MS01.01.03.B02.F10.030

[crossed-out: -21-] 26

Early during the month of June, a speciall notice concerning public acceptance
of THE LOTOS EATERS appears in the Gazette in which the following observation
is made:

"Mr. Duncason's painting.... is attracting the attention of the art connaisseurs and critics
of Cincinnati to a deservedly large extent. None who have yet seen it have failed to bestow
upon it an amount of praise which an artist of much more extended reputation than Mr.
Duncanson might justly feel proud...
Let the art lovers of Gotham View and study the picture now on view at the Opera House,
and they will not hesitate to enroll the name of the author in the annals of artistic fame..." 24

Several writers have brought to our attention the notion that Duncanson all but divorced himself from the social conflicts that came about because of his race. During his lifetime, the whole of the American public was keen ly aware of those class distinctions associated with being born a mulatto. Duncanson's mother was black, his father was from Scotland. While it is true to make the assumption that Duncason's societical position, regarded by many whites as being the plight of "the tragic mulatt," caused him to react rather sensitively to some of the questions that were asked him about the role of a black artist, one must at the same time not that he did appeal to supporters of abolitionist causes such as the Anti-Slavery League for the furtherance of his own career in art while he was yet a young man. Nicholas Longworth gave ardent support to his efforts to travel abroad in 1853 and sent letters of introduction in his behalf to American artist then living in Italy 25

Duncanso's work signalled the beginning of a mature style of expression among Black American artists that was destined to erase some of the myths

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24 The Cincinnati Gazette, June 3, 1861.
25 Driskell, David C., Amistad II: Afro-American Art, New York, American
Missionary Association, p. 40.