Black and White in America

John Lewis Krimmel (German-American, 1786-1821), Quilting Frolic, 1813, oil on canvas, 17 x 22 in. “The American Hogarth”

Nathaniel Jocelyn (US [New Haven] 1796-1881), Cinque, 1839, oil on canvas 30 x 25” One of the Africans of the Amistad

Hammatt Billings (US, 1818-74), Uncle Tom and Little Eva, 1852, wood engraving, 3 x 5 in. Illustration for Harriet Beecher Stowe’s novel, Uncle Tom’s Cabin, and coversheet for the song, “Little Eva, Uncle Tom’s Guardian Angel” by John Greenleaf Whittier, 1852

Robert Scott Duncanson (US, 1821-1872), Uncle Tom and Little Eva, 1853, oil on canvas 27x38in

John Rogers (US, 1829-1904), Slave Auction, 1859, plaster, 13” H

Eastman Johnson (US, 1824 – 1906, painter and co-founder of the Metropolitan Museum of Art, New York City), Old Kentucky Home (Negro Life in the South), 1859, oil on canvas, 36 x 45 in. “The American Rembrandt”

Eastman Johnson - Henry Wadsworth Longfellow - Nathaniel Hawthorne - Ralph Waldo Emerson - each Crayon and Chalk on Paper 21 x 19 in. oval - 1846

Eastman Johnson, A Ride for Liberty: The Fugitive Slaves, ca 1862-3, oil on board, 22x26 in

Theodor Kaufmann (German-American, 1814-1896), On to Liberty, 1867, oil on canvas, 36 x 56 in. Kaufmann had fought against the German monarchy in revolution of 1848.

War Photograph and Exhibition Company, A Group of ‘Contrabands’, ca. 1861-5, stereograph. Families of teamsters (mule drivers) at a Union camp. 185,000 African Americans joined the Union Army and over 200,000 more worked in Union camps.

Taylor and Huntington Publishers, Execution of a Colored Soldier, 1864, Stereograph

Winslow Homer (US. 1836-1910), A Bivouac Fire on the Potomac, 1861, wood engraving, 14 x 20 in

Winslow Homer, Our Jolly Cook, 1863, lithograph, 14 x 11 in

Thomas Nast (German-American, 1840-1902), "MARCHING ON!"—THE FIFTY-FIFTH MASSACHUSETTS COLORED REGIMENT SINGING JOHN BROWN'S MARCH IN THE STREETS OF CHARLESTON, FEBRUARY 21, 1865, 1865, drawing for Harper’s Weekly.

Winslow Homer, Prisoners from the Front, 1866, oil on canvas, 24 x 38 in. Does this painting allude to the betrayal of the Post-Civil War era?

Winslow Homer, A Visit from the Old Mistress, 1876, oil on canvas, 18 x 24in. A “confrontation” picture?

Hiram Powers (US, 1805-73, lived in Florence after 1837), The Greek Slave, 1846, marble after original plaster of 1843, 65 ½ inches high.

Over one hundred thousand people paid to see it during its 1847-1848 tour around the United States. It was exhibited at the center of the Great Exhibition of 1851 (Crystal Palace).

EDMONIA LEWIS (African-Chippewa American, Neoclassical Sculptor,

ca.1845-1911) Forever Free, 1867. Marble, 3’ 5 1/4” x 11” x 7”. Howard

University, Washington, D.C.

Celebration of the “Emancipation Proclamation” issued by Lincoln on

January 1, 1863, which declared "that all persons held as slaves" within the

rebellious states "are, and henceforward shall be free.“

The U.S. Civil War lasted from 1861- 1865

Edmonia Lewis, Hagar, Carved marble, 1875, Smithsonian American Art Museum.

Edmonia Lewis, Old Arrow Maker, modeled 1866, carved 1872, marble, 21 1/2 x 13 5/8 x 13 3/8 inches. Inspired by Longfellow’s epic 1855 poem, “The Song of Hiawatha,” Minnehaha (with European features) is shown "plaiting mats of flags and rushes" and her father "making arrowheads of jasper.“

Hiawatha was Chippewa like Edmonia Lewis. // Neoclassicism

“That our tribes might be unitedThat old feuds might be forgottenAnd old wounds be healed forever”

Thomas Eakins (US. 1844-1916), Will Schuster and Black Man [Dave Wright] Going Shooting (Rail Shooting), 1876, oil on canvas, 22 x 30 in. This is the marshes of the Delaware River south of Philadelphia. The clapper rail is about the size of a large quail.

Thomas Eakins , Negro Boy Dancing, 1878, watercolor, 18 x 23 in.

Henry OssawaTanner, The Banjo Lesson, 1893, oil on canvas, 49 x 35 1/2 in., Hampton University Museum, Virginia