Artist: Jacob Lawrence
Title: The Swearing In
Medium: Color screenprint on Cream Wove Paper
Dimensions: 18" x 28"
Year: 1977
Inscription: Signed, titled, dated and numbered 80/100 in pencil, lower margin
Edition: 80/100 + 12 HC; Printed by Arnold Hoffman, Screenprint Workshop, East Hampton, NY. Published by the Presidential Inaugural Committee, Washington, DC. From the portfolio Inaugural Impressions. Nesbett L77-1.
Documentation: Includes Gallery Certificate of Authenticity
Commissioned by the Carter-Mondale Inaugural Committee as part of the "Inaugural Impressions" portfolio, Jacob Lawrence's "The Swearing In" (1977) depicts a crowd gathered to witness the peaceful transition of presidential power. This nine-color screenprint was created alongside works by artists Andy Warhol, Jamie Wyeth, Roy Lichtenstein, and Robert Rauschenberg to raise funds for extending museum hours during Inauguration Week.
In the composition, Lawrence portrays numerous figures in shades of red, black, brown, gold, and blue, dressed in coats, hats, and scarves, indicative of the winter setting. Some individuals have climbed leafless brown trees set against a two-toned blue sky to gain a better view, while others hold small American flags or lift children onto their shoulders. The focus on the spectators emphasizes the collective participation of the people in the democratic process.
Reflecting on the scene, Lawrence remarked, "I see it as the most important ingredient of the election and the inauguration, and that's the people themselves". This perspective aligns with his broader artistic commitment to portraying the experiences and contributions of everyday individuals in American history.
The Swearing In exemplifies Lawrence's distinctive style, characterized by bold colors, simplified forms, and dynamic compositions that narrate significant cultural moments. The Washington Post praised the print as "superb", underscoring its artistic and historical significance.
Jacob Lawrence’s "The Swearing In" is a 1977 edition of 100 (+ 12 H.C.) printed by Arnold Hoffman, Screenprint Workshop, East Hampton, NY. Published by the Presidential Inaugural Committee, Washington, DC. From the portfolio Inaugural Impressions. Nesbett L77-1. The piece is signed, titled, dated and numbered 80/100 in pencil in the lower margin. Purchases includes a gallery certificate of authenticity from Modern Artifact.
Please note, this piece is currently not framed. The images showing it framed are mock-up images to show you what it will look like once framed.
About Jacob Lawrence
Jacob Lawrence (1917–2000) was one of the most celebrated African American artists of the 20th century, renowned for his vivid, narrative-driven paintings that chronicled Black history, culture, and everyday life in America. Working primarily in gouache and tempera, Lawrence developed a distinctive modernist style rooted in dynamic compositions, bold color palettes, and flat, abstracted forms that conveyed powerful stories of resilience, migration, and social justice.
Born in Atlantic City, New Jersey, Lawrence moved with his family to Harlem at the age of 13 during the height of the Harlem Renaissance. Surrounded by a flourishing cultural and intellectual environment, he was deeply influenced by artists, writers, and thinkers like Langston Hughes, Augusta Savage, and Alain Locke. Lawrence began studying art at community centers such as the Harlem Art Workshop, where he received formal instruction and mentorship that would shape his artistic identity.
At just 21 years old, Lawrence achieved national recognition with his acclaimed Toussaint L’Ouverture series (1937–1938), which depicted the life of the Haitian revolutionary leader. His signature approach—creating narrative series composed of multiple small-scale panels—allowed him to tell sweeping historical stories through a deeply personal lens. He continued this format with landmark works such as the Harriet Tubman series (1939–40) and the Frederick Douglass series (1939–40).
His most celebrated body of work, the Migration Series (1940–41), consists of 60 panels chronicling the mass movement of African Americans from the rural South to the urban North during the early 20th century. The series was widely acclaimed and led to Lawrence becoming the first African American artist represented by a major New York gallery, the Downtown Gallery. At only 24 years old, his Migration Series was acquired jointly by the Museum of Modern Art and The Phillips Collection.
Lawrence served in the U.S. Coast Guard during World War II, documenting his experiences in a series of works that further expanded his themes of service, community, and struggle. After the war, he continued to produce paintings that explored both contemporary life and historical subjects, including a series on John Brown and one on builders—a recurring theme that symbolized progress and cooperation.
Throughout his career, Lawrence remained committed to education and mentorship. He taught at several institutions, including the Pratt Institute and the New School for Social Research, and spent the last decades of his career as a professor at the University of Washington in Seattle. There, alongside his wife, artist Gwendolyn Knight Lawrence, he inspired a new generation of artists.
Jacob Lawrence’s work has been exhibited widely and is held in major collections around the world, including the Metropolitan Museum of Art, the Museum of Modern Art, and the Smithsonian American Art Museum. His legacy lies not only in his groundbreaking visual language but also in his unwavering commitment to telling stories that center Black life, history, and dignity.
Lawrence once described his work as “a picture of dignity, the struggle of the people who built this country." His art remains a powerful testament to the richness of African American experience and the enduring power of narrative in shaping cultural memory.
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