Elizabeth Catlett. Sharecropper. 1952, published 1968–70. Linoleum cut, composition: 17 5/8 x 16 15/16" (44.8 x 43 cm); sheet: 18 1/2 x 18 15/16" (47 x 48.1 cm). The Ralph E. Shikes Fund and Purchase. © 2022 Elizabeth Catlett / Artists Rights Society (ARS), New York

“I am inspired by Black people and Mexican people, my two peoples.”

Elizabeth Catlett

Elizabeth Catlett liked to recall how the American Regionalist painter Grant Wood, with whom she studied in the 1930s, told his students, “Do something that you know a lot about, the most about.” According to Catlett, what she knew “most about” were “women,” “black people,” and “working people.” These were the subjects she returned to again and again, in paintings, prints, and sculptures of remarkable variety and emotional range.

Catlett’s linoleum cut Sharecropper and terra-cotta Mother and Child were created in Mexico, where she moved in 1946. Mexico offered her both an escape from American Jim Crow laws and the opportunity to work at Mexico City’s Taller de Gráfica Popular, a reform-minded printmaking collective with which she shared a commitment to collaboration, accessibility, and affordable art for all. She made Sharecropper under the Taller’s auspices. Catlett had spent childhood summers with her grandparents in North Carolina, and she would recall, “As a child I remember seeing [sharecroppers] living and working in extreme poverty.” Like her own grandparents, these African American sharecroppers were former enslaved people, or else their descendants, and under the rural South’s racist farming system they continued to be exploited long after slavery’s end.

But Sharecropper is hardly intended to arouse pity or rage: its composition and cropping make the viewer look up at this figure as someone to be respected and even venerated. The safety pin that holds her jacket closed is a succinct sign of poverty, while her broad-brimmed straw hat would have sheltered her from the sun when working the fields. The economy of the print’s narrative is countered by the variety of its patterns and marks and its dramatic lighting. These, along with the simplified planes of the figure’s body, face, and hat, demonstrate Catlett’s modernity.

The theme of Mother and Child is universal across cultures and times, but the faces are ethnically specific, including tenderly detailed aspects of Black physiognomies such as tightly curled hair, broad noses, and full lips. The body of the mother, by contrast, is generalized: despite its small size, it has the gravity and weight of one of Michelangelo’s sibyls, or, closer to Catlett, of the monumental, muscular types seen in the paintings of Catlett’s contemporaries the Mexican muralists. To model the work, Catlett used coils of terra-cotta to create a hollow form—a pre-Hispanic method that she learned from the artist Francisco Zúñiga. The asymmetry of the mother’s pose contributes to the sculpture’s dynamism, while her downturned gaze and particular quality of physicality—its private, protective, introspective tenderness—likely owe to Catlett’s own experience as a mother: the impression is less of a model observed than of memories of what it feels like to cradle the weight of a child.

Mother and Child and Sharecropper are very different in form and mode of address, but each uses a simplified monumental naturalism to present a strong, dignified image of a Black woman. Catlett pulled the Museum’s print of Sharecropper sometime between 1968 and 1970, at a moment in US history when the Civil Rights and Black Power movements made her powerful, positive, politically charged images of the 1950s freshly relevant. “Art for me now,” Catlett wrote in 1971, “must develop from a necessity within my people. It must answer a question, or wake somebody up, or give a shove in the right direction—our liberation.” While the racial and gender inequities that her work addresses remain all too present today, her belief in the power of her art to encourage change and reform perceptions of her people—“women,” “black people,” “working people”—never wavered.

Originally published in Among Others: Blackness at MoMA, ed. Darby English and Charlotte Barat (New York: The Museum of Modern Art, 2019)

Note: The opening quote is from Elizabeth Catlett, quoted in Marc Crawford, “My Art Speaks for Both My Peoples,” Ebony 25, no. 3 (January 1970): 94.

Anne Umland, The Blanchette Hooker Rockefeller Senior Curator, Department of Painting and Sculpture

Wikipedia entry
Elizabeth Catlett, born as Alice Elizabeth Catlett, also known as Elizabeth Catlett Mora (April 15, 1915 – April 2, 2012) was an African-American sculptor and graphic artist best known for her depictions of the Black-American experience in the 20th century, which often focused on the female experience. She was born and raised in Washington, D.C., to parents working in education, and was the grandchild of formerly enslaved people. It was difficult for a black woman at this time to pursue a career as a working artist. Catlett devoted much of her career to teaching. However, a fellowship awarded to her in 1946 allowed her to travel to Mexico City, where she worked with the Taller de Gráfica Popular for twenty years and became head of the sculpture department for the Escuela Nacional de Artes Plásticas. In the 1950s, her main means of artistic expression shifted from print to sculpture, though she never gave up the former. Her work is a mixture of abstract and figurative in the Modernist tradition, with influence from African and Mexican art traditions. Catlett's work can be described as social realism, because of her dedication to the issues and experiences of African Americans. According to the artist, the main purpose of her work is to convey social messages rather than pure aesthetics. Her work is heavily studied by art students looking to depict race, gender and class issues. During her lifetime, Catlett received many awards and recognitions, including membership in the Salón de la Plástica Mexicana, the Art Institute of Chicago Legends and Legacy Award, honorary doctorates from Pace University and Carnegie Mellon, and the International Sculpture Center's Lifetime Achievement Award in contemporary sculpture.
Information from Wikipedia, made available under the Creative Commons Attribution-ShareAlike License
Getty record
The African-American sculptor, painter, and printmaker Elizabeth Catlett was born in Washington, D.C. She attended Howard University and the University of Iowa. In 1946 she received a Rosenfeld Fellowship to travel to Mexicio with her husband, the artist Charles White. She has since remained in Mexico. Her work reflects her interest in African art and social issues in the United States and Mexico.
American, African American, Mexican
Artist, Educator, Teacher, Graphic Artist, Painter, Sculptor
Elizabeth Catlett, Elizabeth Catlett Mora
Information from Getty’s Union List of Artist Names ® (ULAN), made available under the ODC Attribution License


22 works online



  • MoMA Highlights: 375 Works from The Museum of Modern Art Flexibound, 408 pages
  • MoMA Now: Highlights from The Museum of Modern Art—Ninetieth Anniversary Edition Hardcover, 424 pages
  • Among Others: Blackness at MoMA Hardcover, 488 pages

If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

MoMA licenses archival audio and select out of copyright film clips from our film collection. At this time, MoMA produced video cannot be licensed by MoMA/Scala. All requests to license archival audio or out of copyright film clips should be addressed to Scala Archives at [email protected]. Motion picture film stills cannot be licensed by MoMA/Scala. For access to motion picture film stills for research purposes, please contact the Film Study Center at [email protected]. For more information about film loans and our Circulating Film and Video Library, please visit https://www.moma.org/research/circulating-film.

If you would like to reproduce text from a MoMA publication, please email [email protected]. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to [email protected].


This record is a work in progress. If you have additional information or spotted an error, please send feedback to [email protected].