MS01.01.03.B01.F25.022

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21

Ferdinand Reichart's painting entitled (SLIDE #43) [u]Philadelphia in
1858[/u] shows black subjects among the city street walkers. (SLIDE #44)
[u]Guitar Player[/u], 1867 is the work of Frank Buscher. Horace Bonham
(SLIDE #45) [u]Nearing the Issue at the Cockpit[/u] was painted in
1870. Several black faces are seen witnessing the sports event. (SLIDE
#46) [u]A Pastoral Visit[/u] was painted by Richard Norris Brooke in
1881 and shows a scene in the home of a common black family. Thomas
Hovenden's composition entitled (SLIDE #47) [u]Their Pride[/u]
provides a contrasting study with Brooke's [u]Pastoral Visit[/u] of
black homes of the period. [deleted: Thomas Pollock Anshutz
(SLIDE #47) [u]Aunt Hannah[/u] again revives the stereotype of
laziness, evading work and] S. Jennings (SLIDE #48) [u]Liberty
Displaying the Arts and Sciences[/u] again revives the stereotype of
the tired mammy in this [deleted: 1888] 1782 composition. [deleted: It] Here it is the headrag, [deleted: the broom and the nodding
woman] and other symbols of servitude that provide us with the
particular frame of reference for the stereotyped image.

The most acceptable as well as the most stereotypic image
of Blacks being produced during the post Civil War period came from
the hand of William Aiken Walker, a native of Charleston,
South Carolina. Walker's first recorded painting was done in 1850
when he was 12 years old. Its subject was said to be a [u]Negro on the
Docks of Charleston[/u]. By far the lesser craftsman among all 19th
century artists whom I have cited, Walker, however, was the most
prolific and produced more images with black subjects than any other
white American artist of the period. He was trained as a photographer
and often painted directly from his shots of black life and genre,
thus the stiff, scarecrow type figues that stand motionless against
the southern landscape so often seen in his work. Views of Blacks in
cotton fields, (Walker series [deleted: 47-62] 48-56 -- Slides 1
through 16)

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