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Legend of the Singing River

Discover Lorin Thompson Jr., renowned muralist & creator of Ranger Rick! Explore his unique blend of traditional techniques & impactful American art.

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Collectible Description

Lorin Thompson was born in Pittsburg, Pennsylvania in 1911. After being awarded the commission to create the New Deal-era mural Legend of the Singing River in Pascagoula, Thompson, would gain most of his artistic recognition later in life. His name became recognized for the character “Ranger Rick” that he created for the National Wildlife Federation’s youth publication titled Ranger Rick. Thompson also had his works of art displayed at the Chicago Art Institute and the National Gallery in Washington, D.C. among other prestigious collections.The Pascagoula River runs through modern day Pascagoula, Mississippi located at the mouth of the Mississippi River. “The Legend of the Singing River” is actually a collection of legends and myths about the origin of the strange musical sounds coming from these waters when the conditions were right. For hundreds of years visitors and locals have experienced and attempted to describe the eerily beautiful sound seemingly rising from the water. This has been typically described by locals as “a mysterious humming sound that rises from the waters of the river.” The stories contain historical truths, but are romanticized versions and include mythical creatures like mermaids or sirens, who have enticed people to follow them, resulting in their death. In this version it focuses themes of sacrifice not of fear, but the inevitability of change and the way it’s accepted. In the painting one sees parents comforting children and children comforting pets creating a somber mood set by the dark colors and overhanging trees.The history of the Pascagoula people is shrouded in as much mystery and legend as the river itself. Although the origin of the Pascagoula people is unclear, they were one of many smaller bands, like the Biloxi, who lived together along the riverine systems of Mississippi and Louisiana spilling into the Gulf of Mexico. They are thought to be of Choctaw affiliation, as the word Pascagoula translates to “bread-eater” in the Choctaw language. During the 16th through18th centuries, the Pascagoula people were visited and their history influenced by other tribal groups, Spanish and French explorers named them arbitrarily, further adding to the confusion or their origin. The artist chose to use the historically acceptable portrayal of unclothed, seemingly wild natives perhaps to show their vulnerability to the elements.According to legend, the Biloxi and Pascagoula Tribes had co-existed over centuries before a split between the tribes resulted in the disappearance of both tribes from the region. Altama, Chief of the Pascagoula, was in love with Anola, a Biloxi princess who was promised to the Chief of the Biloxi, going against traditional protocols. Altama and Anola wanted to be together regardless of the outcome. In response, the Biloxi made war on the Pascagoula killing and taking them as slaves for the decision Altama had made. The Pascagoula were outnumbered and feared what the future held for them. Loyal to Altama, they decided as a group that it would be better to die at their own hand than become slaves. In the afterworld they would be reunited and live in a perfect world. Altama, Anola and the Pascagoula people chose to drown themselves in the river, and while singing their death song, they joined hands and walked into the waters. According to local legend, the disappearance of the Pascagoula people has a direct connection with the sounds which they hear coming from the water. Thompson captures the image of Indians with their hands in the air as if they were offering themselves for a sacrifice to the river. There appears to be a sense of peace about the scene and as the people give themselves up to the river.Throughout nautical history there have been tales of creatures and monsters in the water, among them the legend of the mermaids and sirens who enticed travelers to their death lured into the water by their songs. Along the Gulf of Mexico and throughout the bayous of the southeastern United States, the tribal legends also involve mythical water creatures and the sounds which come from the rivers. One of the first written accounts of the “Singing River” was that of Governor Perier of French Louisiana on his visit to the Pascagoula Tribe. “…while among the Pascagoulas or ‘Bread Eaters,’ he was invited to go to the mouth of the river of that name and listen to the mysterious music which floats on the waters. The water formed itself into a towering column of foaming waves, on the top stood a mermaid. As the Indians and missionary looked on, the mermaid began to sing ‘Come to me, come to me,’ where upon they walked into the water never to be seen again.” There are similar stories in other parts of the bayou, such as the Singing River located in modern-day Muscle Shoals, Alabama, which is also links the strange sounds emanating from under the water’s surface with the disappearance of the local tribe.Although it is believed that all the Pascagoula committed suicide by dro../..

Artist Biography

Romare Bearden: A Tapestry of American Experience

Romare Howard Bearden, born September 2, 1911, in Charlotte, North Carolina, and passing away March 12, 1988, in New York City, was more than just an artist; he was a chronicler of the Black experience in America. His life unfolded as a rich tapestry woven with threads of social work, journalism, education, and, most profoundly, his deeply personal and intensely expressive art. Bearden’s journey began modestly – attending Lincoln University, Boston University, and ultimately graduating from New York University with a degree in education – yet it quickly blossomed into a career marked by innovation, intellectual rigor, and a profound engagement with the complexities of identity and history. His work wasn't simply decorative; it was a deliberate act of remembering, reflecting, and reimagining the African American narrative within the broader context of American society.
  • Early Influences & Social Activism: Bearden’s formative years were shaped by his family’s roots in Charlotte and his early exposure to the vibrant Black community there. He began his career as a weekly editorial cartoonist for the Baltimore Afro-American newspaper, a role that instilled in him a commitment to social justice and a keen awareness of racial inequalities. This period laid the groundwork for his later work, which frequently addressed themes of segregation, migration, and the struggles faced by African Americans. His time as a social worker further deepened his understanding of human suffering and fueled his desire to use art as a means of empathy and connection.
  • A Synthesis of Styles: Bearden’s artistic style was remarkably eclectic, drawing inspiration from a vast range of sources – Western masters like Giotto and Matisse, African sculpture and textiles, Byzantine mosaics, Japanese prints, and even the imagery of jazz music. He masterfully blended these influences into a distinctly personal language, employing techniques ranging from collage and watercolor to oil painting and photomontage. His collages, in particular, became his signature, utilizing fragments of newspapers, magazines, and advertisements to create layered narratives that explored themes of memory, displacement, and cultural identity.
  • The Harlem Renaissance & Beyond: Bearden’s artistic development was inextricably linked to the legacy of the Harlem Renaissance. He embraced the spirit of innovation and experimentation that characterized this era while forging his own unique path. His work reflected both the optimism and the disillusionment of the time, capturing the energy and vitality of Black culture alongside its struggles for equality and recognition. He continued to contribute significantly to the arts community, establishing venues like The Studio Museum in Harlem and Cinque Gallery, demonstrating a lifelong dedication to supporting emerging artists.

Marcel Storr: Visions from the Unconscious

Born in Paris on December 25, 1911, Marcel Storr’s life was marked by both profound isolation and an extraordinary artistic vision. Abandoned as a child and enduring a difficult upbringing characterized by deafness and mental illness, Storr retreated into a world of his own making – a world populated by towering, fantastical structures that seemed to emerge from the depths of his subconscious. His art is not easily categorized; it exists in a realm between Surrealism, architectural fantasy, and a deeply personal exploration of memory and trauma. Storr’s story is one of quiet resilience and an unwavering commitment to his unique artistic practice, producing a remarkably consistent body of work despite facing significant personal challenges.
  • A Life Shaped by Isolation: Storr's early life was profoundly shaped by abandonment and hardship. He spent his youth working in various menial jobs, including farm labor and as a street sweeper, experiences that likely contributed to the starkness and solitude of his later work. His increasing deafness further isolated him from the outside world, creating an environment where his imagination could flourish unchecked.
  • The Architecture of Dreams: Storr’s most recognizable works are his monumental drawings depicting colossal structures – palatial cathedrals, ziggurat-like cities, and otherworldly urban landscapes. These images are imbued with a dreamlike quality, evoking both grandeur and unease. They draw inspiration from diverse sources: the temples of Angkor Wat, science fiction illustrations, and even the elaborate sculptures of Ferdinand Cheval. The sheer scale of these drawings is overwhelming, suggesting an attempt to capture the immensity of memory and emotion.
  • A Legacy Rediscovered: Storr’s work remained largely unknown for decades after his death in 1976. It was only in 2001 that a small selection of his drawings were exhibited at the Halle Saint-Pierre in Paris, followed by a major retrospective in 2011. His rediscovery highlights the importance of recognizing and celebrating artists who have been overlooked or marginalized – artists whose visions may not immediately align with prevailing artistic trends but nonetheless offer profound insights into the human condition.

Romare Bearden: Chronicler of Black Life

Romare Bearden’s art is a vibrant testament to the richness and complexity of African American life in the 20th century. Born September 2, 1911, in Charlotte, North Carolina, Bearden's work transcends mere representation; it’s an immersive experience that draws upon his personal history, social consciousness, and artistic influences. His collages, watercolors, oils, and prints are not simply images but carefully constructed narratives—fragments of memory, echoes of cultural heritage, and poignant reflections on the Black American experience.
  • A Dual Identity: Bearden’s life was defined by a dual identity – as an African American artist and as a social worker dedicated to serving his community. This intersection profoundly shaped his artistic vision, leading him to explore themes of migration, segregation, and the resilience of Black culture. His work frequently depicted scenes from Harlem, Pittsburgh, and his native North Carolina, capturing the everyday lives and struggles of ordinary people.
  • Collage as Narrative: Bearden’s mastery of collage is central to his artistic practice. He skillfully combined fragments of newspapers, magazines, and advertisements—discarded materials imbued with cultural significance—to create layered compositions that evoked memory, displacement, and the complexities of identity. His collages are not merely assemblages; they're carefully orchestrated narratives, inviting viewers to piece together their own interpretations.
  • Beyond Representation: Bearden’s work is notable for its emotional depth and psychological complexity. He didn’t simply depict Black people; he explored the interior lives of his subjects—their hopes, fears, joys, and sorrows. His art is infused with a sense of longing, nostalgia, and a profound understanding of the human condition. His legacy extends beyond his artistic achievements to include his commitment to supporting young artists and fostering cultural dialogue.

Louise Bourgeois: Excavating the Inner Landscape

Louise Bourgeois’s art is an intensely personal exploration of memory, trauma, and the female experience. Born December 25, 1911, in Paris, France, her life was marked by profound loss, isolation, and a relentless pursuit of artistic expression. Bourgeois's work—sculptures, installations, paintings, and prints—is characterized by its raw emotionality, unsettling imagery, and a willingness to confront difficult subjects with unflinching honesty. Her art is not merely decorative; it’s a visceral excavation of the inner landscape—a testament to the enduring power of memory and the complexities of human relationships.
  • A Childhood Shaped by Loss: Bourgeois's early life was profoundly shaped by the loss of her mother, who died when she was just two years old. This event left an indelible mark on her psyche, shaping her artistic vision and fueling a lifelong preoccupation with themes of family, death, and the unconscious. Her childhood experiences—including abandonment and isolation—contributed to her distinctive artistic style.
  • The Spider Series: Perhaps Bourgeois’s most iconic series is the “Spider” works – sculptures, drawings, and tapestries depicting spiders and webs. These images are deeply symbolic, representing both protection and entrapment, creation and destruction. The spider, in Bourgeois's vision, embodies her own complex relationship with motherhood—a force that can be both nurturing and demanding.
  • A Legacy of Vulnerability: Louise Bourgeois’s art is characterized by its vulnerability and honesty. She refused to shy away from difficult subjects—her own personal traumas, the complexities of family relationships, and the darker aspects of human experience. Her work invites viewers to confront their own fears and anxieties while offering a profound meditation on the nature of memory, loss, and resilience.
lorin hartwell jr thompson

lorin hartwell jr thompson

1911 - 1997 , United States of America

Quick Facts

  • Artistic Movement Or Style: Surrealism, Feminist art
  • Artists Or Movements Influenced By This Artist: ['Abstract expressionists']
  • Artists Who Influenced This Artist: ['Fernand Léger']
  • Date Of Birth: 25 December 1911
  • Date Of Death: 31 May 2010
  • Full Name: Louise Joséphine Bourgeois
  • Nationality: French, American
  • Notable Artworks:
    • Cells
    • Cumul I
    • The Destruction of the Father
  • Place Of Birth: Paris, France