On 15 September 1939, Cora L. Bennett, a writer employed by the Works Project Administration interviewed William Arthur Cooper for the Folklore Project. The transcript of the interview is housed at the Library of Congress. Here is an excerpt:

William A. Cooper, artist and preacher gives the story of his life as follows:

“My work has been my life. Whatever degree of success I have had has come about, I believe, as a result of my dogged determination to do something tangible for my race.

“I was born in the country near Hillsboro, N.C. As a small boy I worked on the farm. I worked in the tobacco fields, worming and stemming tobacco as well as in the cotton fields. For about four months in the winter I attended a Mission school in Hillsboro for negros. In summer time I worked as a janitor and some times as a cook or house boy.

…

“When I was about fourteen I began to support myself, and soon there after went to the Industrial Institute at High Point, N.C. as a work student. I worked on the school farm,
got up at five o’clock in the morning to milk the cows, plow and hoe cotton and corn, and anything else that needed to be done. While I was at this school I also took up brick laying along with my other studies.

“From High Point I went to the National Religious Training School at Durham, N.C. There I took the four year Theological Course. Still working my way through school, I received the Bachelor of Theology Degree from that institution.

“As soon as I had finished I went to Wilson, N.C. where I started out as an insurance man, and at the same time preaching at a small church on Sunday.

“I went from there to Burlington, N.C. where I was elected Principal of a high school. I also served as Principal of the high school at Graham, N.C. and taught at various other places. All this time I was studying law at night and passed the State Bar examination in 1922.

“I became interested in art for the first time a few years before this. I was in bed with a severe cold and while lying idle I thought I would try to do two pictures illustrating the Biblical quotation: ‘Wide is the gate and broad is the way that leadeth to destruction, but straight is the gate and narrow is the way that leadeth unto life, and few there be who
find it.’ The members of my church were quite pleased with the pictures. Their pleasure encouraged me a great deal, and from that time on I began to paint other things. It was then I started painting the members of my race, anybody I could get 3 to sit— field hands, teachers, children, cooks or washerwomen. I had taken no formal lessons at the time but I kept right on trying to see what I might do.

“I have attempted to show the real negro through art. I believe that unless we have some record of the negro that is neither burlesqued with black face nor idealized with senmentality, the younger generation of negroes will be deprived of inspiration from their own race. …”

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William Arthur Cooper (1895-1974), preacher, lawyer, and artist, painted the portraits of Negro field hands, domestic servants, children, religious and civic leaders and business executives. As a member of the North Carolina Interracial Commission, Cooper made a “good will” tour to colleges and universities in North Carolina where he exhibited his portraits and lectures on art and black culture.

Cooper’s papers, housed at University of North Carolina at Charlotte, include: “Biographical materials; correspondence, concerning portrait commisions, lectures on art, and exhibitions of his work; two account books containing expenditures; receipts; a journal, 1935, containing expenditures and notes concerning his “good will” tour; a report on the tour; Cooper’s publication Educating Through Fine Arts; his book A Portrayal of Negro Life, 1936, which contains reproductions of his portraits acompanied by his explanatory text, and documents related to the book including proposed plans, sales records, and a typescript of the book which contains portraits not included in the published version; price lists for Cooper’s paintings; exhibition catalogs, clippings, miscellany, and a book by Charles C. Dawson, ABCs of Great Negroes; and 36 photographs of Cooper, of his friends and church members, and his portrait paintings.”

The Bathing Girl (1932).