archibald J Motley Jr, 1943, Art Institute of Chicago, Chicago, Illinois, USA, North America; Karsten Moran for The New York Times</span></div> </div> <div id="rent-card-1" class="loose-grid-item item-8 image span-2 s-R11yBucKCbEV" style="--order:8;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1024" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Rent-Party-Card-vzkj/HR-Harlem-Hub-Rent-Party-Card-vzkj-mobileMasterAt3x-v5.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Rent-Party-Card-vzkj/HR-Harlem-Hub-Rent-Party-Card-vzkj-jumbo-v5.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Rent-Party-Card-vzkj/HR-Harlem-Hub-Rent-Party-Card-vzkj-superJumbo-v5.jpg"> <img alt="An orange card invitation that reads, in part, “If you want to have fun on this night, just straighten up and fly right, at a party given by Ella and Anna.” It also gives the dates and address of the event." loading="lazy" decoding="async" width="1800" height="1024" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Rent-Party-Card-vzkj/HR-Harlem-Hub-Rent-Party-Card-vzkj-mobileMasterAt3x-v5.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">In the 1920s and ’30s, in response to the exorbitant rent fees that many landlords charged in Harlem, residents threw parties with food and music and charged admission. These Prohibition-era events were both popular social gatherings and an imaginative way to make ends meet.</span> <span class="g-credit s-R11yBucKCbEV">Tony Cenicola/The New York Times</span></div> </div> <div id="text-graf-2" class="loose-grid-item item-9 graf span-2 s-R11yBucKCbEV" style="--order:9;"><p class="g-graf s-R11yBucKCbEV">This series looks at what made the Harlem Renaissance possible, exploring and illuminating many of the tensions around creativity, community and social justice that still exist in New York City today. </p> </div> <div id="1" class="loose-grid-item item-10 paid span-1 s-R11yBucKCbEV" style="--order:10;"><div class="g-paid s-dtrnTUXTg8M6"><div id="mid1" class="place-ad" data-position="mid1" data-size-key="default"></div> </div> </div> <div id="portrait-bentley" class="loose-grid-item item-11 image span-2 s-R11yBucKCbEV" style="--order:11;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2774" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Gladys-Bentley-wfzj/HR-Harlem-Hub-Gladys-Bentley-wfzj-mobileMasterAt3x.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Gladys-Bentley-wfzj/HR-Harlem-Hub-Gladys-Bentley-wfzj-superJumbo.jpg"> <img alt="A black and white full-body photograph of Gladys Bentley in her signature tuxedo and top hat, holding a cane under one arm. The photograph bears her signature in the lower right corner." loading="lazy" decoding="async" width="1800" height="2774" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Gladys-Bentley-wfzj/HR-Harlem-Hub-Gladys-Bentley-wfzj-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Gladys Bentley, a gender-bending blues performer, wore a signature tuxedo and top hat to perform provocative original numbers and parodies of popular songs in New York’s clubs. She was one of Harlem’s most famous lesbian figures in the 1930s.</span> <span class="g-credit s-R11yBucKCbEV">Michael Ochs Archives, via Getty Images</span></div> </div> <div id="photo-strip" class="loose-grid-item item-12 image span-1 s-R11yBucKCbEV" style="--order:12;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 531/2487" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Gwendolyn-Bennett-tcml/HR-Harlem-Hub-Gwendolyn-Bennett-tcml-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Gwendolyn-Bennett-tcml/HR-Harlem-Hub-Gwendolyn-Bennett-tcml-superJumbo-v2.jpg"> <img alt="A strip of four black and white photographs that feature Gwendolyn Bennett from the shoulders up, making slightly varying facial expressions." loading="lazy" decoding="async" width="531" height="2487" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Gwendolyn-Bennett-tcml/HR-Harlem-Hub-Gwendolyn-Bennett-tcml-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The writer and artist Gwendolyn Bennett published her first poem, “Nocturne,” in the November 1923 issue of Opportunity, the pre-eminent Black magazine of the time. The next year, she was invited to read another poem at a dinner party that has been credited with setting the Harlem Renaissance in motion.</span> <span class="g-credit s-R11yBucKCbEV">Schomburg Center for Research in Black Culture, Photographs and Prints Division, The New York Public Library</span></div> </div> <div id="cover-opportunity" class="loose-grid-item item-13 image span-1 s-R11yBucKCbEV" style="--order:13;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1717/2560" class="s-JZmr0F-wqQJw"><source media="(max-width: 858.5px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Opportunity-gwqm/HR-Harlem-Hub-Opportunity-gwqm-mobileMasterAt3x.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Opportunity-gwqm/HR-Harlem-Hub-Opportunity-gwqm-superJumbo.jpg"> <img alt="The July 1926 cover of Opportunity magazine, which features a black and white design of a woman dancing, with smaller figures dancing in the background behind her." loading="lazy" decoding="async" width="1717" height="2560" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Opportunity-gwqm/HR-Harlem-Hub-Opportunity-gwqm-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">This cover of Opportunity, the pre-eminent Black magazine of the time, was illustrated by the poet and artist Gwendolyn Bennett, who also published her first poem in another issue of the magazine.</span> <span class="g-credit s-R11yBucKCbEV">Schomburg Center for Research in Black Culture, Jean Blackwell Hutson Research and Reference Division, The New York Public Library</span></div> </div> <div id="video-jones" class="loose-grid-item item-14 video span-2 s-R11yBucKCbEV" style="--order:14;"><div class="video-item visible s-R11yBucKCbEV"><div id="" class="g-videoplayer_wrapper s-Y6SN2yb7Dnoq" style="--g-aspect-ratio: 1.7777777777777777"> <noscript><video class="g-videoplayer readystate-0 s-s57Zm-smfWP_" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/lois_mailou_jones_painting-320w.mp4" autoplay poster="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/lois_mailou_jones_painting-320w.jpg" width="" height="" loop playsinline preload="auto" disableremoteplayback muted></video></noscript> <img alt="" class="g-videoplayer_poster s-Y6SN2yb7Dnoq active" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/lois_mailou_jones_painting-320w.jpg"> <div class="g-videoplayer_loading s-mBL8LwzEGGUE"><svg xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" viewBox="0 0 70 70"><defs><linearGradient id="g-videoplayer-loading-gradient-7" x1="37.18" y1="35" x2="72.18" y2="70" gradientTransform="translate(-2.18)" gradientUnits="userSpaceOnUse"><stop offset="0.17" stop-color="#fff"></stop><stop offset="0.18" stop-color="#fefdfd"></stop><stop offset="0.35" stop-color="#bcbbbb"></stop><stop offset="0.52" stop-color="#858384"></stop><stop offset="0.67" stop-color="#5b5859"></stop><stop offset="0.81" stop-color="#3c393a"></stop><stop offset="0.92" stop-color="#2a2627"></stop><stop offset="1" stop-color="#231f20"></stop></linearGradient><mask id="g-videoplayer-loading-mask-8" x="35" y="35" width="35" height="35" maskUnits="userSpaceOnUse"><rect fill="url(#g-videoplayer-loading-gradient-7)" x="35" y="35" width="35" height="35" transform="translate(0 105) rotate(-90)"></rect></mask></defs><g mask="url(#g-videoplayer-loading-mask-8)"><path d="M70,35H60A25,25,0,0,1,35,60V70A35,35,0,0,0,70,35Z" class="s-pAgMu2OHe-sl"></path></g><path d="M70,35h0v1.56C70,36,70,35.52,70,35Z" class="s-pAgMu2OHe-sl"></path><path d="M35,70V60a25,25,0,0,1,0-50V0a35,35,0,0,0,0,70c.52,0,1,0,1.56,0Z" class="s-pAgMu2OHe-sl"></path></svg> </div> </div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The painter Lois Mailou Jones made work during her nearly 70-year career that “ranged from impressionistic landscapes to political allegories, and from cubistic depictions of African sculptures to realistic portraits,” the New York Times writer Holland Cotter wrote.</span> <span class="g-credit s-R11yBucKCbEV">CriticalPast</span></div> </div> <div id="" class="loose-grid-item item-15 link span-1 s-R11yBucKCbEV" style="--order:15;"><div class="g-related-links_item s-EZHox4p8DxYU"><a href="https://www.nytimes.com/interactive/2024/10/09/realestate/harlem-renaissance-lgbtq.html" class="s-EZHox4p8DxYU"> <div class="g-related-links_thumb s-EZHox4p8DxYU"><img alt="" loading="lazy" decoding="async" width="600" height="443" src="https://static01.nyt.com/images/2024/10/07/multimedia/00hr-map-still/00hr-map-still-articleLarge.png" class="g-image s-hnZj3vywzwdn nojs"></div> <div class="g-related-links_info"><h4 class="g-related-links_item-headline s-EZHox4p8DxYU">When Harlem Was ‘as Gay as It Was Black’</h4></div> <p class="link-out s-EZHox4p8DxYU" data-svelte-h="svelte-jqxv15">Read the article</p></a> </div> </div> <div id="drawing-locke" class="loose-grid-item item-16 image span-1 s-R11yBucKCbEV" style="--order:16;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 363/500" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Alain-Leroy-Locke/HR-Harlem-Hub-Alain-Leroy-Locke-mobileMasterAt3x.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Alain-Leroy-Locke/HR-Harlem-Hub-Alain-Leroy-Locke-jumbo.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Alain-Leroy-Locke/HR-Harlem-Hub-Alain-Leroy-Locke-superJumbo.jpg"> <img alt="A portrait of Alain Locke, sketched in black and white except for his head and hand, which are in color." loading="lazy" decoding="async" width="363" height="500" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Alain-Leroy-Locke/HR-Harlem-Hub-Alain-Leroy-Locke-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">A portrait of Alain Locke by Winold Reiss. Locke, a philosopher and writer, is often referred to as the “father of the Harlem Renaissance.” In 1925, he edited “The New Negro: An Interpretation,” which was foundational to the movement.</span> <span class="g-credit s-R11yBucKCbEV">National Portrait Gallery, Smithsonian Institution</span></div> </div> <div id="cover-new" class="loose-grid-item item-17 image span-1 s-R11yBucKCbEV" style="--order:17;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2479" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-New-Negro-vbkw/HR-Harlem-Hub-The-New-Negro-vbkw-mobileMasterAt3x-v4.png"><source media="(min-width: 740px) and (max-width: 744px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-New-Negro-vbkw/HR-Harlem-Hub-The-New-Negro-vbkw-jumbo-v4.png"><source media="(min-width: 745px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-New-Negro-vbkw/HR-Harlem-Hub-The-New-Negro-vbkw-superJumbo-v4.png"> <img alt="The cover of the book “The New Negro” by Alain Locke. It features a white box containing the title against a blue background." loading="lazy" decoding="async" width="1800" height="2479" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-New-Negro-vbkw/HR-Harlem-Hub-The-New-Negro-vbkw-mobileMasterAt3x-v4.png" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“The New Negro: An Interpretation” was a groundbreaking collection of fiction, poetry and essays edited by Alain Locke. The movement now known as the Harlem Renaissance was called the New Negro movement during its time.</span> <span class="g-credit s-R11yBucKCbEV">Collection of the Smithsonian National Museum of African American History and Culture</span></div> </div> <div id="video-paradise" class="loose-grid-item item-18 video span-2 s-R11yBucKCbEV" style="--order:18;"><div class="video-item visible s-R11yBucKCbEV"><div id="" class="g-videoplayer_wrapper s-Y6SN2yb7Dnoq" style="--g-aspect-ratio: 1.7777777777777777"> <noscript><video class="g-videoplayer readystate-0 s-s57Zm-smfWP_" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/tap_dancing_smalls-320w.mp4" autoplay poster="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/tap_dancing_smalls-320w.jpg" width="" height="" loop playsinline preload="auto" disableremoteplayback muted></video></noscript> <img alt="" class="g-videoplayer_poster s-Y6SN2yb7Dnoq active" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/tap_dancing_smalls-320w.jpg"> <div class="g-videoplayer_loading s-mBL8LwzEGGUE"><svg xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" viewBox="0 0 70 70"><defs><linearGradient id="g-videoplayer-loading-gradient-11" x1="37.18" y1="35" x2="72.18" y2="70" gradientTransform="translate(-2.18)" gradientUnits="userSpaceOnUse"><stop offset="0.17" stop-color="#fff"></stop><stop offset="0.18" stop-color="#fefdfd"></stop><stop offset="0.35" stop-color="#bcbbbb"></stop><stop offset="0.52" stop-color="#858384"></stop><stop offset="0.67" stop-color="#5b5859"></stop><stop offset="0.81" stop-color="#3c393a"></stop><stop offset="0.92" stop-color="#2a2627"></stop><stop offset="1" stop-color="#231f20"></stop></linearGradient><mask id="g-videoplayer-loading-mask-12" x="35" y="35" width="35" height="35" maskUnits="userSpaceOnUse"><rect fill="url(#g-videoplayer-loading-gradient-11)" x="35" y="35" width="35" height="35" transform="translate(0 105) rotate(-90)"></rect></mask></defs><g mask="url(#g-videoplayer-loading-mask-12)"><path d="M70,35H60A25,25,0,0,1,35,60V70A35,35,0,0,0,70,35Z" class="s-pAgMu2OHe-sl"></path></g><path d="M70,35h0v1.56C70,36,70,35.52,70,35Z" class="s-pAgMu2OHe-sl"></path><path d="M35,70V60a25,25,0,0,1,0-50V0a35,35,0,0,0,0,70c.52,0,1,0,1.56,0Z" class="s-pAgMu2OHe-sl"></path></svg> </div> </div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Smalls Paradise, on Seventh Avenue, was a center of Harlem nightlife, The New York Times reported in 1974. Opened in 1925 by Edwin Alexander Smalls, a Black businessman, it was one of the only Black-owned clubs in Harlem.</span> <span class="g-credit s-R11yBucKCbEV">CriticalPast</span></div> </div> <div id="text-graf-3" class="loose-grid-item item-19 graf span-2 s-R11yBucKCbEV" style="--order:19;"><p class="g-graf s-R11yBucKCbEV">The Harlem Renaissance was a period of unprecedented creativity, when a people, along with the nation, redefined itself. </p> </div> <div id="shuffle-along-group" class="loose-grid-item item-20 image span-2 s-R11yBucKCbEV" style="--order:20;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1505/1164" class="s-JZmr0F-wqQJw"><source media="(max-width: 752.5px)" srcset="https://static01.nyt.com/images/2024/05/22/multimedia/HR-Harlem-Hub-Eubie-Blake/HR-Harlem-Hub-Eubie-Blake-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/22/multimedia/HR-Harlem-Hub-Eubie-Blake/HR-Harlem-Hub-Eubie-Blake-jumbo-v2.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/22/multimedia/HR-Harlem-Hub-Eubie-Blake/HR-Harlem-Hub-Eubie-Blake-superJumbo-v2.jpg"> <img alt="A group of women in costume kneel with one knee up against a stage backdrop and one man stands directly in the center, bending over to be closer in height to the women." loading="lazy" decoding="async" width="1505" height="1164" src="https://static01.nyt.com/images/2024/05/22/multimedia/HR-Harlem-Hub-Eubie-Blake/HR-Harlem-Hub-Eubie-Blake-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The composer Eubie Blake, center, with the chorus of the 1933 revival of the musical “Shuffle Along.” Blake co-wrote the musical with Flournoy Miller, Aubrey Lyle and Noble Sissle, and when it premiered in 1921, it became one of the first all‐Black shows to appear on Broadway.</span> <span class="g-credit s-R11yBucKCbEV">White Studio (New York, N.Y.)/New York Public Library</span></div> </div> <div id="book-shuffle-along" class="loose-grid-item item-21 image span-1 s-R11yBucKCbEV" style="--order:21;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2368" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Shuffle-Along-kjpz/HR-Harlem-Hub-Shuffle-Along-kjpz-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 779px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Shuffle-Along-kjpz/HR-Harlem-Hub-Shuffle-Along-kjpz-jumbo.jpg"><source media="(min-width: 780px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Shuffle-Along-kjpz/HR-Harlem-Hub-Shuffle-Along-kjpz-superJumbo.jpg"> <img alt="The cover of the book for the musical “Shuffle Along.” Underneath the title, which is in orange, there is a sketch of various sets of legs walking toward the left of the page." loading="lazy" decoding="async" width="1800" height="2368" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Shuffle-Along-kjpz/HR-Harlem-Hub-Shuffle-Along-kjpz-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“Shuffle Along” was one of the first all‐Black Broadway shows, premiering in 1921. The book was written by Flournoy Miller and Aubrey Lyle, with the music and lyrics by Noble Sissle and Eubie Blake — vaudeville performers who first met at an N.A.A.C.P. event in Philadelphia.</span> <span class="g-credit s-R11yBucKCbEV">Music Division, The New York Public Library</span></div> </div> <div id="statue-artis" class="loose-grid-item item-22 image span-1 s-R11yBucKCbEV" style="--order:22;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2400" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Woman-With-Kerchief-bmjq/HR-Harlem-Hub-Woman-With-Kerchief-bmjq-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 768px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Woman-With-Kerchief-bmjq/HR-Harlem-Hub-Woman-With-Kerchief-bmjq-jumbo.jpg"><source media="(min-width: 769px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Woman-With-Kerchief-bmjq/HR-Harlem-Hub-Woman-With-Kerchief-bmjq-superJumbo.jpg"> <img alt="One side of the face of a sculpture." loading="lazy" decoding="async" width="1800" height="2400" src="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Woman-With-Kerchief-bmjq/HR-Harlem-Hub-Woman-With-Kerchief-bmjq-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“Woman With Kerchief,” a 1939 sculpture by William Artis, a sculptor who worked mostly with clay and studied under Augusta Savage, another prolific sculpture artist. The piece is featured in “The Harlem Renaissance and Transatlantic Modernism” exhibit at the Metropolitan Museum of Art.</span> <span class="g-credit s-R11yBucKCbEV">Karsten Moran for The New York Times</span></div> </div> <div id="" class="loose-grid-item item-23 link span-1 s-R11yBucKCbEV" style="--order:23;"><div class="g-related-links_item s-EZHox4p8DxYU"><a href="https://www.nytimes.com/2024/03/21/arts/harlem-renaissance-dinner-1924-anniversary.html" class="s-EZHox4p8DxYU"> <div class="g-related-links_thumb s-EZHox4p8DxYU"><img alt="" loading="lazy" decoding="async" width="600" height="400" src="https://static01.nyt.com/images/2024/03/29/multimedia/21harlem-dinner-vhwm/21harlem-dinner-vhwm-articleLarge.jpg" class="g-image s-hnZj3vywzwdn nojs"></div> <div class="g-related-links_info"><h4 class="g-related-links_item-headline s-EZHox4p8DxYU">The Dinner Party That Started the Harlem Renaissance</h4></div> <p class="link-out s-EZHox4p8DxYU" data-svelte-h="svelte-jqxv15">Read the article</p></a> </div> </div> <div id="portrait-jackman" class="loose-grid-item item-24 image span-2 s-R11yBucKCbEV" style="--order:24;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2272" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Harold-Jackman/HR-Harlem-Hub-Harold-Jackman-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px) and (max-width: 812px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Harold-Jackman/HR-Harlem-Hub-Harold-Jackman-jumbo-v2.jpg"><source media="(min-width: 813px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Harold-Jackman/HR-Harlem-Hub-Harold-Jackman-superJumbo-v2.jpg"> <img alt="A black and white headshot of Harold Jackman standing against a wall." loading="lazy" decoding="async" width="1800" height="2272" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Harold-Jackman/HR-Harlem-Hub-Harold-Jackman-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Harold Jackman, a socialite, model and patron of Black art, also taught social studies in New York City public schools for 30 years. As a child, he moved from London to New York City, where he was a frequent habitue of Harlem’s legendary soirees and began a lifelong friendship with the writer Countee Cullen.</span> <span class="g-credit s-R11yBucKCbEV">Carl Van Vechten, via Beinecke Rare Book & Manuscript Library/James Weldon Johnson Memorial Collection</span></div> </div> <div id="sculpture-savage" class="loose-grid-item item-25 image span-1 s-R11yBucKCbEV" style="--order:25;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2250" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/29/multimedia/HR-Harlem-Hub-The-Harp/HR-Harlem-Hub-The-Harp-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 820px)" srcset="https://static01.nyt.com/images/2024/05/29/multimedia/HR-Harlem-Hub-The-Harp/HR-Harlem-Hub-The-Harp-jumbo.jpg"><source media="(min-width: 821px)" srcset="https://static01.nyt.com/images/2024/05/29/multimedia/HR-Harlem-Hub-The-Harp/HR-Harlem-Hub-The-Harp-superJumbo.jpg"> <img alt="A sculpture of a hand holding progressively larger figures that are lined up in the approximate shape of a harp. In front of the tallest figure, one more is kneeling." loading="lazy" decoding="async" width="1800" height="2250" src="https://static01.nyt.com/images/2024/05/29/multimedia/HR-Harlem-Hub-The-Harp/HR-Harlem-Hub-The-Harp-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“Lift Every Voice and Sing,” by the sculptor Augusta Savage, was commissioned to be included in the 1939 New York World’s Fair. Savage, the only Black artist to receive a commission, couldn’t afford to cast the piece in bronze or plaster, so it was destroyed. A small version of the piece is featured in “The Harlem Renaissance and Transatlantic Modernism” exhibit at the Metropolitan Museum of Art.</span> <span class="g-credit s-R11yBucKCbEV">University of North Florida, Thomas G. Carpenter Library, Special Collections and Archives, Eartha M.M. White Collection</span></div> </div> <div id="portrait-daniels" class="loose-grid-item item-26 image span-1 s-R11yBucKCbEV" style="--order:26;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1027/1300" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/05/13/multimedia/HR-Harlem-Hub-Jimmie-Daniels/HR-Harlem-Hub-Jimmie-Daniels-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 809px)" srcset="https://static01.nyt.com/images/2024/05/13/multimedia/HR-Harlem-Hub-Jimmie-Daniels/HR-Harlem-Hub-Jimmie-Daniels-jumbo.jpg"><source media="(min-width: 810px)" srcset="https://static01.nyt.com/images/2024/05/13/multimedia/HR-Harlem-Hub-Jimmie-Daniels/HR-Harlem-Hub-Jimmie-Daniels-superJumbo.jpg"> <img alt="A black and white photograph of Jimmie Daniels, who is standing behind some branches and greenery, pulling the branches gently apart to smile through them." loading="lazy" decoding="async" width="1027" height="1300" src="https://static01.nyt.com/images/2024/05/13/multimedia/HR-Harlem-Hub-Jimmie-Daniels/HR-Harlem-Hub-Jimmie-Daniels-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Jimmie Daniels was a singer and entertainer who moved to Harlem from Little Rock, Ark., to work as a cabaret performer. In 1939, he opened a nightclub that brought patrons from downtown Manhattan uptown to Harlem.</span> <span class="g-credit s-R11yBucKCbEV">Carl Van Vechten, via The Van Vechten Trust</span></div> </div> <div id="2" class="loose-grid-item item-27 paid span-1 s-R11yBucKCbEV" style="--order:27;"><div class="g-paid s-dtrnTUXTg8M6"><div id="mid2" class="place-ad" data-position="mid2" data-size-key="default"></div> </div> </div> <div id="painting-douglas-horizontal" class="loose-grid-item item-28 image span-2 s-R11yBucKCbEV" style="--order:28;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/743" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Aspects-of-Negro-mbjh/HR-Harlem-Hub-Aspects-of-Negro-mbjh-mobileMasterAt3x-v4.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Aspects-of-Negro-mbjh/HR-Harlem-Hub-Aspects-of-Negro-mbjh-jumbo-v4.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Aspects-of-Negro-mbjh/HR-Harlem-Hub-Aspects-of-Negro-mbjh-superJumbo-v4.jpg"> <img alt="A somewhat abstract painting of many figures dancing and moving outdoors against a rising sun in the background." loading="lazy" decoding="async" width="1800" height="743" src="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Aspects-of-Negro-mbjh/HR-Harlem-Hub-Aspects-of-Negro-mbjh-mobileMasterAt3x-v4.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The 1934 painting “Aspects of Negro Life” by Aaron Douglas, who has been called “the father of Black American art” and who was a leading painter during the Harlem Renaissance. He founded the art department at Fisk University in Nashville, a historically Black university. The piece is featured in the Metropolitan Museum’s “The Harlem Renaissance and Transatlantic Modernism” exhibit.</span> <span class="g-credit s-R11yBucKCbEV">Schomburg Center for Research in Black Culture, Art and Artifacts Division, The New York Public Library, Astor, Lenox and Tilden Foundations; Karsten Moran for The New York Times</span></div> </div> <div id="video-mural" class="loose-grid-item item-29 video span-2 s-R11yBucKCbEV" style="--order:29;"><div class="video-item visible s-R11yBucKCbEV"><div id="" class="g-videoplayer_wrapper s-Y6SN2yb7Dnoq" style="--g-aspect-ratio: 1.7777777777777777"> <noscript><video class="g-videoplayer readystate-0 s-s57Zm-smfWP_" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/aaron_douglas_painting_library-320w.mp4" autoplay poster="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/aaron_douglas_painting_library-320w.jpg" width="" height="" loop playsinline preload="auto" disableremoteplayback muted></video></noscript> <img alt="" class="g-videoplayer_poster s-Y6SN2yb7Dnoq active" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/aaron_douglas_painting_library-320w.jpg"> <div class="g-videoplayer_loading s-mBL8LwzEGGUE"><svg xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" viewBox="0 0 70 70"><defs><linearGradient id="g-videoplayer-loading-gradient-15" x1="37.18" y1="35" x2="72.18" y2="70" gradientTransform="translate(-2.18)" gradientUnits="userSpaceOnUse"><stop offset="0.17" stop-color="#fff"></stop><stop offset="0.18" stop-color="#fefdfd"></stop><stop offset="0.35" stop-color="#bcbbbb"></stop><stop offset="0.52" stop-color="#858384"></stop><stop offset="0.67" stop-color="#5b5859"></stop><stop offset="0.81" stop-color="#3c393a"></stop><stop offset="0.92" stop-color="#2a2627"></stop><stop offset="1" stop-color="#231f20"></stop></linearGradient><mask id="g-videoplayer-loading-mask-16" x="35" y="35" width="35" height="35" maskUnits="userSpaceOnUse"><rect fill="url(#g-videoplayer-loading-gradient-15)" x="35" y="35" width="35" height="35" transform="translate(0 105) rotate(-90)"></rect></mask></defs><g mask="url(#g-videoplayer-loading-mask-16)"><path d="M70,35H60A25,25,0,0,1,35,60V70A35,35,0,0,0,70,35Z" class="s-pAgMu2OHe-sl"></path></g><path d="M70,35h0v1.56C70,36,70,35.52,70,35Z" class="s-pAgMu2OHe-sl"></path><path d="M35,70V60a25,25,0,0,1,0-50V0a35,35,0,0,0,0,70c.52,0,1,0,1.56,0Z" class="s-pAgMu2OHe-sl"></path></svg> </div> </div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The artist Aaron Douglas installing a mural at the 135th Street Library in Harlem. He was commissioned to paint four murals at the library branch, collectively called “Aspects of Negro Life,” which depicted the history of Black life in America.</span> <span class="g-credit s-R11yBucKCbEV">CriticalPast</span></div> </div> <div id="quote-librarian" class="loose-grid-item item-30 quote span-2 s-R11yBucKCbEV" style="--order:30;"><p class="g-quote s-R11yBucKCbEV">“In some places, the autumn of 1924 may have been an unremarkable season. In Harlem it was like a foretaste of paradise.” — <em>Arna Bontemps, author and librarian</em></p> </div> <div id="painting-laura" class="loose-grid-item item-31 image span-2 s-R11yBucKCbEV" style="--order:31;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2145" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Girl-with-Pomegranate-hbmj/HR-Harlem-Hub-Girl-with-Pomegranate-hbmj-mobileMasterAt3x-v7.jpg"><source media="(min-width: 740px) and (max-width: 860px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Girl-with-Pomegranate-hbmj/HR-Harlem-Hub-Girl-with-Pomegranate-hbmj-jumbo-v7.jpg"><source media="(min-width: 861px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Girl-with-Pomegranate-hbmj/HR-Harlem-Hub-Girl-with-Pomegranate-hbmj-superJumbo-v7.jpg"> <img alt="A painting of a girl holding a piece of fruit in her hand and sitting beside a table, which has a bowl of fruit on it." loading="lazy" decoding="async" width="1800" height="2145" src="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Girl-with-Pomegranate-hbmj/HR-Harlem-Hub-Girl-with-Pomegranate-hbmj-mobileMasterAt3x-v7.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“Girl With Pomegranate,” a 1940 painting by Laura Wheeler Waring, an artist who made a name in painting elegant portraits of Black bourgeoisie and intellectuals starting in the 1920s. The piece is featured in the Metropolitan Museum’s “The Harlem Renaissance and Transatlantic Modernism” exhibit.</span> <span class="g-credit s-R11yBucKCbEV">Collection of Madeline Murphy Rabb; Karsten Moran for The New York Times</span></div> </div> <div id="parade" class="loose-grid-item item-32 image span-2 s-R11yBucKCbEV" style="--order:32;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1198" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Harlem-Parade-mjfl/HR-Harlem-Hub-Harlem-Parade-mjfl-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Harlem-Parade-mjfl/HR-Harlem-Hub-Harlem-Parade-mjfl-jumbo.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Harlem-Parade-mjfl/HR-Harlem-Hub-Harlem-Parade-mjfl-superJumbo.jpg"> <img alt="A black and white photograph of a parade moving down a city street. In the center are two men in top hats." loading="lazy" decoding="async" width="1800" height="1198" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Harlem-Parade-mjfl/HR-Harlem-Hub-Harlem-Parade-mjfl-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">A parade in Harlem in the mid-1920s photographed by James Van Der Zee, “the supreme photographer of the neighborhood,” as described by Holland Cotter, the co-chief art critic of The Times.</span> <span class="g-credit s-R11yBucKCbEV">James Van Der Zee Archive/Metropolitan Museum of Art</span></div> </div> <div id="" class="loose-grid-item item-33 link span-1 s-R11yBucKCbEV" style="--order:33;"><div class="g-related-links_item s-EZHox4p8DxYU"><a href="https://www.nytimes.com/interactive/2024/03/28/realestate/rent-party-harlem-renaissance.html" class="s-EZHox4p8DxYU"> <div class="g-related-links_thumb s-EZHox4p8DxYU"><img alt="" loading="lazy" decoding="async" width="600" height="400" src="https://static01.nyt.com/images/2024/03/29/fashion/29-rent-parties-promo/29-rent-parties-promo-articleLarge.jpg" class="g-image s-hnZj3vywzwdn nojs"></div> <div class="g-related-links_info"><h4 class="g-related-links_item-headline s-EZHox4p8DxYU">The Rent Was Too High So They Threw a Party</h4></div> <p class="link-out s-EZHox4p8DxYU" data-svelte-h="svelte-jqxv15">Read the article</p></a> </div> </div> <div id="video-ballroom" class="loose-grid-item item-34 video span-2 s-R11yBucKCbEV" style="--order:34;"><div class="video-item visible s-R11yBucKCbEV"><div id="" class="g-videoplayer_wrapper s-Y6SN2yb7Dnoq" style="--g-aspect-ratio: 1.7777777777777777"> <noscript><video class="g-videoplayer readystate-0 s-s57Zm-smfWP_" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/ballroom_dancing-320w.mp4" autoplay poster="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/ballroom_dancing-320w.jpg" width="" height="" loop playsinline preload="auto" disableremoteplayback muted></video></noscript> <img alt="" class="g-videoplayer_poster s-Y6SN2yb7Dnoq active" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/ballroom_dancing-320w.jpg"> <div class="g-videoplayer_loading s-mBL8LwzEGGUE"><svg xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" viewBox="0 0 70 70"><defs><linearGradient id="g-videoplayer-loading-gradient-19" x1="37.18" y1="35" x2="72.18" y2="70" gradientTransform="translate(-2.18)" gradientUnits="userSpaceOnUse"><stop offset="0.17" stop-color="#fff"></stop><stop offset="0.18" stop-color="#fefdfd"></stop><stop offset="0.35" stop-color="#bcbbbb"></stop><stop offset="0.52" stop-color="#858384"></stop><stop offset="0.67" stop-color="#5b5859"></stop><stop offset="0.81" stop-color="#3c393a"></stop><stop offset="0.92" stop-color="#2a2627"></stop><stop offset="1" stop-color="#231f20"></stop></linearGradient><mask id="g-videoplayer-loading-mask-20" x="35" y="35" width="35" height="35" maskUnits="userSpaceOnUse"><rect fill="url(#g-videoplayer-loading-gradient-19)" x="35" y="35" width="35" height="35" transform="translate(0 105) rotate(-90)"></rect></mask></defs><g mask="url(#g-videoplayer-loading-mask-20)"><path d="M70,35H60A25,25,0,0,1,35,60V70A35,35,0,0,0,70,35Z" class="s-pAgMu2OHe-sl"></path></g><path d="M70,35h0v1.56C70,36,70,35.52,70,35Z" class="s-pAgMu2OHe-sl"></path><path d="M35,70V60a25,25,0,0,1,0-50V0a35,35,0,0,0,0,70c.52,0,1,0,1.56,0Z" class="s-pAgMu2OHe-sl"></path></svg> </div> </div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Couples ballroom dancing in Harlem in 1938. The Harlem Renaissance saw the advent of new partner dance forms, including the Charleston, the Lindy Hop and the Jitterbug.</span> <span class="g-credit s-R11yBucKCbEV">CriticalPast</span></div> </div> <div id="painting-bearden" class="loose-grid-item item-35 image span-2 s-R11yBucKCbEV" style="--order:35;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1350" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-the-block-wzkp/HR-Harlem-Hub-the-block-wzkp-mobileMasterAt3x-v5.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-the-block-wzkp/HR-Harlem-Hub-the-block-wzkp-jumbo-v5.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-the-block-wzkp/HR-Harlem-Hub-the-block-wzkp-superJumbo-v5.jpg"> <img alt="A collage that shows street life along a city block." loading="lazy" decoding="async" width="1800" height="1350" src="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-the-block-wzkp/HR-Harlem-Hub-the-block-wzkp-mobileMasterAt3x-v5.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">A portion of “The Block,” by Romare Bearden, whose collages often took artistic revenge, Roberta Smith wrote in The New York Times: “Made of fragments of cutup magazine images, their angular figures and faces in particular pushed Cubism back toward its primary source, African sculpture.” The piece is featured in “The Harlem Renaissance and Transatlantic Modernism” exhibit at the Metropolitan Museum of Art.</span> <span class="g-credit s-R11yBucKCbEV">Karsten Moran for The New York Times</span></div> </div> <div id="portrait-crichlow" class="loose-grid-item item-36 image span-2 s-R11yBucKCbEV" style="--order:36;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2298" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Ernest-Crichlow-vqmj/HR-Harlem-Hub-Ernest-Crichlow-vqmj-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 803px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Ernest-Crichlow-vqmj/HR-Harlem-Hub-Ernest-Crichlow-vqmj-jumbo.jpg"><source media="(min-width: 804px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Ernest-Crichlow-vqmj/HR-Harlem-Hub-Ernest-Crichlow-vqmj-superJumbo.jpg"> <img alt="A close-up black and white photograph of Ernest Crichlow, who is leaning forward with his arms crossed." loading="lazy" decoding="async" width="1800" height="2298" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Ernest-Crichlow-vqmj/HR-Harlem-Hub-Ernest-Crichlow-vqmj-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The painter Ernest Crichlow often imbued his work with politics, expressing outrage and reflecting social injustices and shifting social realities. For example, the lithograph “Lovers” (1938) depicts a Ku Klux Klansman sexually assaulting a Black woman in her bedroom.</span> <span class="g-credit s-R11yBucKCbEV">Joseph Schwart/Corbis Historical, via Getty Images</span></div> </div> <div id="portrait-zora" class="loose-grid-item item-37 image span-1 s-R11yBucKCbEV" style="--order:37;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2528" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Zora-Neale-Hurston-1/HR-Harlem-Hub-Zora-Neale-Hurston-1-mobileMasterAt3x.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Zora-Neale-Hurston-1/HR-Harlem-Hub-Zora-Neale-Hurston-1-superJumbo.jpg"> <img alt="A black and white photograph of Zora Neale Hurston standing against a wall, looking off to her left with a serious expression on her face. She is wearing a black fur." loading="lazy" decoding="async" width="1800" height="2528" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Zora-Neale-Hurston-1/HR-Harlem-Hub-Zora-Neale-Hurston-1-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Zora Neale Hurston, a prolific folklorist and writer, moved to Harlem from Eatonville, Fla. — the first town in the country to be governed and incorporated by Black citizens — to attend Barnard College. She was the school’s first Black student.</span> <span class="g-credit s-R11yBucKCbEV">Carl Van Vechten, via Beinecke Rare Book & Manuscript Library/James Weldon Johnson Memorial Collection</span></div> </div> <div id="cover-eyes" class="loose-grid-item item-38 image span-1 s-R11yBucKCbEV" style="--order:38;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 998/1510" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Their-Eyes-jlfp/HR-Harlem-Hub-Their-Eyes-jlfp-mobileMasterAt3x-v4.png"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Their-Eyes-jlfp/HR-Harlem-Hub-Their-Eyes-jlfp-superJumbo-v4.png"> <img alt="The cover of the book “Their Eyes Were Watching God,” which features a black and white drawing of a man in the sky holding arrows and with an arm outstretched over a windy landscape. The rest of the cover is gold." loading="lazy" decoding="async" width="998" height="1510" src="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Their-Eyes-jlfp/HR-Harlem-Hub-Their-Eyes-jlfp-mobileMasterAt3x-v4.png" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“Their Eyes Were Watching God,” by Zora Neale Hurston, is an enduring classic of the Harlem Renaissance. Despite mixed reviews in 1937, Hurston has since become “revered as a peerless raconteur, intrepid investigator of culture and ritual, and author of a great American novel,” Jabari Asim wrote in The New York Times.</span> <span class="g-credit s-R11yBucKCbEV">Collection of the Smithsonian National Museum of African American History and Culture</span></div> </div> <div id="quote-zora" class="loose-grid-item item-39 quote span-2 s-R11yBucKCbEV" style="--order:39;"><p class="g-quote s-R11yBucKCbEV">“Sometimes, I feel discriminated against, but it does not make me angry. It merely astonishes me. How can any deny themselves the pleasure of my company? It’s beyond me.”<em> — Zora Neale Hurston</em></p> </div> <div id="jazz-band" class="loose-grid-item item-40 image span-2 s-R11yBucKCbEV" style="--order:40;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1426" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-King-Oliver-gchb/HR-Harlem-Hub-King-Oliver-gchb-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-King-Oliver-gchb/HR-Harlem-Hub-King-Oliver-gchb-jumbo-v2.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-King-Oliver-gchb/HR-Harlem-Hub-King-Oliver-gchb-superJumbo-v2.jpg"> <img alt="A black and white photograph of a band with seven members in the midst of playing." loading="lazy" decoding="async" width="1800" height="1426" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-King-Oliver-gchb/HR-Harlem-Hub-King-Oliver-gchb-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">King Oliver’s Creole Jazz Band was one of the most popular early jazz groups, and helped to spread the musical style around the world. Louis Armstrong, third from the left, joined the band in 1922, playing second cornet.</span> <span class="g-credit s-R11yBucKCbEV">Gilles Petard/Redferns, via Getty Images</span></div> </div> <div id="rent-card-2" class="loose-grid-item item-41 image span-2 s-R11yBucKCbEV" style="--order:41;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1040" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Rent-Party-Cards-3-fcpt/HR-Harlem-Hub-Rent-Party-Cards-3-fcpt-mobileMasterAt3x-v4.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Rent-Party-Cards-3-fcpt/HR-Harlem-Hub-Rent-Party-Cards-3-fcpt-jumbo-v4.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Rent-Party-Cards-3-fcpt/HR-Harlem-Hub-Rent-Party-Cards-3-fcpt-superJumbo-v4.jpg"> <img alt="A white card invitation that reads, in part, “If you can’t keep the one you love, don’t cry when they are gone to the Social Whist Party given by Sister Kate and Gillie.” It also gives the address of the event and says it is held every Monday night. " loading="lazy" decoding="async" width="1800" height="1040" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Rent-Party-Cards-3-fcpt/HR-Harlem-Hub-Rent-Party-Cards-3-fcpt-mobileMasterAt3x-v4.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Black residents of Harlem in the 1920s were underpaid for their work and exploited for their rent, often charged 30 percent more for a room than white working-class New Yorkers.</span> <span class="g-credit s-R11yBucKCbEV">Tony Cenicola/The New York Times</span></div> </div> <div id="" class="loose-grid-item item-42 link span-1 s-R11yBucKCbEV" style="--order:42;"><div class="g-related-links_item s-EZHox4p8DxYU"><a href="https://www.nytimes.com/2024/06/19/arts/harlem-renaissance-librarians-libraries-books-literature.html" class="s-EZHox4p8DxYU"> <div class="g-related-links_thumb s-EZHox4p8DxYU"><img alt="" loading="lazy" decoding="async" width="600" height="475" src="https://static01.nyt.com/images/2024/06/07/multimedia/00harlem-librarians-02-lgwj/00harlem-librarians-02-lgwj-articleLarge.jpg" class="g-image s-hnZj3vywzwdn nojs"></div> <div class="g-related-links_info"><h4 class="g-related-links_item-headline s-EZHox4p8DxYU">New York’s First Black Librarians Changed the Way We Read</h4></div> <p class="link-out s-EZHox4p8DxYU" data-svelte-h="svelte-jqxv15">Read the article</p></a> </div> </div> <div id="portrait-baker" class="loose-grid-item item-43 image span-2 s-R11yBucKCbEV" style="--order:43;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2584" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/28/multimedia/HR-harlem-hub-Josephine-Baker/HR-harlem-hub-Josephine-Baker-mobileMasterAt3x.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/28/multimedia/HR-harlem-hub-Josephine-Baker/HR-harlem-hub-Josephine-Baker-superJumbo.jpg"> <img alt="Josephine Baker, somewhat in shadow, holds a piece of fabric up in front of her naked body, gazing directly into the camera’s lens." loading="lazy" decoding="async" width="1800" height="2584" src="https://static01.nyt.com/images/2024/05/28/multimedia/HR-harlem-hub-Josephine-Baker/HR-harlem-hub-Josephine-Baker-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The Vaudeville performer Josephine Baker in a 1929 portrait by George Hoyningen-Heune. Her life spanned French music-hall stardom and American civil rights. A French resistance fighter, she basked in a freedom in Europe that she said she did not enjoy in the United States, where she later refused to perform for segregated audiences.</span> <span class="g-credit s-R11yBucKCbEV">George Hoyningen-Huene Estate Archives</span></div> </div> <div id="video-savoy" class="loose-grid-item item-44 video span-2 s-R11yBucKCbEV" style="--order:44;"><div class="video-item visible s-R11yBucKCbEV"><div id="" class="g-videoplayer_wrapper s-Y6SN2yb7Dnoq" style="--g-aspect-ratio: 1.7777777777777777"> <noscript><video class="g-videoplayer readystate-0 s-s57Zm-smfWP_" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/lindy_hop_savoy-320w.mp4" autoplay poster="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/lindy_hop_savoy-320w.jpg" width="" height="" loop playsinline preload="auto" disableremoteplayback muted></video></noscript> <img alt="" class="g-videoplayer_poster s-Y6SN2yb7Dnoq active" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/lindy_hop_savoy-320w.jpg"> <div class="g-videoplayer_loading s-mBL8LwzEGGUE"><svg xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" viewBox="0 0 70 70"><defs><linearGradient id="g-videoplayer-loading-gradient-23" x1="37.18" y1="35" x2="72.18" y2="70" gradientTransform="translate(-2.18)" gradientUnits="userSpaceOnUse"><stop offset="0.17" stop-color="#fff"></stop><stop offset="0.18" stop-color="#fefdfd"></stop><stop offset="0.35" stop-color="#bcbbbb"></stop><stop offset="0.52" stop-color="#858384"></stop><stop offset="0.67" stop-color="#5b5859"></stop><stop offset="0.81" stop-color="#3c393a"></stop><stop offset="0.92" stop-color="#2a2627"></stop><stop offset="1" stop-color="#231f20"></stop></linearGradient><mask id="g-videoplayer-loading-mask-24" x="35" y="35" width="35" height="35" maskUnits="userSpaceOnUse"><rect fill="url(#g-videoplayer-loading-gradient-23)" x="35" y="35" width="35" height="35" transform="translate(0 105) rotate(-90)"></rect></mask></defs><g mask="url(#g-videoplayer-loading-mask-24)"><path d="M70,35H60A25,25,0,0,1,35,60V70A35,35,0,0,0,70,35Z" class="s-pAgMu2OHe-sl"></path></g><path d="M70,35h0v1.56C70,36,70,35.52,70,35Z" class="s-pAgMu2OHe-sl"></path><path d="M35,70V60a25,25,0,0,1,0-50V0a35,35,0,0,0,0,70c.52,0,1,0,1.56,0Z" class="s-pAgMu2OHe-sl"></path></svg> </div> </div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The Savoy Ballroom, in its heyday, could accommodate 4,000 people. A city-block long, it was big enough for two big bands to play side by side and for patrons to dance in the acrobatic style that became known as the Lindy Hop.</span> <span class="g-credit s-R11yBucKCbEV">CriticalPast</span></div> </div> <div id="quote-gates" class="loose-grid-item item-45 graf span-2 s-R11yBucKCbEV" style="--order:45;"><p class="g-graf s-R11yBucKCbEV">The Harlem Renaissance “was surely as gay as it was Black, not that it was exclusively either of these.” <em>— Henry Louis Gates Jr., historian and author</em> </p> </div> <div id="rent-card-3" class="loose-grid-item item-46 image span-2 s-R11yBucKCbEV" style="--order:46;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1829" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Rent-Party-Card-2-pjmv/HR-Harlem-Hub-Rent-Party-Card-2-pjmv-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px) and (max-width: 1008px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Rent-Party-Card-2-pjmv/HR-Harlem-Hub-Rent-Party-Card-2-pjmv-jumbo-v2.jpg"><source media="(min-width: 1009px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Rent-Party-Card-2-pjmv/HR-Harlem-Hub-Rent-Party-Card-2-pjmv-superJumbo-v2.jpg"> <img alt="A green invitation that reads, in part, “Say girls, do you know Mr. Johnnie Goodman is giving a break down at the Little Chicago Inn Nite Club. Child! That’s his old stomping ground.” It goes on to advertise a blues playing contest as part of the event." loading="lazy" decoding="async" width="1800" height="1829" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Rent-Party-Card-2-pjmv/HR-Harlem-Hub-Rent-Party-Card-2-pjmv-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">By 1920, 75,000 Black people called Harlem their home, shaping it into the largest Black community in the country — a place for Black public life in America to be resurrected on their own terms.</span> <span class="g-credit s-R11yBucKCbEV">Tony Cenicola/The New York Times</span></div> </div> <div id="record-1" class="loose-grid-item item-47 image span-1 s-R11yBucKCbEV" style="--order:47;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 600/576" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/05/14/multimedia/HR-Harlem-Hub-Ma-Rainey-s-Black-Bottom/HR-Harlem-Hub-Ma-Rainey-s-Black-Bottom-mobileMasterAt3x-v5.png"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/14/multimedia/HR-Harlem-Hub-Ma-Rainey-s-Black-Bottom/HR-Harlem-Hub-Ma-Rainey-s-Black-Bottom-articleLarge-v5.png"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/14/multimedia/HR-Harlem-Hub-Ma-Rainey-s-Black-Bottom/HR-Harlem-Hub-Ma-Rainey-s-Black-Bottom-jumbo-v5.png"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/14/multimedia/HR-Harlem-Hub-Ma-Rainey-s-Black-Bottom/HR-Harlem-Hub-Ma-Rainey-s-Black-Bottom-superJumbo-v5.png"> <img alt="The black and gold center of a vinyl record that bears the Paramount logo and the song name “‘Ma’ Rainey’s Black Bottom.”" loading="lazy" decoding="async" width="600" height="576" src="https://static01.nyt.com/images/2024/05/14/multimedia/HR-Harlem-Hub-Ma-Rainey-s-Black-Bottom/HR-Harlem-Hub-Ma-Rainey-s-Black-Bottom-mobileMasterAt3x-v5.png" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“‘Ma’ Rainey’s Black Bottom” (1928) is a blues song by the singer Ma Rainey, a matriarch of the genre. Many of Rainey’s songs reference love affairs with both men and women.</span> </div> </div> <div id="record-2" class="loose-grid-item item-48 image span-1 s-R11yBucKCbEV" style="--order:48;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 600/599" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/05/16/multimedia/HR-Harlem-Hub-Black-and-Tan-Fantasy/HR-Harlem-Hub-Black-and-Tan-Fantasy-mobileMasterAt3x-v2.png"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/16/multimedia/HR-Harlem-Hub-Black-and-Tan-Fantasy/HR-Harlem-Hub-Black-and-Tan-Fantasy-articleLarge-v2.png"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/16/multimedia/HR-Harlem-Hub-Black-and-Tan-Fantasy/HR-Harlem-Hub-Black-and-Tan-Fantasy-jumbo-v2.png"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/16/multimedia/HR-Harlem-Hub-Black-and-Tan-Fantasy/HR-Harlem-Hub-Black-and-Tan-Fantasy-superJumbo-v2.png"> <img alt="The black and gold center of a vinyl record that bears the Brunswick logo and the song name “Black and Tan Fantasy.”" loading="lazy" decoding="async" width="600" height="599" src="https://static01.nyt.com/images/2024/05/16/multimedia/HR-Harlem-Hub-Black-and-Tan-Fantasy/HR-Harlem-Hub-Black-and-Tan-Fantasy-mobileMasterAt3x-v2.png" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“Black and Tan Fantasy,” a jazz song by Duke Ellington and Bubber Miley, was recorded in 1927 and later featured in a short film “Black and Tan,” in 1929.</span> </div> </div> <div id="cootie-williams" class="loose-grid-item item-49 image span-2 s-R11yBucKCbEV" style="--order:49;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1324" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Cootie-Williams/HR-Harlem-Hub-Cootie-Williams-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Cootie-Williams/HR-Harlem-Hub-Cootie-Williams-jumbo.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Cootie-Williams/HR-Harlem-Hub-Cootie-Williams-superJumbo.jpg"> <img alt="A black and white photograph of two men playing music, one on the trumpet and one on the drums, with a crowd in front of them." loading="lazy" decoding="async" width="1800" height="1324" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Cootie-Williams/HR-Harlem-Hub-Cootie-Williams-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The trumpet player Cootie Williams performing with Duke Ellington’s band at the Savoy Ballroom in Harlem in the 1930s. The unique sound he made with his instrument sounded like a growl.</span> <span class="g-credit s-R11yBucKCbEV">Bettmann Archive, via Getty Images</span></div> </div> <div id="lindy-hop" class="loose-grid-item item-50 image span-2 s-R11yBucKCbEV" style="--order:50;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1797" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-Lindy-Hop/HR-Harlem-Hub-The-Lindy-Hop-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-Lindy-Hop/HR-Harlem-Hub-The-Lindy-Hop-jumbo-v2.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-Lindy-Hop/HR-Harlem-Hub-The-Lindy-Hop-superJumbo-v2.jpg"> <img alt="A black and white photograph of a woman jumping in mid-air doing the Lindy Hop as other people dance around her." loading="lazy" decoding="async" width="1800" height="1797" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-Lindy-Hop/HR-Harlem-Hub-The-Lindy-Hop-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">A Lindy Hop dance at the Savoy Ballroom in Harlem. The swing-style jazz dance incorporated fast feet, twirls, jumps and partner tossing.</span> <span class="g-credit s-R11yBucKCbEV">Archive Photos/Getty Images</span></div> </div> <div id="" class="loose-grid-item item-51 link span-1 s-R11yBucKCbEV" style="--order:51;"><div class="g-related-links_item s-EZHox4p8DxYU"><a href="https://www.nytimes.com/2024/09/06/obituaries/gwendolyn-bennett-harlem-renaissance-overlooked.html" class="s-EZHox4p8DxYU"> <div class="g-related-links_thumb s-EZHox4p8DxYU"><img alt="" loading="lazy" decoding="async" width="600" height="860" src="https://static01.nyt.com/images/2024/09/09/multimedia/05overlooked-bennett-02-wvlm-print1/05overlooked-bennett-02-wvlm-articleLarge.jpg" class="g-image s-hnZj3vywzwdn nojs"></div> <div class="g-related-links_info"><h4 class="g-related-links_item-headline s-EZHox4p8DxYU">Overlooked No More: Gwendolyn B. Bennett, Harlem Renaissance Star Plagued by Misfortune</h4></div> <p class="link-out s-EZHox4p8DxYU" data-svelte-h="svelte-jqxv15">Read the article</p></a> </div> </div> <div id="cover-fire" class="loose-grid-item item-52 image span-2 s-R11yBucKCbEV" style="--order:52;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 663/842" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/05/28/multimedia/HR-Harlem-Hub-Fire-jzkw/HR-Harlem-Hub-Fire-jzkw-mobileMasterAt3x-v4.png"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/28/multimedia/HR-Harlem-Hub-Fire-jzkw/HR-Harlem-Hub-Fire-jzkw-jumbo-v4.png"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/28/multimedia/HR-Harlem-Hub-Fire-jzkw/HR-Harlem-Hub-Fire-jzkw-superJumbo-v4.png"> <img alt="The cover of Fire!! Magazine, which features a red sphinx against a purple background." loading="lazy" decoding="async" width="663" height="842" src="https://static01.nyt.com/images/2024/05/28/multimedia/HR-Harlem-Hub-Fire-jzkw/HR-Harlem-Hub-Fire-jzkw-mobileMasterAt3x-v4.png" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“Fire!!” was a literary magazine published by a group of self-described “younger Negro artists.” Conceived by the writer Langston Hughes and the writer and artist Richard Nugent, the only issue was published in November 1926.</span> <span class="g-credit s-R11yBucKCbEV">Beinecke Rare Book & Manuscript Library/Wallace Thurman Collection</span></div> </div> <div id="quote-herald" class="loose-grid-item item-53 quote span-2 s-R11yBucKCbEV" style="--order:53;"><p class="g-quote s-R11yBucKCbEV">“The American Negro is finding his artistic voice and that we are on the edge, if not already in the midst of, what might not be improperly called a Negro Renaissance.” <em>— The New York Herald Tribune, May 1925</em></p> </div> <div id="3" class="loose-grid-item item-54 paid span-1 s-R11yBucKCbEV" style="--order:54;"><div class="g-paid s-dtrnTUXTg8M6"><div id="mid3" class="place-ad" data-position="mid3" data-size-key="default"></div> </div> </div> <div id="portrait-fauset" class="loose-grid-item item-55 image span-1 s-R11yBucKCbEV" style="--order:55;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2900" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Jessie-Fauset-jptg/HR-Harlem-Hub-Jessie-Fauset-jptg-mobileMasterAt3x-v3.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Jessie-Fauset-jptg/HR-Harlem-Hub-Jessie-Fauset-jptg-superJumbo-v3.jpg"> <img alt="Jessie Fauset , wearing a dress and a string of pearls, sits in an ornate chair while gently smiling toward the camera." loading="lazy" decoding="async" width="1800" height="2900" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Jessie-Fauset-jptg/HR-Harlem-Hub-Jessie-Fauset-jptg-mobileMasterAt3x-v3.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">A 1920 photo of Jessie Fauset, who in 1919 became the literary editor for the journal The Crisis. During her tenure she highlighted previously unknown writers including Countee Cullen, Langston Hughes, Claude McKay and Anne Spencer.</span> <span class="g-credit s-R11yBucKCbEV">Library of Congress/Corbis, via Getty Images</span></div> </div> <div id="cover-crisis" class="loose-grid-item item-56 image span-1 s-R11yBucKCbEV" style="--order:56;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1754/2505" class="s-JZmr0F-wqQJw"><source media="(max-width: 877px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-Crisis-hvlm/HR-Harlem-Hub-The-Crisis-hvlm-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-Crisis-hvlm/HR-Harlem-Hub-The-Crisis-hvlm-superJumbo-v2.jpg"> <img alt="The April 1926 cover of the Crisis magazine, which features a green design against a white background of two figures standing beside a tree and releasing birds from their hands." loading="lazy" decoding="async" width="1754" height="2505" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-The-Crisis-hvlm/HR-Harlem-Hub-The-Crisis-hvlm-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The Crisis magazine, founded by the scholar and activist W.E.B. DuBois, was the official publication of the National Association for the Advancement of Colored People. The artist Laura Wheeler Waring illustrated this cover.</span> <span class="g-credit s-R11yBucKCbEV">Schomburg Center for Research in Black Culture, Jean Blackwell Hutson Research and Reference Division, The New York Public Library</span></div> </div> <div id="video-ymca" class="loose-grid-item item-57 video span-2 s-R11yBucKCbEV" style="--order:57;"><div class="video-item visible s-R11yBucKCbEV"><div id="" class="g-videoplayer_wrapper s-Y6SN2yb7Dnoq" style="--g-aspect-ratio: 1.7777777777777777"> <noscript><video class="g-videoplayer readystate-0 s-s57Zm-smfWP_" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/ymca-320w.mp4" autoplay poster="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/ymca-320w.jpg" width="" height="" loop playsinline preload="auto" disableremoteplayback muted></video></noscript> <img alt="" class="g-videoplayer_poster s-Y6SN2yb7Dnoq active" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/ymca-320w.jpg"> <div class="g-videoplayer_loading s-mBL8LwzEGGUE"><svg xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" viewBox="0 0 70 70"><defs><linearGradient id="g-videoplayer-loading-gradient-27" x1="37.18" y1="35" x2="72.18" y2="70" gradientTransform="translate(-2.18)" gradientUnits="userSpaceOnUse"><stop offset="0.17" stop-color="#fff"></stop><stop offset="0.18" stop-color="#fefdfd"></stop><stop offset="0.35" stop-color="#bcbbbb"></stop><stop offset="0.52" stop-color="#858384"></stop><stop offset="0.67" stop-color="#5b5859"></stop><stop offset="0.81" stop-color="#3c393a"></stop><stop offset="0.92" stop-color="#2a2627"></stop><stop offset="1" stop-color="#231f20"></stop></linearGradient><mask id="g-videoplayer-loading-mask-28" x="35" y="35" width="35" height="35" maskUnits="userSpaceOnUse"><rect fill="url(#g-videoplayer-loading-gradient-27)" x="35" y="35" width="35" height="35" transform="translate(0 105) rotate(-90)"></rect></mask></defs><g mask="url(#g-videoplayer-loading-mask-28)"><path d="M70,35H60A25,25,0,0,1,35,60V70A35,35,0,0,0,70,35Z" class="s-pAgMu2OHe-sl"></path></g><path d="M70,35h0v1.56C70,36,70,35.52,70,35Z" class="s-pAgMu2OHe-sl"></path><path d="M35,70V60a25,25,0,0,1,0-50V0a35,35,0,0,0,0,70c.52,0,1,0,1.56,0Z" class="s-pAgMu2OHe-sl"></path></svg> </div> </div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The Y.M.C.A. at West 135th Street and Seventh Avenue in Harlem was an incubator for the Harlem Renaissance. Prominent voices of the movement regularly stayed or worked there.</span> <span class="g-credit s-R11yBucKCbEV">CriticalPast</span></div> </div> <div id="boat" class="loose-grid-item item-58 image span-2 s-R11yBucKCbEV" style="--order:58;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 974/696" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/06/20/multimedia/HR-Harlem-hub-Langston-Hughes-USSR/HR-Harlem-hub-Langston-Hughes-USSR-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/06/20/multimedia/HR-Harlem-hub-Langston-Hughes-USSR/HR-Harlem-hub-Langston-Hughes-USSR-jumbo-v2.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/06/20/multimedia/HR-Harlem-hub-Langston-Hughes-USSR/HR-Harlem-hub-Langston-Hughes-USSR-superJumbo-v2.jpg"> <img alt="A black and white photograph of Langston Hughes with 19 others on a the deck of a ship going to the USSR in 1932-1933." loading="lazy" decoding="async" width="974" height="696" src="https://static01.nyt.com/images/2024/06/20/multimedia/HR-Harlem-hub-Langston-Hughes-USSR/HR-Harlem-hub-Langston-Hughes-USSR-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">It’s fairly well-known that Black writers and artists during the Harlem Renaissance moved to Paris. Less familiar might be the fact that some spent time in the U.S.S.R., including Langston Hughes, pictured here with friends during a 1932 trip.</span> <span class="g-credit s-R11yBucKCbEV">Langston Hughes Papers. James Weldon Johnson Collection in the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.</span></div> </div> <div id="zora-langston" class="loose-grid-item item-59 image span-1 s-R11yBucKCbEV" style="--order:59;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 900/1115" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub--Tuskegee-Institute-lbpj/HR-Harlem-Hub--Tuskegee-Institute-lbpj-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 827px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub--Tuskegee-Institute-lbpj/HR-Harlem-Hub--Tuskegee-Institute-lbpj-jumbo.jpg"><source media="(min-width: 828px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub--Tuskegee-Institute-lbpj/HR-Harlem-Hub--Tuskegee-Institute-lbpj-superJumbo.jpg"> <img alt="In a black and white photograph, two women and a man stand in a line in front of a gravesite that has a statue of a man atop a pedestal." loading="lazy" decoding="async" width="900" height="1115" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub--Tuskegee-Institute-lbpj/HR-Harlem-Hub--Tuskegee-Institute-lbpj-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Langston Hughes, Zora Neale Hurston and Jessie Fauset visiting the gravesite of the educator and writer Booker T. Washington in Tuskegee, Ala., in 1927. Several years later, Hughes and Hurston fell out over a play they were writing, leading to an explosive feud.</span> <span class="g-credit s-R11yBucKCbEV">The Langston Hughes Estate and the Zora Neale Hurston Trust, via Beinecke Rare Book and Manuscript Library</span></div> </div> <div id="portrait-andrews" class="loose-grid-item item-60 image span-1 s-R11yBucKCbEV" style="--order:60;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 538/760" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/05/16/multimedia/HR-Harlem-Hub-Regina-Andrews/HR-Harlem-Hub-mobileMasterAt3x.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/16/multimedia/HR-Harlem-Hub-Regina-Andrews/HR-Harlem-Hub-jumbo.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/16/multimedia/HR-Harlem-Hub-Regina-Andrews/HR-Harlem-Hub-superJumbo.jpg"> <img alt="A black and white headshot of Regina Andrews, who gazes seriously into the camera." loading="lazy" decoding="async" width="538" height="760" src="https://static01.nyt.com/images/2024/05/16/multimedia/HR-Harlem-Hub-Regina-Andrews/HR-Harlem-Hub-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">A 1940 portrait of Regina Andrews, the first Black woman to lead a New York Public Library branch. She began her career at the 135th Street branch in Harlem, and in 1938 was chosen to head the 115th Street Library.</span> <span class="g-credit s-R11yBucKCbEV">Photographs and Prints Division, Schomburg Center for Research in Black Culture, The New York Public Library</span></div> </div> <div id="quote-love" class="loose-grid-item item-61 quote span-2 s-R11yBucKCbEV" style="--order:61;"><p class="g-quote s-R11yBucKCbEV">“I was in love with Harlem long before I got here.” <em>— Langston Hughes, author</em></p> </div> <div id="couple-vdz" class="loose-grid-item item-62 image span-2 s-R11yBucKCbEV" style="--order:62;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1461" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/23/multimedia/HR-Harlem-Hub-The-Couple/HR-Harlem-Hub-The-Couple-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/23/multimedia/HR-Harlem-Hub-The-Couple/HR-Harlem-Hub-The-Couple-jumbo-v2.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/23/multimedia/HR-Harlem-Hub-The-Couple/HR-Harlem-Hub-The-Couple-superJumbo-v2.jpg"> <img alt="A man sits inside a car and a woman stands beside it in a city street. Both are wearing fur coats." loading="lazy" decoding="async" width="1800" height="1461" src="https://static01.nyt.com/images/2024/05/23/multimedia/HR-Harlem-Hub-The-Couple/HR-Harlem-Hub-The-Couple-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">This photograph, titled “Couple, Harlem,” was taken by the famed photographer James Van Der Zee in 1932. Notably, the couple appears to own a Cadillac V-16, of which only about 4,000 were made.</span> <span class="g-credit s-R11yBucKCbEV">James Van Der Zee Archive, The Metropolitan Museum of Art</span></div> </div> <div id="self-portrait-vdz" class="loose-grid-item item-63 image span-2 s-R11yBucKCbEV" style="--order:63;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1024/1283" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/05/13/multimedia/HR-Harlem-Hub-VanDerZee-Self-Portrait/HR-Harlem-Hub-VanDerZee-Self-Portrait-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 818px)" srcset="https://static01.nyt.com/images/2024/05/13/multimedia/HR-Harlem-Hub-VanDerZee-Self-Portrait/HR-Harlem-Hub-VanDerZee-Self-Portrait-jumbo.jpg"><source media="(min-width: 819px)" srcset="https://static01.nyt.com/images/2024/05/13/multimedia/HR-Harlem-Hub-VanDerZee-Self-Portrait/HR-Harlem-Hub-VanDerZee-Self-Portrait-superJumbo.jpg"> <img alt="A black and white photograph of James Van Der Zee, sitting and smiling at the camera as he holds a newspaper in front of him." loading="lazy" decoding="async" width="1024" height="1283" src="https://static01.nyt.com/images/2024/05/13/multimedia/HR-Harlem-Hub-VanDerZee-Self-Portrait/HR-Harlem-Hub-VanDerZee-Self-Portrait-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The photographer James Van Der Zee in a self portrait taken in 1918. One of the most prolific documentarians of life in Harlem during the 1920s and ’30s, he “brought to life the optimism of the Harlem Renaissance,” Arthur Lubow wrote in The New York Times.</span> <span class="g-credit s-R11yBucKCbEV">James Van Der Zee</span></div> </div> <div id="ubangi-club" class="loose-grid-item item-64 image span-2 s-R11yBucKCbEV" style="--order:64;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1372" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Ubangi-Club-jfcb/HR-Harlem-Hub-Ubangi-Club-jfcb-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Ubangi-Club-jfcb/HR-Harlem-Hub-Ubangi-Club-jfcb-jumbo-v2.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Ubangi-Club-jfcb/HR-Harlem-Hub-Ubangi-Club-jfcb-superJumbo-v2.jpg"> <img alt="A card advertising the Ubangi Club, which claims it offers a “Dinner Show,” a “Supper Show” and a “Fun Show” at different times of night." loading="lazy" decoding="async" width="1800" height="1372" src="https://static01.nyt.com/images/2024/05/20/multimedia/HR-Harlem-Hub-Ubangi-Club-jfcb/HR-Harlem-Hub-Ubangi-Club-jfcb-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The Ubangi Club opened in 1934 and featured well-known Black performers, most famously the gender-bending blues performer Gladys Bentley in her signature tuxedo and top hat.</span> <span class="g-credit s-R11yBucKCbEV">Hulton Archive/Heritage Images, via Getty Images</span></div> </div> <div id="" class="loose-grid-item item-65 link span-1 s-R11yBucKCbEV" style="--order:65;"><div class="g-related-links_item s-EZHox4p8DxYU"><a href="https://www.nytimes.com/interactive/2024/07/29/books/review/harlem-books-quiz.html" class="s-EZHox4p8DxYU"> <div class="g-related-links_thumb s-EZHox4p8DxYU"><img alt="" loading="lazy" decoding="async" width="600" height="400" src="https://static01.nyt.com/images/2024/07/29/books/review/29Quiz-HARLEM/29Quiz-HARLEM-articleLarge.jpg" class="g-image s-hnZj3vywzwdn nojs"></div> <div class="g-related-links_info"><h4 class="g-related-links_item-headline s-EZHox4p8DxYU">How Well Do You Know These Works of the Harlem Renaissance?</h4></div> <p class="link-out s-EZHox4p8DxYU" data-svelte-h="svelte-jqxv15">Read the article</p></a> </div> </div> <div id="video-artis" class="loose-grid-item item-66 video span-2 s-R11yBucKCbEV" style="--order:66;"><div class="video-item visible s-R11yBucKCbEV"><div id="" class="g-videoplayer_wrapper s-Y6SN2yb7Dnoq" style="--g-aspect-ratio: 1.7777777777777777"> <noscript><video class="g-videoplayer readystate-0 s-s57Zm-smfWP_" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/william_artis_sculpture_ymca-320w.mp4" autoplay poster="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/william_artis_sculpture_ymca-320w.jpg" width="" height="" loop playsinline preload="auto" disableremoteplayback muted></video></noscript> <img alt="" class="g-videoplayer_poster s-Y6SN2yb7Dnoq active" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/william_artis_sculpture_ymca-320w.jpg"> <div class="g-videoplayer_loading s-mBL8LwzEGGUE"><svg xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" viewBox="0 0 70 70"><defs><linearGradient id="g-videoplayer-loading-gradient-31" x1="37.18" y1="35" x2="72.18" y2="70" gradientTransform="translate(-2.18)" gradientUnits="userSpaceOnUse"><stop offset="0.17" stop-color="#fff"></stop><stop offset="0.18" stop-color="#fefdfd"></stop><stop offset="0.35" stop-color="#bcbbbb"></stop><stop offset="0.52" stop-color="#858384"></stop><stop offset="0.67" stop-color="#5b5859"></stop><stop offset="0.81" stop-color="#3c393a"></stop><stop offset="0.92" stop-color="#2a2627"></stop><stop offset="1" stop-color="#231f20"></stop></linearGradient><mask id="g-videoplayer-loading-mask-32" x="35" y="35" width="35" height="35" maskUnits="userSpaceOnUse"><rect fill="url(#g-videoplayer-loading-gradient-31)" x="35" y="35" width="35" height="35" transform="translate(0 105) rotate(-90)"></rect></mask></defs><g mask="url(#g-videoplayer-loading-mask-32)"><path d="M70,35H60A25,25,0,0,1,35,60V70A35,35,0,0,0,70,35Z" class="s-pAgMu2OHe-sl"></path></g><path d="M70,35h0v1.56C70,36,70,35.52,70,35Z" class="s-pAgMu2OHe-sl"></path><path d="M35,70V60a25,25,0,0,1,0-50V0a35,35,0,0,0,0,70c.52,0,1,0,1.56,0Z" class="s-pAgMu2OHe-sl"></path></svg> </div> </div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The sculptor William Artis teaching art at the 135th Street Y.M.C.A. in Harlem in 1937. “If Harlem had become the epicenter of Black America, then the Y was the epicenter of that epicenter,” the New York Times writer Sandra E. Garcia wrote in 2021.</span> <span class="g-credit s-R11yBucKCbEV">CriticalPast</span></div> </div> <div id="quote-jazz" class="loose-grid-item item-67 quote span-2 s-R11yBucKCbEV" style="--order:67;"><p class="g-quote s-R11yBucKCbEV">“Jazz is the only unhampered, unhindered expression of complete freedom yet produced in this country.” <em>— Duke Ellington, musician</em></p> </div> <div id="portrait-ellington" class="loose-grid-item item-68 image span-2 s-R11yBucKCbEV" style="--order:68;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1371" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/28/multimedia/HR-harlem-hub-Duke-Ellington/HR-harlem-hub-Duke-Ellington-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/28/multimedia/HR-harlem-hub-Duke-Ellington/HR-harlem-hub-Duke-Ellington-jumbo.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/28/multimedia/HR-harlem-hub-Duke-Ellington/HR-harlem-hub-Duke-Ellington-superJumbo.jpg"> <img alt="A young Duke Ellington, wearing a tuxedo with his hair slicked back, sits at a piano with his hands resting on the keys." loading="lazy" decoding="async" width="1800" height="1371" src="https://static01.nyt.com/images/2024/05/28/multimedia/HR-harlem-hub-Duke-Ellington/HR-harlem-hub-Duke-Ellington-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Duke Ellington, photographed in the 1910s, was one of the most influential jazz composers and band leaders of the 20th century. He rose to fame at the Cotton Club in Harlem in the 1920s and led his band for more than half a century, helping to originate big-band jazz.</span> <span class="g-credit s-R11yBucKCbEV">Bettmann Archive, via Getty Images</span></div> </div> <div id="cover-home" class="loose-grid-item item-69 image span-1 s-R11yBucKCbEV" style="--order:69;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: auto;" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Home-to-Harlem/HR-Harlem-Hub-Home-to-Harlem-mobileMasterAt3x-v4.png"><source media="(min-width: 740px) and (max-width: 744px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Home-to-Harlem/HR-Harlem-Hub-Home-to-Harlem-jumbo-v5.png"><source media="(min-width: 745px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Home-to-Harlem/HR-Harlem-Hub-Home-to-Harlem-superJumbo-v5.png"> <img alt="The cover of the book “Home to Harlem” by Claude McKay. It features a navy blue block print design of a man standing between two tall buildings with his arms outstretched against a pink background." loading="lazy" decoding="async" width="1800" height="2578" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Home-to-Harlem/HR-Harlem-Hub-Home-to-Harlem-mobileMasterAt3x-v4.png" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“Home to Harlem,” the debut novel by the writer Claude McKay, follows the protagonist as he returns to Harlem from London, where he had fled after deserting the United States military during World War I.</span> <span class="g-credit s-R11yBucKCbEV">Beinecke Rare Book & Manuscript Library/James Weldon Johnson Memorial Collection</span></div> </div> <div id="portrait-robeson" class="loose-grid-item item-70 image span-1 s-R11yBucKCbEV" style="--order:70;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2458" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Paul-Robeson-wlgp/HR-Harlem-Hub-Paul-Robeson-wlgp-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 750px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Paul-Robeson-wlgp/HR-Harlem-Hub-Paul-Robeson-wlgp-jumbo.jpg"><source media="(min-width: 751px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Paul-Robeson-wlgp/HR-Harlem-Hub-Paul-Robeson-wlgp-superJumbo.jpg"> <img alt="A black and white photograph of Paul Robeson, who is wearing a light-colored three-piece suit and looking off to his right with his hands on his hips." loading="lazy" decoding="async" width="1800" height="2458" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Paul-Robeson-wlgp/HR-Harlem-Hub-Paul-Robeson-wlgp-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Paul Robeson, the rich baritone who achieved international fame in the 1920s and ’30s, used his platform to advocate equality for all people. “The artist must elect to fight for freedom or slavery,” he said when performing in London in 1937. “I have made my choice.”</span> <span class="g-credit s-R11yBucKCbEV">Hulton Archive, via Getty Images</span></div> </div> <div id="cotton-club" class="loose-grid-item item-71 image span-2 s-R11yBucKCbEV" style="--order:71;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1429" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Cotton-Club-qthz/HR-Harlem-Hub-Cotton-Club-qthz-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Cotton-Club-qthz/HR-Harlem-Hub-Cotton-Club-qthz-jumbo.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Cotton-Club-qthz/HR-Harlem-Hub-Cotton-Club-qthz-superJumbo.jpg"> <img alt="A black and white exterior photo of the Cotton Club, a large building with its name in big letters across its front. Cars are driving by on the street in front." loading="lazy" decoding="async" width="1800" height="1429" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Cotton-Club-qthz/HR-Harlem-Hub-Cotton-Club-qthz-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The Cotton Club was a popular entertainment venue in Harlem in the 1920s and ’30s. Owen Madden, a white bootlegger and gang leader, bought the nightclub from Jack Johnson, the first Black world-heavyweight-champion boxer, and although it often featured Black performers, it only served a white audience for years.</span> <span class="g-credit s-R11yBucKCbEV">The Chronicle Collection, via Getty Images</span></div> </div> <div id="" class="loose-grid-item item-72 link span-1 s-R11yBucKCbEV" style="--order:72;"><div class="g-related-links_item s-EZHox4p8DxYU"><a href="https://www.nytimes.com/2024/02/19/arts/design/metropolitan-museum-art-harlem-renaissance-review.html" class="s-EZHox4p8DxYU"> <div class="g-related-links_thumb s-EZHox4p8DxYU"><img alt="" loading="lazy" decoding="async" width="600" height="900" src="https://static01.nyt.com/images/2024/02/19/multimedia/19met-renaissance-review-kmzc/19met-renaissance-review-kmzc-articleLarge.jpg" class="g-image s-hnZj3vywzwdn nojs"></div> <div class="g-related-links_info"><h4 class="g-related-links_item-headline s-EZHox4p8DxYU">The Met Aims to Get Harlem Right, the Second Time Around</h4></div> <p class="link-out s-EZHox4p8DxYU" data-svelte-h="svelte-jqxv15">Read the article</p></a> </div> </div> <div id="portrait-waters" class="loose-grid-item item-73 image span-1 s-R11yBucKCbEV" style="--order:73;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2439" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Ethel-Waters/HR-Harlem-Hub-Ethel-Waters-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 756px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Ethel-Waters/HR-Harlem-Hub-Ethel-Waters-jumbo.jpg"><source media="(min-width: 757px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Ethel-Waters/HR-Harlem-Hub-Ethel-Waters-superJumbo.jpg"> <img alt="A black and white headshot of Ethel Waters against a floral background." loading="lazy" decoding="async" width="1800" height="2439" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Ethel-Waters/HR-Harlem-Hub-Ethel-Waters-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Ethel Waters, a pioneering performer, starred in many Broadway shows and was the first African American to star in her own TV show. She lived at the “Dream Haven” apartment at 580 St. Nicholas Avenue, a gathering space for artists associated with the Harlem Renaissance.</span> <span class="g-credit s-R11yBucKCbEV">Carl Van Vechten Collection/Getty Images</span></div> </div> <div id="portrait-fitzgerald" class="loose-grid-item item-74 image span-1 s-R11yBucKCbEV" style="--order:74;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2273" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Ella-Fitzgerald-zjgc/HR-Harlem-Hub-Ella-Fitzgerald-zjgc-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px) and (max-width: 811px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Ella-Fitzgerald-zjgc/HR-Harlem-Hub-Ella-Fitzgerald-zjgc-jumbo-v2.jpg"><source media="(min-width: 812px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Ella-Fitzgerald-zjgc/HR-Harlem-Hub-Ella-Fitzgerald-zjgc-superJumbo-v2.jpg"> <img alt="A black and white photograph shot from below of Ella Fitzgerald in a floor-length dress singing at a microphone with a band behind her." loading="lazy" decoding="async" width="1800" height="2273" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Ella-Fitzgerald-zjgc/HR-Harlem-Hub-Ella-Fitzgerald-zjgc-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Ella Fitzgerald, one of the world’s most celebrated jazz singers, performing at Harlem’s Savoy Ballroom in 1940. She made her debut at the Apollo Theater in 1934, and became revered for her incredible vocal range, clear tone and horn-like improvisational scatting.</span> <span class="g-credit s-R11yBucKCbEV">Gilles Petard/Redferns, via Getty Images</span></div> </div> <div id="video-harlem-2" class="loose-grid-item item-75 video span-2 s-R11yBucKCbEV" style="--order:75;"><div class="video-item visible s-R11yBucKCbEV"><div id="" class="g-videoplayer_wrapper s-Y6SN2yb7Dnoq" style="--g-aspect-ratio: 1.7777777777777777"> <noscript><video class="g-videoplayer readystate-0 s-s57Zm-smfWP_" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/harlem_streets-320w.mp4" autoplay poster="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/harlem_streets-320w.jpg" width="" height="" loop playsinline preload="auto" disableremoteplayback muted></video></noscript> <img alt="" class="g-videoplayer_poster s-Y6SN2yb7Dnoq active" src="https://int.nyt.com/data/videotape/finished/2024/05/hr-hub/harlem_streets-320w.jpg"> <div class="g-videoplayer_loading s-mBL8LwzEGGUE"><svg xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" viewBox="0 0 70 70"><defs><linearGradient id="g-videoplayer-loading-gradient-35" x1="37.18" y1="35" x2="72.18" y2="70" gradientTransform="translate(-2.18)" gradientUnits="userSpaceOnUse"><stop offset="0.17" stop-color="#fff"></stop><stop offset="0.18" stop-color="#fefdfd"></stop><stop offset="0.35" stop-color="#bcbbbb"></stop><stop offset="0.52" stop-color="#858384"></stop><stop offset="0.67" stop-color="#5b5859"></stop><stop offset="0.81" stop-color="#3c393a"></stop><stop offset="0.92" stop-color="#2a2627"></stop><stop offset="1" stop-color="#231f20"></stop></linearGradient><mask id="g-videoplayer-loading-mask-36" x="35" y="35" width="35" height="35" maskUnits="userSpaceOnUse"><rect fill="url(#g-videoplayer-loading-gradient-35)" x="35" y="35" width="35" height="35" transform="translate(0 105) rotate(-90)"></rect></mask></defs><g mask="url(#g-videoplayer-loading-mask-36)"><path d="M70,35H60A25,25,0,0,1,35,60V70A35,35,0,0,0,70,35Z" class="s-pAgMu2OHe-sl"></path></g><path d="M70,35h0v1.56C70,36,70,35.52,70,35Z" class="s-pAgMu2OHe-sl"></path><path d="M35,70V60a25,25,0,0,1,0-50V0a35,35,0,0,0,0,70c.52,0,1,0,1.56,0Z" class="s-pAgMu2OHe-sl"></path></svg> </div> </div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Harlem in 1939. The Harlem Renaissance, at the time, was known as the “New Negro movement,” named after an anthology edited by the philosopher and writer Alain Locke.</span> <span class="g-credit s-R11yBucKCbEV">National Archives</span></div> </div> <div id="marcus-garvey" class="loose-grid-item item-76 image span-2 s-R11yBucKCbEV" style="--order:76;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1211" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Marcus-Garvey/HR-Harlem-Hub-Marcus-Garvey-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Marcus-Garvey/HR-Harlem-Hub-Marcus-Garvey-jumbo-v2.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Marcus-Garvey/HR-Harlem-Hub-Marcus-Garvey-superJumbo-v2.jpg"> <img alt="A car filled with men in uniform drives down a city street." loading="lazy" decoding="async" width="1800" height="1211" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Marcus-Garvey/HR-Harlem-Hub-Marcus-Garvey-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Marcus Garvey, a political organizer from Jamaica, during a Universal Negro Improvement Association parade in 1924. He founded the organization to promote Black nationalism and pride.</span> <span class="g-credit s-R11yBucKCbEV">James Van Der Zee/Michael Ochs Archives, via Getty Images</span></div> </div> <div id="4" class="loose-grid-item item-77 paid span-1 s-R11yBucKCbEV" style="--order:77;"><div class="g-paid s-dtrnTUXTg8M6"><div id="mid4" class="place-ad" data-position="mid4" data-size-key="default"></div> </div> </div> <div id="portrait-gumby" class="loose-grid-item item-78 image span-2 s-R11yBucKCbEV" style="--order:78;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1480" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/13/multimedia/HR-Harlem-Hub-Alexander-Gumby-pwvf/HR-Harlem-Hub-Alexander-Gumby-pwvf-mobileMasterAt3x-v2.jpg"><source media="(min-width: 740px) and (max-width: 1024px)" srcset="https://static01.nyt.com/images/2024/05/13/multimedia/HR-Harlem-Hub-Alexander-Gumby-pwvf/HR-Harlem-Hub-Alexander-Gumby-pwvf-jumbo-v2.jpg"><source media="(min-width: 1025px)" srcset="https://static01.nyt.com/images/2024/05/13/multimedia/HR-Harlem-Hub-Alexander-Gumby-pwvf/HR-Harlem-Hub-Alexander-Gumby-pwvf-superJumbo-v2.jpg"> <img alt="A black and white photograph of Alexander Gumby sitting at a desk with a bookshelf behind him." loading="lazy" decoding="async" width="1800" height="1480" src="https://static01.nyt.com/images/2024/05/13/multimedia/HR-Harlem-Hub-Alexander-Gumby-pwvf/HR-Harlem-Hub-Alexander-Gumby-pwvf-mobileMasterAt3x-v2.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">Alexander Gumby, a rare book collector and scrapbook artist, at the Revella Hotel in Harlem in 1950. In the 1920s, he operated the Gumby Book Studio, a literary salon that welcomed Claude McKay, Langston Hughes, Alain Locke and many others.</span> <span class="g-credit s-R11yBucKCbEV">L. S. Alexander Gumby collection of Negroiana, Rare Book & Manuscript Library, Columbia University in the City of New York</span></div> </div> <div id="portrait-cullen" class="loose-grid-item item-79 image span-1 s-R11yBucKCbEV" style="--order:79;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2236" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Countee-Cullen-jwlv/HR-Harlem-Hub-Countee-Cullen-jwlv-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 825px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Countee-Cullen-jwlv/HR-Harlem-Hub-Countee-Cullen-jwlv-jumbo.jpg"><source media="(min-width: 826px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Countee-Cullen-jwlv/HR-Harlem-Hub-Countee-Cullen-jwlv-superJumbo.jpg"> <img alt="A black and white photograph of Countee Cullen who is wearing a three-piece suit and sitting outside beside a tree." loading="lazy" decoding="async" width="1800" height="2236" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Countee-Cullen-jwlv/HR-Harlem-Hub-Countee-Cullen-jwlv-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The acclaimed poet Countee Cullen drew inspiration from peers like Langston Hughes and poets like John Keats who he studied at New York University. His blending of contemporary verse with classical form made his work a cornerstone of 20th century African American poetry.</span> <span class="g-credit s-R11yBucKCbEV">Bettmann Archive, via Getty Images</span></div> </div> <div id="cover-survey" class="loose-grid-item item-80 image span-1 s-R11yBucKCbEV" style="--order:80;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1278/1702" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Survey-Graphic/HR-Harlem-Hub-jbzw-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 769px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Survey-Graphic/HR-Harlem-Hub-jbzw-jumbo.jpg"><source media="(min-width: 770px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Survey-Graphic/HR-Harlem-Hub-jbzw-superJumbo.jpg"> <img alt="A Survey Graphic magazine cover with a drawing of a Black man’s face in the center and blue abstract designs on either side. It reads “Harlem: Mecca of the New Negro.”" loading="lazy" decoding="async" width="1278" height="1702" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Survey-Graphic/HR-Harlem-Hub-jbzw-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The March 1925 cover of Survey Graphic, a monthly illustrated edition of Survey magazine. This issue was designed and edited by Alain Locke, and was devoted to covering the artistic renaissance happening in Harlem.</span> <span class="g-credit s-R11yBucKCbEV">Beinecke Rare Book & Manuscript Library/Carl Van Vechten Papers, via The Van Vechten Trust</span></div> </div> <div id="quote-dubois" class="loose-grid-item item-81 quote span-2 s-R11yBucKCbEV" style="--order:81;"><p class="g-quote s-R11yBucKCbEV">“Off with these thought chains and inchoate soul-shrinkings and let us train ourselves to see beauty in ‘black.’” <em>— W.E.B. DuBois, sociologist and activist</em></p> </div> <div id="" class="loose-grid-item item-82 link span-1 s-R11yBucKCbEV" style="--order:82;"><div class="g-related-links_item s-EZHox4p8DxYU"><a href="https://www.nytimes.com/2024/02/18/arts/design/harlem-renaissance-metropolitan-museum-art.html" class="s-EZHox4p8DxYU"> <div class="g-related-links_thumb s-EZHox4p8DxYU"><img alt="" loading="lazy" decoding="async" width="600" height="400" src="https://static01.nyt.com/images/2024/02/18/multimedia/18harlem-renaissance-01-kpgb/18harlem-renaissance-01-kpgb-articleLarge.jpg" class="g-image s-hnZj3vywzwdn nojs"></div> <div class="g-related-links_info"><h4 class="g-related-links_item-headline s-EZHox4p8DxYU">With ‘Gems’ From Black Collections, the Harlem Renaissance Reappears</h4></div> <p class="link-out s-EZHox4p8DxYU" data-svelte-h="svelte-jqxv15">Read the article</p></a> </div> </div> <div id="sculpture-barthe" class="loose-grid-item item-83 image span-2 s-R11yBucKCbEV" style="--order:83;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2913" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/29/multimedia/HR-Harlem-Hub-Feral-Benga-1/HR-Harlem-Hub-Feral-Benga-1-mobileMasterAt3x.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/05/29/multimedia/HR-Harlem-Hub-Feral-Benga-1/HR-Harlem-Hub-Feral-Benga-1-superJumbo.jpg"> <img alt="A sculpture of a tall, lanky man with a bare torso holding a large blade over his head." loading="lazy" decoding="async" width="1800" height="2913" src="https://static01.nyt.com/images/2024/05/29/multimedia/HR-Harlem-Hub-Feral-Benga-1/HR-Harlem-Hub-Feral-Benga-1-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“Feral Benga,” a 1935 bronze cast by Richmond Barthé of the Senegalese cabaret dancer François Benga. Barthé was known for his realistic portrayals of religious subjects and notable African American cultural figures.</span> <span class="g-credit s-R11yBucKCbEV">Museum of Fine Arts, Boston, William Francis Warden Fund and American Decorative Arts Deaccessioning Fund</span></div> </div> <div id="cover-no-more" class="loose-grid-item item-84 image span-1 s-R11yBucKCbEV" style="--order:84;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2407" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Black-No-More-flmh/HR-Harlem-Hub-Black-No-More-flmh-mobileMasterAt3x-v4.png"><source media="(min-width: 740px) and (max-width: 766px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Black-No-More-flmh/HR-Harlem-Hub-Black-No-More-flmh-jumbo-v4.png"><source media="(min-width: 767px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Black-No-More-flmh/HR-Harlem-Hub-Black-No-More-flmh-superJumbo-v4.png"> <img alt="The cover of the book “Black No More” by George S. Schuyler. It features a tall green and black building with Black figures entering from one side and white figures exiting from another side." loading="lazy" decoding="async" width="1800" height="2407" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Black-No-More-flmh/HR-Harlem-Hub-Black-No-More-flmh-mobileMasterAt3x-v4.png" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">“Black No More” is a satirical fantasy by George S. Schuyler, a pugnacious novelist, journalist and prolific cultural critic who was critical of both anti-Blackness and the Harlem Renaissance. Published in 1931, it was an early work within the genre that would become known as Afrofuturism.</span> <span class="g-credit s-R11yBucKCbEV">Beinecke Rare Book & Manuscript Library/James Weldon Johnson Memorial Collection</span></div> </div> <div id="portrait-dubois" class="loose-grid-item item-85 image span-1 s-R11yBucKCbEV" style="--order:85;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/2309" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-W.E.B.-DuBois-hmlb/HR-Harlem-Hub-W.E.B.-DuBois-hmlb-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 799px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-W.E.B.-DuBois-hmlb/HR-Harlem-Hub-W.E.B.-DuBois-hmlb-jumbo.jpg"><source media="(min-width: 800px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-W.E.B.-DuBois-hmlb/HR-Harlem-Hub-W.E.B.-DuBois-hmlb-superJumbo.jpg"> <img alt="A black and white headshot of W.E.B. DuBois, who is wearing a bowtie and is balding with a mustache and goatee. " loading="lazy" decoding="async" width="1800" height="2309" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-W.E.B.-DuBois-hmlb/HR-Harlem-Hub-W.E.B.-DuBois-hmlb-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">W.E.B. DuBois, a revered scholar and activist, in 1895 became the first African American to earn a doctorate degree from Harvard University. His 1903 book “The Souls of Black Folk” was an instant classic.</span> <span class="g-credit s-R11yBucKCbEV">Underwood Archives/Getty Images</span></div> </div> <div id="office-crisis" class="loose-grid-item item-86 image span-2 s-R11yBucKCbEV" style="--order:86;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 727/486" class="s-JZmr0F-wqQJw"><source media="(max-width: 739px)" srcset="https://static01.nyt.com/images/2024/03/21/multimedia/21harlem-dinner-vztl/21harlem-dinner-vztl-mobileMasterAt3x-v3.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/03/21/multimedia/21harlem-dinner-vztl/21harlem-dinner-vztl-jumbo-v3.jpg"><source media="(min-width: 740px)" srcset="https://static01.nyt.com/images/2024/03/21/multimedia/21harlem-dinner-vztl/21harlem-dinner-vztl-superJumbo-v3.jpg"> <img alt="A black-and-white photo of eight Black men and women working in an office, setting type, looking at newspaper pages. The second figure from right is W.E.B. Du Bois. " loading="lazy" decoding="async" width="727" height="486" src="https://static01.nyt.com/images/2024/03/21/multimedia/21harlem-dinner-vztl/21harlem-dinner-vztl-mobileMasterAt3x-v3.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">The offices of Crisis magazine, founded by W.E.B. Du Bois (second from right), circa 1935.</span> <span class="g-credit s-R11yBucKCbEV">Schomburg Center for Research in Black Culture, Photographs and Prints Division, The New York Public Library.</span></div> </div> <div id="gathering" class="loose-grid-item item-87 image span-2 s-R11yBucKCbEV" style="--order:87;"><div class="img-item visible s-R11yBucKCbEV"><div class="g-media"> <picture style="--g-picture-ratio: 1800/1976" class="s-JZmr0F-wqQJw"><source media="(max-width: 900px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Hilda-Simms-wgtc/HR-Harlem-Hub-Hilda-Sims-wgtc-mobileMasterAt3x.jpg"><source media="(min-width: 740px) and (max-width: 933px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Hilda-Simms-wgtc/HR-Harlem-Hub-Hilda-Sims-wgtc-jumbo.jpg"><source media="(min-width: 934px)" srcset="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Hilda-Simms-wgtc/HR-Harlem-Hub-Hilda-Sims-wgtc-superJumbo.jpg"> <img alt="A black and white photo of a group of people in New York City laughing and holding drinks at a gathering. At least five are sitting on the floor." loading="lazy" decoding="async" width="1800" height="1976" src="https://static01.nyt.com/images/2024/05/09/multimedia/HR-Harlem-Hub-Hilda-Simms-wgtc/HR-Harlem-Hub-Hilda-Sims-wgtc-mobileMasterAt3x.jpg" class="g-image s-hnZj3vywzwdn nojs"></picture></div></div> <div class="g-caption-credit s-R11yBucKCbEV"><span class="g-caption s-R11yBucKCbEV">A 1944 gathering that included the boxer and actor Canada Lee, center, the actress Hilda Simms, above and to the right, and the writer Langston Hughes, bottom right. The Harlem Renaissance brought artists together, reshaping the landscape of American culture.</span> <span class="g-credit s-R11yBucKCbEV">George Karger/Getty Images</span></div> </div> </div> </div> <script> { __sveltekit_66hghq = { base: new URL(".", location).pathname.slice(0, -1), env: null }; const element = document.currentScript.parentElement.dataset.birdkitHydrate ? document.currentScript.parentElement : document.querySelector('[data-birdkit-hydrate="f426adfac10f0143"]'); const data = [null,{"type":"data","data":{body:[{type:"svelte",value:{component:"Grid",wrapper:false,customByline:"By The New York Times",updated:"Oct. 9, 2024",header:{customHeadline:"A Visual History of the Harlem Renaissance",sharetools:{show:false,theme:"light-transparent"},customByline:"By The New York Times",headline:"A Visual History of the Harlem Renaissance",leadin:"The Harlem Renaissance changed the world. 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