• Have students write a “viewer’s response” to the “Big Message” or theme of this painting, then write a theme reader’s response to their independent reading.
• Do a read-aloud with a definite mood. Compare and contrast the ability of artists and writers to create tone and mood. Compare and contrast the different moods created by this artist vs. the author of the read-aloud.

Bigger’s The Cradle is an excellent vehicle to develop student understanding of some literary terms that often are elusive to middle school students who have not yet developed abstract thinking skills. An important component of any literary analysis is the understanding of theme, tone, and mood. By understanding these concepts and by applying correct analytical skills, middle school students will begin building the critical reasoning skills necessary for deeper literary interpretation expected at high school and college levels.  Because the subject matter of this work is familiar to all students, students can build an understanding that may translate to more difficult analyses of subject matter that are less familiar due to their relatively limited life experiences. They will also gain a deeper understanding of the support (or “text evidence”) necessary for supporting thematic or tone/mood conclusions. At the same time, students will further develop the important habits of mind of understanding points of view, communicating ideas, and analyzing relationships and information.

• How would you describe the relationship between the women and the children? Using elements from the work of art, how do you know that this is a mother and her children?
• What effect does the lack of separation between the bodies of the children and the mother add to the artwork?
• Notice the background of heavy crosshatching, a technique in which varying densities of parallel lines intersect one another to create areas of darkness. How does the use of this technique heighten the emotional energy of the work?
• Describe the use of light and shadow in this drawing. How does the dramatic lighting add to the mood of solitude and reflection?
• Why do you think the artist stripped the details from the figures?
• Notice how the artist chose to not portray the faces of the figures. How would this work be different if viewers could see their faces? What do you think their expressions would be like?

• While the lack of details helps the viewer to focus on the figures, how does it also add a sense of universality to the drawing?
• The artist stated that he created this drawing during a frustrating time in his life. Do you notice a tone of frustration and hopelessness infused in this work of art?
• The title of this work is The Cradle. How does the title and the embracing figure of the women create a tone of protection? In contrast, how does the darkness that surrounds the figures create an impending sense of doom and despair?
• While the artist did not include many details, he drew the mother’s arms as sturdy and muscular. What can we infer about the nature of the woman due to this additional detail?
• Despite the underlying tone of darkness and the despair, how does the figure of the women depict strength and resilience?

THEME:

• What do you think is the subject of this painting? (Motherhood)
• What do you think the artist is trying to say about motherhood? (What is the “Big Message” or THEME?) Why do you think so?
• What can you find in this work of art that supports your conclusions about the artist’s “Big Message?”

• What are your reactions to this work of art? What feelings do you have when looking at it?
• How do you think the artist feels about this work of art? Is his view of motherhood positive or negative? Why do you think so? What parts of the painting make you reach this conclusion?
• The artist chose to use crayon on paper. Why do you think he made this choice? Does this choice of medium change your feelings about the work?

The Cradle expresses sympathy for the oppressed and destitute. John Biggers considered himself primarily a draftsman, and here he demonstrates his fine mastery of drawing. Central to the work is the depiction of the mother, who cradles her children within her arms. This conveys the immense responsibility motherhood brings, as the woman shields her three young children from the impending darkness. Although the mother appears to be in despair as she holds her children close to her breast, her thin, elongated arms reveal sturdy, worked muscles suggestive of a dogged strength and resilience.

                                      

Drawn only in crayon, the background is composed of heavy crosshatching, a technique in which varying densities of parallel lines intersect one another to create areas of darkness. This method allowed Biggers to heighten the emotional energy of the work through the expressive background. His dramatic play of light and shadow, with black streaming from behind the figures, intensifies the mood of solitude and reflection. The curved lines of the children echo the curled body of the mother, who envelops her offspring.

     

Form, rather than detail, is prioritized. By rendering his forms stripped of detail, the artist draws attention to the essence of his figures, reinforcing the pensive solitude and peaceful stillness of this work. The mother and children speak to a universal theme of a mother-child relationship. Composed during a time of difficult transition for the artist, he found an outlet for his frustration in drawing: “I began to work with crayon. My mood must have dictated my sketching the rough contours of a primordial mother image. I thought, ‘A mountain of refuge, ravaged by time, yet remaining both strong and tender—protecting life—poised to absorb hostility without flinching.’” The Cradle exemplifies Biggers’ intrigue with motherhood, especially with regard to African-American women. He not only saw motherhood as an enormous responsibility, but he also considered women to be at the heart of African and African-American culture.

 

Throughout his career, Biggers was strongly influenced by African and African-American culture and traditions. He believed art was not only an individual expression of talent, but also, for him, “a responsibility to reflect the spirit and style of the Negro people.” Biggers promoted this philosophy in both his work and his teaching.

 

Biggers, who moved to Houston in 1949 after receiving a position to establish an art department at Texas Southern University, presented this painting at the Museum of Fine Arts, Houston’s annual exhibition of Texas artists, where it won first prize.