At last, a Norman Lewis painting is hanging in the Bermuda National Gallery.

Since the early days of the BNG, there has been a wish to have a Norman Lewis exhibition, but always circumstances prevented it. The present exhibition, 'Living With art', is a useful overview of the development of African American art, including one painting by Norman Lewis.

I hope that eventually a comprehensive Lewis exhibition in the BNG will become a reality, but this present example is a good introduction. It should be noted though, that through the generosity of Georgine Hill and David Mitchell, the Bermuda National Gallery does own a Lewis print.

But why this interest in Norman Lewis? For those who may not know, Norman Lewis (1909 — 1979) had strong Bermudian roots.

Although born in New York City, his parents both came from Bermuda. It is probable that even now, there are relatives still living in Bermuda, although I do not have documented evidence that this is so. It would be interesting to find out. I also wonder if he ever actually visited Bermuda. I know that he travelled extensively, but again I have no evidence that he actually visited his parents' homeland.

I first became aware of Norman Lewis through Robert Bassett, who has obviously made a thorough study of the development of African American art. It was Mr. Bassett who initially suggested the idea of a Lewis exhibition to the BNG's exhibitions committee.

Norman Lewis is the first notable abstract African American artist and as early as 1951, he was exhibiting in the Museum of Modern Art in New York. It was during this period that he became friends with such established artists as Mark Tobey and Lyonel Feininger. The Lewis painting presently in the BNG, 'Pine Top', is a prime example of Mark Tobey's influence on Norman Lewis' work.

I have emphasised Norman Lewis in this review because of his Bermudian connection, but also because he was notably accomplished.

In addition to the Lewis contribution to this exhibition, there are also a large number of other big names in African American art, including, most significantly, artists from the Harlem Renaissance. This exhibition requires four of the five BNG galleries, it is that big.

Such names as Romare Bearden, Jacob Lawrence, Charles White, Emma Amos and work of the Saars, are all in this show, plus a lot more, including work by other, lesser known but nonetheless accomplished artists. It is a strong show, a must-see show and although it has been a long time coming, it is now in the Bermuda National Gallery, for all to see.

It is not only worth seeing, it is something we all owe it to ourselves to see. Keep in mind too, that the Bermuda National Gallery is open to the public every week day, free of charge.

Romare Bearden, Jacob Lawrence and Charles White, all in their own way, show concern, especially for the plight of their fellow blacks. Charles White, for example, brings to this concern, an enormous technical ability, especially as a draftsman. Additionally, he was a social activist. I recall listening to an interview he gave, while on a visit to East Germany in 1978. He spoke about his distress regarding his fellow blacks. Interestingly, I was also visiting East Germany at that same time and thus had opportunity to hear the interview. This was just one year before his death in 1979.

I am sure that all who take the time to see this show will have their favourites. I certainly do. One gem is the small painting by Nanette Carter, entitled 'Window View #6'. The theme of the window is frequently employed by such notable as Paul Klee and Henri Matisse.

Another is Skunder Bhoghossian's 'The Lady and the Arch'. Mr. Bhoghossian is actually an Ethiopian, who also worked extensively in America. The impact of the Swiss artist Paul Klee on his work is especially evident, as are other influences, such as the Cuban surrealist Wilfredo Lam and the German Max Ernst.

Richard Hunt's small bronze sculpture is an example of his much larger public art pieces. He is a committed craftsman, which is evident in his carefulness of execution in all he undertakes. During my five years teaching in the Mid-West, I had frequent opportunity to see examples of his large, impressive public commissions. When I first saw the small bronze in this present exhibition, it crossed my mind that this must be by Hunt and sure enough, it was.

As one enters the National Gallery, directly across from the entrance, is a large portrait of Alitash Kebede, the Ethiopean Collector of this fine exhibition. This is a painting by Emilio Cruz.

Considering that Alitash Kebede only left Ethiopia in 1970, a rather late date in the history of this development, she has been remarkably successful in putting together this strong collection. It also seems that she actually knew a large number of the artists represented in the show. Considering that these artists worked all across the United States, it seems she must have travelled far and wide in order to meet the artists and collect their works.