Through the end of the month, the Utah Museum of Fine Arts offers Utahns an unprecedented look at some of the finest work by 20th century African-American artists.

The exhibit, which is titled "African American Masters," is on loan from the Smithsonian American Art Museum and features 61 paintings, sculptures and photographs. Each documents the artists' command of 20th century mainstream artistic traditions coupled with their awareness of what it means to be "black."

Among the artists in the exhibit are Jacob Lawrence, Richard Barthe, Romare Bearden, William H. Johnson, Roy DeCarava, Gordon Parks and Faith Ringgold.

The Smithsonian American Art Museum began acquiring work by African-American artists in the 1960s. The UMFA's exhibit is merely a sampling of these works, selected from approximately 2,000 pieces now in the Smithsonian's collection.

One of the strongest pieces in "African American Masters," Romare Bearden's (1912-88) "Empress of the Blues," 1974, (acrylic and pencil on paper), is a tribute to the legendary singer and songwriter Bessie Smith. Bearden's reductive use of form and vivid color — through collage — produces dynamic positive/negative space relationships while highlighting Smith and her accompanying musicians. The work is intricate yet broad, and because it is so visually monumental it is ultimately successful.

William H. Johnson (1901-70), who studied in New York and Paris, changed from impressionism to a flat, deliberately naive style in the late 1930s, producing such works as "Cafe" ca. 1939-40, (oil on paperboard). This vignette of a Harlem couple sitting at a table was created using thick, rich pigments applied heavily with brush and palette knife. The woman's red gloves, platform shoes and magenta hat are bold counterpoints to the prominent plaid of the man's suit. The exaggerated features and confident composition encourage study, making this another strong piece in the show.

In Allan Rohan Crite's (1910-) "Sunlight and Shadow," 1941, (oil on board), three generations converse while playing in a community park. Every gesture and nuance is perfect; we've seen people stand, sit and slouch this way before. And the dazzling play of sunlight and shadow falling on the stylized figures reinforces the function extended families played in '40s African-American communities.