Marian Anderson / William Henry Johnson / c. 1945, Oil on paperboard / Smithsonian American Art Museum, gift of the Harmon Foundation
Marian Anderson has been recognized as one of the greatest American singers of the 20th century. Her story illuminates important moments in the civil rights movement. Anderson traveled the world for her career, including performances in Brazil, Cuba, Russia, and France. At the National Portrait Gallery, you can explore more than 25 objects and portraits that showcase Marian Anderson's career as a famed contralto. Here are just five images from the exhibition, which recall five performances that shaped her life and career.
"One Life: Marian Anderson" will be on view at the National Portrait Gallery through May 17, 2020. The Portrait Gallery exhibition is curated by Leslie Ureña, associate curator of photographs.
Marian Anderson as a Child /Strawbridge & Clothier Photographic Studios / 1898, Gelatin silver print, hand-colored / Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania Libraries
The Steps of Anderson’s Home, Philadelphia, PA – 1899
Anderson was born in Philadelphia on February 27, 1897. Her mother, Anna Anderson, said her daughter demonstrated an interest in music as early as age two, when Anderson would play an imaginary piano on the steps of their home.
Marian Anderson, Clef Club, Academy of Music / Fowler Photography (active c. 1890-unknown) / 1918, Gelatin silver print / Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania Libraries
The Philadelphia Academy of Music, Philadelphia, PA – 1899
At age 21, Anderson performed at the Philadelphia Academy of Music, as a soloist with the New York Clef Club Syncopated Orchestra. Her debut at this much sought-after venue helped draw the support and interest of her local community. As an African American performer, Anderson faced challenges in finding additional coaching. She was rejected by several white voice teachers and by a local music school that did not accept “colored” students.
Marian Anderson / William Henry Johnson / c. 1945, Oil on paperboard / Smithsonian American Art Museum, gift of the Harmon Foundation
Lewisohn Stadium, New York City – 1925
Anderson’s instructor Giuseppe Boghetti entered her in a competition held by Lewisohn Stadium in New York City and the National Music League. She won the contest, defeating 300 other aspiring soloists, and was given the opportunity to perform in a concert with the New York Philharmonic. Held on August 26, 1925, at Lewisohn Stadium, the performance before 7,500 people turned out to be a transformative experience for Anderson. She received glowing praise from critics.
Marian Anderson at the Lincoln Memorial / Robert S. Scurlock / 1939, Gelatin silver print / Scurlock Studio Records, Archives Center, National Museum of American History, Smithsonian Institution
The Lincoln Memorial, Washington – 1939
Marian Anderson sings on the steps of the Lincoln Memorial. She wears a large fur coat. Press and audience members can be seen to her left.
Marian Anderson and Sir Rudolf Bing at the Metropolitan Opera House, New York City / Layne's Studio, October 7, 1954, Gelatin silver print /Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania Libraries
Metropolitan Opera, New York – 1955
Another groundbreaking moment in Anderson’s long career occurred when she joined New York’s Metropolitan Opera in the role of the sorcerer Ulrica in Giuseppe Verdi’s 1859 opera Un ballo in maschera (A Masked Ball). She was the first African American singer to perform in a lead role at the Metropolitan Opera. The public’s response was overwhelmingly positive and fan letters remain in the Met’s archives. Anderson received congratulations from all over the world, including a telegram from the performer and activist Josephine Baker, who wrote from France to exclaim that because of Anderson, the “whole world was happy.” Anderson often cited playing Ulrica as one of her greatest accomplishments.
