An early indication of Charles White's importance was reflected in his inclusion, in his  mid 20s, in James Porter's pioneering study of the history of African American art, Modern Negro Art, first published in 1943. A measure of the stature of Porter's book can be ascertained by its reprinting, on several occasions. First  in the late 1960s, (published by Arno Press, New York, in conjunction with the New York Times, 1969. It was subsequently republished in the early 1990s, (Moorland-Springarn Series), Howard University Press and most recently, an edition published by Martino Fine Books, in 2020. Porter made several references to White in Modern Negro Art, and recognised the artist's importance by including reproductions of two works by White.

Though Porter's references to White were brief, they were even so, significant.

CHAPTER SEVEN - NEW HORIZONS OF PAINTING. and

CHAPTER TEN - PROGRESS IN THE GRAPHIC ARTS.

"Another draftsman who merits comment is Charles White of Chicago. A master of the crayon, White gives his figures a large, sculptural roundness that seizes and holds the attention until the social message has been understood." (page 165) 

 "Charles White and William Carter paint both landscape and figures very well, though White's preference is for the mural. Both scored tremendously in an exhibition of their work at the Howard University Gallery of Art in 1940."