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Item Beyond Afro-Cubism: Aaron Douglas's impressionist landscapes(Montana State University - Bozeman, College of Arts & Architecture, 2023) Coleman, Martin A.; Chairperson, Graduate Committee: Melissa Ragain and Regina Gee (co-chair)Aaron Douglas often opted for styles, other than his signature afro-cubism, in his personal, private works. Like his more public works, these also served his lifelong socio-political agenda. Art historian, Amy Kirschke opined in 'Aaron Douglas: Art, Race and the Harlem Renaissance' (1994) that the paintings Douglas produced in the last forty years of his life were "less original" and implicitly less political. Through a rigorous analysis of motifs common to Douglas's works, the author argues that Douglas is stylistically agnostic but consistently political, regardless of which style he was using. To understand the political content of his later works, one must understand the significance of locales he depicted, reading of his letters and lectures closely. Douglas was consistent in his use of visual narrative, especially themes of : a proud ancient African past; a recognition of the unequal treatment from white America; African Americans' contribution to modern economic life; and a vision for a more hopeful future assured by Judeo-Christian narratives of escape from bondage. While Douglas most closely associated with his signature afro-cubist style, developed in his illustrations and murals, these were largely commissioned projects. They were also more graphic in nature as opposed to naturalistic. Douglas, throughout his life, and often concurrent with his illustrations and murals, painted impressionist landscapes as well as portraits that were more academic in their rendering. This thesis argues that the fact that this is not recognized by the art historical community owes to the fact that Douglas's private works were not purchased by mainstream museums or shown in major galleries, and they were rarely collected by individuals other than those within his community. Hence, his easel works have not enjoyed the visibility of his murals and illustrations, and therefore were rarely the subject of scholarly analysis, public discussion nor preservation.