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j^'The Negro Looks Ahead' shows a woman with a determined look on her face.
Stevedore' shows a weary, muscular slave taking a break. Y
Richmond Barthe displays one of his bronze sculptures, 'The Negro Looks Ahead,' in 1984 in his study.
The sculpture was created in 1944. 1989.
Barthe died in
Bay sculptor?s work at Smithsonian
By MICHELE SAHTOS
MEDILL NEWS SERVICE
? WASHINGTON ? Visitors to the Smithsonian Institution's Anacostia Museum are discovering the late Richmond Barthe and his graceful bronze sculptures.
But Barthe was no stranger to residents of Bay St. Louis, where the public library has housed one of his sculptures, a woman's head, since he
donated it in 1964.
The works of the sculptor, a native of Bay St. Louis, are featured in a special exhibit at the Smithsonian. "Two Sculptors, Two Eras." It presents 37 works by Barthe and modem sculptor Richard Hunt.
The exhibit, produced by Landau Travelling Exhibitions in Los Angeles, will remain at the Smithsonian until Feb. <i8.
Giving one of his works to the Bay
St. Louis library was more than an act of kindness for Barthe, whose mother and sister stayed in the area long after he left: The artist may have been remembering a local storekeeper who had been kind to him.
The storekeeper, according to Barthe's biographer, Samella Lewis, gave the young boy books and helped develop his interest in African culture and history. It was in Bay St. Louis, Lewis said, that Barthe first began to
take pride in his ancestry.
This pride is evident in the exhibit. "Birth of the Spirituals" shows the torso of a young African American man, his chest full as he sings. A determined face is sculpted in "The Negro Looks Ahead? and the weary, muscular limbs of a slave taking a momentary rest are found in
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