James Van Der Zee
James Van Der Zee (1886-1983) was an influential African American photographer known for his powerful portraits that captured the essence of life in Harlem during the early to mid-twentieth century. Born into a family of modest means in Lenox, Massachusetts, Van Der Zee developed an early interest in art and music, eventually becoming a proficient musician before fully committing to photography. He moved to New York City in 1905, where his photography career began to flourish, particularly after opening a studio in Harlem with his wife, Gaynella Greenlee, in 1917.
Van Der Zee's work was significant not only for its artistry but also for its cultural impact, presenting dignified and realistic representations of African American life during a period when mainstream media often resorted to caricature. His photographs documented key moments in the community, including those of African American soldiers before World War I. Despite facing financial difficulties, especially during the Great Depression and after World War II, his artistry garnered attention later in life, culminating in a major exhibition at the Metropolitan Museum of Art in 1969.
Recognized as one of the great American photographers, Van Der Zee's legacy is celebrated for its contribution to the understanding of black culture, and he received numerous accolades, including awards from notable figures like President Jimmy Carter. His extensive body of work remains a vital part of American photography history, illustrating the pride and resilience of the African American community.
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Subject Terms
James Van Der Zee
Photographer
- Born: June 29, 1886
- Birthplace: Lenox, Massachusetts
- Died: May 15, 1983
- Place of death: Washington, D.C.
Van Der Zee is best known for his more than 100,000 photographs of life in Harlem, New York, during the early to mid-twentieth century. These photographs include sensitive portraits and photographs of weddings, funerals, schools, and persons in the street that captured the essence of the neighborhood.
Early Life
James Augustus Joseph Van Der Zee was born in 1886, the second of six children born to John and Susan Van Der Zee. His parents were servants or waiters for the rich in Lenox, Massachusetts, a summer haven for the wealthy. The family lived in a house with enough outside space to grow a garden and raise livestock. There always was enough food to eat and enough money for small luxuries, such as a bicycle. The children also did odd jobs during the summer to earn spending money.
Van Der Zee’s parents encouraged their children to do their best in school; Van Der Zee enjoyed art and music the most. He played the violin and piano quite well, and he enjoyed looking at pictures. He obtained his first camera by selling sachet powder, but he ruined the film while trying to develop it himself. In 1900, at the age of fourteen, he obtained a second camera with which he produced a number of successful photographs.
Van Der Zee quit school at the age of fourteen and worked as a waiter with his father at a luxury hotel in Lenox. From 1900 to 1904, he developed his photographic skills by taking pictures of people and friends around town.
In 1905, Van Der Zee went to New York City to join his father, who had gone ahead to work in the dining room of the Knickerbocker Trust Bank. Van Der Zee worked as a waiter and an elevator operator, and he also played his violin and piano in a variety of settings.
Van Der Zee met his future wife, Kate Brown, in New York City; they were married in 1907. The couple temporarily moved back to Lenox when she was ready to deliver their baby. They then visited Kate’s parents in Virginia, where Van Der Zee took many photographs. Many of these pictures began to approach the sensitivity of his later photographs. He found work in a luxury hotel and took some classes in a music school, but he felt that he was more talented than the music faculty, so he began to teach music.
In 1908, the family left for New York City because Van Der Zee could not tolerate the segregation in Virginia. However, he had learned that he could succeed as a photographer and musician.
Life’s Work
The Van Der Zee family moved into an apartment in Harlem in 1908. Initially, Van Der Zee worked as a waiter, elevator operator, and musician to obtain a steady income. Eventually, he became a darkroom assistant for portrait photographer Charles Gertz in 1911. Van Der Zee soon graduated to taking portraits when Gertz and the customers soon recognized that he was the better photographer.
From 1912 to 1915, Van Der Zee took portraits and taught music at the Toussaint Conservatory of Art and Music. Usually, he took portraits in the subject’s surroundings or in his studio to evoke the subject’s personality. For example, one portrait shows a soldier sitting in a chair looking down at a small dog—the photograph was titled “The Last Goodbye.”
Kate was never persuaded that Van Der Zee could make a living taking photographs. Because of this and other problems, she left him in 1916. Van Der Zee soon became acquainted with Gaynella Greenlee, a white woman who worked as a telephone operator in the building where he worked. He and Gaynella married in 1917.
Van Der Zee and Gaynella opened a photo studio together in 1917. The studio was quite successful, as many organizations and people in Harlem wanted photographs taken. Many of the African American men going off to fight in Europe during World War I had their portraits taken before leaving. This turned out to be a good advertisement for their studio, as many members of the soldiers’ families also wanted their pictures taken.
The Depression years of the 1930’s were difficult for Van Der Zee, but his photography business continued to make money. He did have to move his studio several times, however. Van Der Zee also operated several other businesses, most under Gaynella’s direction, such as renting rooms and gardening. Van Der Zee’s photographs from the Depression era were among his best.
The income from Van Der Zee’s photographic business dropped during World War II. To make ends meet, he took photographs wherever he could—including identification photos, autopsy photos, and even photos of car accidents for insurance use. After World War II, his photography studio suffered even more, partially because many people could take their own photographs more cheaply and some people viewed his portraits as old fashioned. Harlem had a large middle class before World War II, but the middle class moved out after the war, leaving many low-income residents behind. Van Der Zee partially made up for the drop in his portrait income by restoring old photographs. Nevertheless, he could not pay his mortgage. The family became destitute as his portrait income disappeared during the 1960’s.
A photographer, Reginald McGhee, discovered Van Der Zee’s photographs in 1967 (Van Der Zee was eighty-one years old at the time) while looking for photographs for a Metropolitan Museum of Art exhibit called “Harlem on My Mind,” documenting the history of Harlem. Van Der Zee’s photographs became the nucleus of the exhibition. He eventually received $3,500 for his work and instant national recognition. Nevertheless, soon after the exhibit, the Van Der Zees were evicted from their home.
During the 1970’s, Van Der Zee’s fame helped return him to financial stability. Many African American celebrities, such as Bill Cosby, Muhammed Ali, and Ossie Davis, had their portraits taken by Van Der Zee. He received many awards during his later years, including several honorary doctoral degrees and the Living Legacy Award, presented by President Jimmy Carter. Van Der Zee died on May 15, 1983, in Washington, D.C.
Significance
Van Der Zee was one of the few photographers to document the lives of the African Americans living in Harlem during the early to mid-twentieth century. This was a time when African Americans in the white popular media typically were caricatured and stereotyped. His tens of thousands of photographs illustrated the pride and dignity of African Americans and offered a more realistic depiction of black culture. Some experts in photography rank Van Der Zee among the greatest American photographers, alongside artists such as Gordon Parks, Alfred Stieglitz, and Edward Steichen.
Bibliography
Driskell, David, David Lewis, and Deborah Ryan. Harlem Renaissance Art of Black America. New York: Harry N. Abrams, 1987. Contains a chapter on Van Der Zee’s career and significance to African American arts and culture.
Sandler, Martin W. America Through the Lens. New York: Henry Holt, 2005. Includes a chapter examining Van Der Zee’s style and body of work.
Van Der Zee, James, and Reginald McGhee. The World of James Van Der Zee: A Visual Record of Black Americans. New York: Grove Press, 1969. Contains an interview with Van Der Zee along with many of his photographs.
Westerbeck, Colin, James Van Der Zee, and Dewoud Bey. The James Van Der Zee Studio. Chicago: Art Institute of Chicago, 2004. Summarizes information and some photographs from the studio of Van Der Zee.
Willis-Braithwaite, Deborah, and Rodger C. Birt. Van Der Zee: Photographer, 1886-1983. New York: Harry N. Abrams, 1993. Contains a detailed biography along with many of Van Der Zee’s photographs.