by members who attained national visibility such
as LEWISALEXANDER,WARINGCUNEY,ALVIRA
HAZZARD,FLORENCE HARMON,HELENE JOHN-
SON, and DOROTHYWEST.
Bibliography
Saturday Evening Quill 1, no. 1 (June 1928).
Savage, Augusta Christine Fells
(1892–1962)
One of the most talented, decorated, and promi-
nent American artists of the Harlem Renaissance
period. The only woman of color invited to partici-
pate in the 1939 World’s Fair, Savage was an in-
trepid and gifted artist who worked to ensure that
other aspiring artists of color had opportunities to
study and to showcase their works.
Savage was the seventh child of 14 born to
Edward and Cornelia Murphy Fells. Savage was
born in Green Cove, Florida, and her father, a
minister, supported the family by working as a
house painter. She was married three times. She
was widowed after several years of marriage to
John T. Moore, her first husband and the only hus-
band with whom she had a child. Their daughter,
Irene, would later care for Savage when she was af-
flicted with cancer in the last years of her life. Her
marriage to James Savage, her second husband,
ended in divorce. Her third husband was ROBERT
LINCOLNPOSTON, a journalist, ally of MARCUS
GARVEY, and influential member of the UNIVER-
SALNEGROIMPROVEMENTASSOCIATION. Poston
contracted pneumonia and died just six months
after he and Savage wed.
Savage, who began modeling clay figures dur-
ing her childhood, was educated in the public
schools of Florida. She studied at the State Normal
School in Tallahassee before heading north to at-
tend prestigious Cooper Union in NEW YORK
CITY. She spent three years studying at the
Woman’s Art School. In addition, Savage studied
abroad at institutes such as the Académie de la
Chaumière and in Belgium and Germany.
Savage’s career was marked for its publicity
and her impressive talent and the controversies
that threatened to impede her meteoric rise in the
American and international art worlds. In 1923
she was denied a prestigious summer fellowship to
study in France because of her race. Savage did not
hesitate to reveal the despicable nature of the re-
jection and succeeded in generating much public
sympathy for her cause. She enjoyed national and
international acclaim for her work and received
impressive citations. These included a 1931 Colo-
nial Exposition medallion from the French govern-
ment and citations for exhibits at various French
salons including the Salon Automne and Salon
Printemps at Grande Palace.
Savage worked closely with a number of well-
known Harlem Renaissance figures. She was well
acquainted with artist JACOBLAWRENCE. It was
Savage whose recommendation led to Lawrence’s
employment in the Works Progress Administration
(WPA) projects of the late 1930s. He was one of
the approximately 200 artists of color whom she
promoted to WPA officials. Her protégés went on
to produce much public art as part of the organiza-
tion’s nationwide outreach and community pro-
grams. Savage was friendly with many in the
Harlem community including EVAJESSYE. Savage
was one of the first people whom RALPHELLISON
met when he arrived in New York City. She pro-
vided Ellison with numerous and profitable intro-
ductions into the vibrant cultural circles of Harlem.
Savage earned numerous honors during her
career, and she established impressive records in
African-American art history. She was a three-
time winner of the prestigious JULIUSROSENWALD
FELLOWSHIP, and her work was featured on the
covers of widely circulated periodicals such as OP-
PORTUNITY.She designed sculptures and portraits
of leading Harlem Renaissance figures such as W.
E. B. DUBOIS,MARCUSGARVEY, W. C. HANDY,
and JAMESWELDON JOHNSON. Her most cele-
brated and mythic work, an enormous sculpture
entitled “Lift Every Voice and Sing,” was created
for the 1939 World’s Fair. She was the first
African-American woman admitted to member-
ship in the National Association of Women
Painters and Sculptors.
Savage reestablished herself in the New York
City area and dedicated herself to providing edu-
cational and professional opportunities for aspir-
ing artists of color. In addition to establishing the
Savage Studio of Arts and Crafts that was funded
initially by a generous $1,500 grant from the
Carnegie Foundation, she also was the first directorSavage, Augusta Christine Fells 467