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[[make]] a country great.

[[image - painting of a woman in a house]]
[[caption]] Horace Pippin, CHRISTMAS MORNING BREAKFAST.  Cincinnati Art Museum, The Edwin and Virginia Irwin Memorial Fund. [[/caption]]

[[image - landscape painting]]
[[caption]] James V. Herring, CAMPUS LANDSCAPE.  Collection of Professor and Mrs. David C. Driskell. [[/caption]]

You're looking at a small fraction of an art exhibition titled "Two Centuries of Black American Art" –and the chances are that you've seen very little, perhaps none, of it before.

At times suppressed, at times ignored, the black artist in America endured, and created an enduring heritage for himself and for all of us.

The black artist's neglected work reminds us that it takes not merely all our skill, but all our art, to see ourselves as we are, and as we can be.  No country, no company, no group has even become great without the art of all its people.

That's one reason we sponsored this exhibition, and why we invite you to see it at the museums and times listed below.  In our business, as in yours, bringing good things together to see the whole and honest picture is vital.  So are individual imagination, individual innovativeness and individual creativity.  Sponsorship of art that reminds us of that is not patronage.  It's a business and human necessity.

If your company would like to know more about corporate sponsorship of art, write Joseph F. Cullman 3rd, Chairman of the Board, Philip Morris Incorporated, 100 Park Avenue, New York, N.Y.10017.

Philip Morris Incorporated
It also takes art to make a company great.

[[logo]] Makers of Marlboro, Benson & Hedges 100's, Merit, Parliament, Virginia Slims and Multifilter, Miller High Life Beer, Lite Beer and Personna Blades.

"Two Centuries of Black American Art" appears at The High Museum of Art, Atlanta, Georgia, Jan. 8 to Feb 20, 1977;  Dallas Museum of Fine Arts, Dallas, Texas, March 30 to May 15, 1977;  The Brooklyn Museum, Brookly, N.Y., June 25 to Aug. 21, 1977.  It has previously appeared at The Los Angeles County Museum of Art.  This exhibition has been made possible by grants from the National Endowment for the Humanities and Philip Morris Incorporated.
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact