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in the art community. Abolitionists were motivated to support artists like
Duncanson because it emphasized the abilities of African Americans to participate in and contribute to mainstream culture. Additionally, abolitionists would often commission works with overtly racial themes in order to further the antislavery cause. Duncanson likely received even more support from abolitionist patrons because he was of mixed race, as reflected in his complexion and facial features, which likely allowed him greater access into the art world than African Americans with darker complexions. There were a number of other African-American artists who shared these advantages due to their light skin, including African-American painter
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480:-- these "advantages" should be understood in terms of white prejudice against Blacks rather than as indicating that people with some white ancestry were inherently superior artists. The North, particularly cities like Cincinnati with substantial black populations and strong abolitionist presences, was a more advantageous place for African-Americans to pursue fine arts professions. Although Duncanson never explicitly addressed race issues in his work, there is debate among historians on whether or not Duncanson subtly referenced, or alluded to racial problems and racism in the United States. For example, Joseph Ketner II argues that in Duncanson's painting
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246:, following the death of Charles. In Monroe, John Dean found considerable success working as a housepainter and a carpenter. This success allowed him to support his family and educate his children. During their childhood, Robert and his four brothers apprenticed in the family trades of house painting and carpentry. While Robert's brothers achieved modest success as housepainters, Robert emerged as the most talented of his siblings in his apprenticeships. In 1838, Robert established a painting business with partner John Gamblin. Robert and his partner frequently advertised their services in local publications, like the
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448:, were influenced by works of British Romantic poets to include mythical themes. This attraction to European poetry and novels was developed through many trips Duncanson took to Europe over a period of 20 years. These trips were funded by Cincinnati-based Abolitionist patrons like Nicholas Longworth and a local Anti-Slavery league. The opportunities provided by these "grand tours" of Europe gave Duncanson the ability to study the works of the Old Masters while exploring the historic landscapes of the European countryside. Two of the works that came out of Duncanson's trips to Europe were
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261:'southern' town on free soilâ. Cincinnati was a fast-growing cityâthe cityâs population grew from 43,000 to 115,000 between 1840 and 1850. In particular, Cincinnati attracted many freed or escape slaves in search of a new community. The city hosted one of the largest African-American communities in the U.S. Upon Duncansonâs arrival, the African-American population of the city was approximately 3,000. Many of these 3,000 African-Americans living in Cincinnati were previously enslaved. By 1870, the city had 5,900 African-American residents, with an overall population of 216,000.
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526:, Duncanson was in a unique position to make statements about racial issues, but he typically did not address these issues explicitly in his work. Although Duncansonâs son urged him to address contemporary racial concerns in his works, Duncanson wrote to his son, âI have no color on the brain; all I have on the brain is paint.â Some art historians, such as Joseph D. Ketner, believe that Duncanson intended to make an indictment of the institution of slavery by depicting this delicate yet profound scene from Stowe's
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415:, copying many of his works dealing with paradise and drawing parallels between the imaginary lands painted and America. Around 1850, Duncanson was given his largest commission of his career by Nicholas Longworth to paint 8 landscape panels in Longworth's Cincinnati estate Belmont.The panels have been called the regarded as "among the most accomplished domestic mural paintings of pre-Civil War America." In 1851, Duncanson's created one more well-known landscape paintings from this time period,
327:. While Duncanson's work was accepted into the show, and was well received, it is likely that Duncanson was not allowed to take art classes at the Academy because of his race. This exhibition served as his public debut to the art world, but none of Duncansonâs family members were permitted to attend the show because of their race. His mother, while unable to attend the show, is reported to have said âI know what they look like ...I know that they are there! Thatâs the important thing.â
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Duncanson to be âone of our most promising painters.â Duncanson's previous training in the trade of house painting served him well in his work on the
Belmont Mansion. Duncanson's work on the murals in the Belmont Mansion greatly increased his popularity in the art community of Cincinnati, particularly among the white abolitionist contingent. The murals were eventually covered by wallpaper, but were rediscovered in 1933 and are now displayed in the
599:, Duncanson exiled himself to Canada and the United Kingdom. In 1863, Duncanson settled in Montreal, where he would work for two years. Duncanson was inspired by the Canadian landscape, as is evident from his works produced then. While in Montreal, Duncanson developed important relationships within the Canadian art scene. He was accepted enthusiastically by the Montreal art community and served as an inspiration for Canadian painters such as
513:. The painting is a copy of an engraving from the novel's illustrations. While Stowe's novel has many violent scenes that address the brutality of slavery, Duncanson chose to paint an innocuous scene from the book. He depicts two characters, a slave named Tom and the young daughter of a slave owner named Eva, set in an idyllic landscape. Tom and Eva are looking up at the skyâto the heavens and Godâat the shore of
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607:(1861). In Europe, his work was well received and the prestigious London Art Journal declared him a master of landscape painting. In the winter of 1866â1867, Duncanson returned to Cincinnati. Inspired by his European travels, he painted many scenes of the Scottish landscape. Duncanson's time in Canada and the United Kingdom allowed him to gain even greater recognition in the international art scene.
335:.â Duncanson was believed to have been the artistic mind behind the composition of the images while Coates took care of the technical side. Although Duncanson was making progress as an artist personally and publicly, the lack of commissions for his work pushed him to move around and work as an itinerant portrait painter beginning in 1845, spending the majority of his time in Detroit.
235:. In response, Charles, his son John Dean, and his wife Lucy Nickles, like many free African Americans, moved north. The Duncanson family settled in Fayette, New York, where Robert Seldon was born. Charles' knowledge of carpentry and house painting was passed down to his son, John Dean, and his grandchildren. This knowledge would later allow Robert Seldon Duncanson to develop as an
603:. The Canadians thought of Duncanson as one of âthe earliest of our professional cultivators of the fine arts.â Duncanson had a tremendous influence on 19th century Canadian art; he inspired the creation of the first Canadian school of landscape painting. In 1865, he left Canada for the United Kingdom, particularly England and Scotland, to tour one of his most well-known works,
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257:, a town north of Cincinnati later known as Mount Healthy, to begin his career in fine arts. Duncanson lived in Mt. Healthy with the Reuben Graham family who were also descendants of Virginian slaves. The community of Mt. Healthy, like Cincinnati, had a substantial free black population. In the nineteenth century, Cincinnati was considered a
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asserts that
Duncanson's artworks are representations of his cultural and racial identity. Vendryes argues that Duncanson did not explicitly represent contemporary racial issues in his work, and warns viewers from interpreting Duncanson and his art solely through the lens of his race, as it may limit the viewer's understanding of his work.
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editor, recognized
Duncanson's rise to prominence in the abolitionist art community and commissioned the work. Many abolitionists would commission works that explicitly portrayed the contemporary racial issues. While some art historians believe that Duncanson's works contained metaphors pertaining to issues of race,
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praised
Duncanson for his skill and color usage, adding, âMr. Duncanson deserves, and we trust will receive the patronage of all lovers of the fine arts.â Portrait commissions in Detroit were forthcoming. Duncanson received his most substantial portrait commission by the Berthelet family, a prominent
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Robert Seldon
Duncanson was one of few African American landscape painters of the nineteenth century, and he achieved levels of success unknown to his contemporaries. By the 1860s, Duncanson was proclaimed to be the "greatest landscape painter in the West" by the American Press and London newspapers
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Duncanson's success as an artist is partially attributed to the many abolitionist patrons who supported him. Abolitionist patrons provided him with ample commissions, acquired his paintings, financed his travel to various locations nationally and abroad, and introduced him to other prominent people
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artists and aspired to paint the
American landscape. Together, the three artists set out on a series of sketching trips around the country to provide them with the necessary material and inspiration to bring back to their Cincinnati studios. After finishing the sketching tours, Duncanson focused on
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Duncanson was largely forgotten from
American art history until his work was rediscovered in the 1950s and 1960s. However, art historians maintained a false narrative about Duncanson for several decades. Beginning in the 1990s, art historians like Ketner made an effort to research Duncanson's life
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Duncanson was primarily attracted to
Cincinnati for its strong arts community. In the 19th century, Cincinnati was referred to as "the Athens of the West". It was also referred to as the "emporium of the West" by its free black population who had much greater access to opportunities of advancement
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The primary art historical controversy surrounding
Duncanson is whether or not he represented racial issues in his art. Some art historians, like Ketner, theorize that there are veiled racial meanings in his paintings, while others, like Vendryes, consider his landscapes to be ârace-free." Ketner
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for the entry of the Belmont Mansion, each nine feet high and six and a half feet wide, that depicted landscapes of the American West. Although the scale of the job was large, and Duncanson was still relatively new to the profession, Longworth selected him to decorate his home because he thought
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in Louisiana. The scene is a critical moment in Beecher's novel related to the theme of salvation from slavery through spiritual love and sacrifice. In the 1850s, Duncanson gained popularity amongst abolitionist patrons. Reverend James Francis Conover, an outspoken abolitionist minister and news
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and was convinced that he was possessed by a master painter. While Duncanson continued to create artwork, his behavior and declining physical health was alarming to his patrons. In 1872, Duncanson suffered a seizure while setting up an exhibition in Detroit, which eventually led to his death.
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and the opportunity to learn a skilled trade, because he was likely the illegitimate son of his owner. After becoming emancipated, Charles and his son John Dean lived as freemen in Virginia. However, at the end of the eighteenth century, white opposition toward free black men grew in the
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tradition, and is credited with developing the regional Ohio River Valley art form. Art historian Joseph D. Ketner claims that Duncanson's greatest contribution to art was "his distinctively picturesque-pastoral vision of landscape painting with allusions to popular romantic literature."
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used nature to convey ideas about America and its ideals. Duncanson was intrigued by landscape painting. As he moved away from portrait work, Duncanson became intrigued by travel prints, particularly the exploration journals of John Stevens and Frederick Catherwood,
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Taking a short break from portrait work, Duncanson collaborated with another artist, photographer Coates. Together, on March 19, 1844, Coates and Duncanson advertised a spectacle of "Chemical Paintings...comprising four splendid views after the singular style of
419:. In 1853, Duncanson embarked on the traditional "grand tour" of Europe, completed by many contemporary artists, which exposed him to the art world and provided inspiration for many of his future landscape works. In 1859, Duncanson finished his painting
222:â 1854). Often, it is cited that Robert's father was Scot-Canadian; however, there is no evidence to support this claim, and it is unclear when or where the original source of the claim began. All evidence points to Robert Seldon being the descendant of
484:(1852) "paradise with its palm trees might also be the promised land of slave songs." David Lubin also believed that Duncanson's paintings "may have contained hidden allegories on racial themes whose meanings were available only to certain audiences."
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from nature, and painting portraits. In the 1840s, Duncanson worked primarily as an itinerant portrait painter, like many African-American artists at the time, traveling among Cincinnati, Detroit, and Monroe, Michigan. His first datable work is from
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artist to be internationally known. He operated in the cultural circles of Cincinnati, Detroit, Montreal, and London. The primary art historical debate centered on Duncanson concerns the role that contemporary racial issues played in his work. Some
372:. The prints in these books prompted Duncanson to experiment with depicting exotic places and forgotten civilizations in his work. Back in Cincinnati and full of new inspiration, he received a commission from Charles Avery, an
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says that Duncansonâs success is a âvictory over societyâs presumptions of what African-American artist should create.â Duncanson became nationally and internationally known for his landscape paintings modeled after the
436:. This painting was Duncanson's most widely acclaimed work. Moreover, Duncanson intended for the work to receive this tremendous acclaim. He planned to exhibit the work on a European tour before he began painting it.
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to be the "pinnacle of aesthetic and technical accomplishments." The work shows Duncanson's use of the conventions of Hudson River School artists, as well as his own romantic vision for landscape painting.
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tradition. He was first exposed to the tradition of genre painting through the work of fellow Cincinnati artist James H. Beard. Duncanson returned to Cincinnati in 1846, aspiring to expand his repertoire.
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546:, one of the city's wealthiest citizens. In 1851, Longworth commissioned Duncanson to paint murals on the walls of his home, which was called the Belmont Mansion. Duncanson created eight
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the work Duncanson created for Averyâbolster his career as a landscape painter, it also established him within a network of abolitionist patrons who sustained most of his career.
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from Virginia. John Dean's father, Charles Duncanson, was a former slave from Virginia who was freed from bondage by his owner. Charles received special privileges, including his
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is his only painting that explicitly addresses the racial issues of antebellum America by portraying an abolitionist story. As a free black artist active prior to the
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This work is similar to the style of many contemporary painters, demonstrating Duncanson's experience learning by copying others' works. In 1842, Duncanson had three
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there than in other parts of antebellum America. During the 19th century, Cincinnati and the American west became well known for its landscape artists, including
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which, when exhibited, was "hailed as 'one of the most beautiful pictures painted on this side of the mountains.â" This painting was prominently shown during
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411:, Duncanson strived to transform his topographical works into romantic landscapes with literary allusions In order to accomplish this, he turned to
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2193:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Duncanson (see index)
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Ketner II, Joseph D. ââStruggles May and Greatâ: James P. Ball, Robert Duncanson, and Other Artists of Color in Antebellum Cincinnati.â
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in Cincinnati, Ohio has maintained an artist-in-residence program for contemporary African-American artists in honor of Duncanson.
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Vendryes, Margaret Rose (2001). "Race Identity/Identifying Race: Robert S. Duncanson and Nineteenth-Century American Painting".
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Vendryes, Margaret (2001). "Race Identity/Identifying Race: Robert S. Duncanson and Nineteenth-Century American Painting".
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While in Detroit, Duncanson worked primarily as a portrait painter and was well received by the local press. In 1846, the
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503:. This work demonstrates Duncanson's growth in his early years of landscape painting. The painting depicts a scene from
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390:(1848) for Charles Avery, Duncanson pursued landscape painting in earnest. Along with two other Cincinnati artists,
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Mercer, Valerie J.; Buick, Kirsten Pai (2012). "African American Artists Gain Access to the Fine Art Professions".
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Duncanson's success in the Cincinnati art community brought him many substantial commissions, such as that of
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Farrington, Lisa E. (2012). "Black or White?: Racial Identity in Nineteenth-Century African-American Art".
534:(1853) demonstrates Duncanson's desire to satisfy abolitionist patrons, and not necessarily his own views.
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188:, like Joseph D. Ketner, believe that Duncanson used racial metaphors in his artwork, while others, like
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community in America and England to support and promote his work. Duncanson is considered the first
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artist. Duncanson spent the majority of his career in Cincinnati, Ohio and helped develop the
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in the early 1850s. With his ambitions cast on landscape work, operating on the style of the
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Katz, Wendy J. "Robert S. Duncanson, Race, and Auguste Comteâs Positivism in Cincinnati."
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Africana: The Encyclopedia of the African and African American Experience, Second Edition
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Africana: The Encyclopedia of the African and African-American Experience, Second Edition
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Mammoth Pictorial Tour of the United States Comprising Views of the African Slave Trade
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of European and African ancestry. Inspired by famous American landscape artists like
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986:, 1867 (National Museum of American Art, Smithsonian Institution, Washington, D.C.)
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429:'s inauguration on January 20, 2021 when he and his wife entered the U.S. Capitol.
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1889:"Commentary: The symbolism in the Biden inaugural painting by Robert S. Duncanson"
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To Conserve a Legacy - American Art from History, Black Colleges and Universities,
674:, caused Duncanson to act unpredictably and erratically. He developed a belief in
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held him in equal regard to other British artists at the time. Richard Powell of
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Powell, Richard J. "Seeing and Thinking About the unexpected in American Art."
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Duncanson died on December 21, 1872; he was 51 years old. He was buried at the
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The Emergence of the African-American Artist: Robert S. Duncanson, 1821â1872.
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192:, discourage viewers from approaching his art with a racialized perspective.
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204:, in about 1821. Duncanson was one of the five sons of John Dean Duncanson (
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Then and Now: Selection of 19-20th Century Art by African American Artists,
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Mendelsohn, Jim (2008). Appiah, Kwame Anthony (ed.). "Cincinnati, Ohio".
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1959:"Beyond the Hudson: The Singular Achievements of Robert Scott Duncanson"
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Regionalism and Reform: Art and Class Formation in Antebellum Cincinnati
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Throughout his career, Duncanson's works had always tended toward the
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Robert Seldon Duncanson had no formal art education, and thus had to
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Ketner II, Joseph D., and Wendy Jean Katz. "Duncanson, Robert S."
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which toured across the country. The work displayed images of the
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New York Historical Society Museum and Library: Behind the Scenes
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Beginning in 1854, Duncanson worked in the photography studio of
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Detroit family. However, Duncanson became more interested in the
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Lifting the Veil: The Emergence of the African American Artist.
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A History of African-American Artists: From 1792 to the Present
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This painting was inspired by a selection from Scottish writer
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Pringle, Allan. "Robert S. Duncanson in Montreal, 1863â1865."
571:. In 1855, Duncanson and Presley Ball created an anti-slavery
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In 1840, nineteen-year-old Duncanson left Monroe and moved to
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1659:"America's Forgotten Landscape Painter: Robert S. Duncanson"
890:, 1861 (Collection of His Royal Majesty, the King of Sweden)
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was an important genre from the 1830s to the 1900s. Artist
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1754:. Columbus: The Ohio State University Press. p. 90.
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and work to develop an accurate portrayal of the artist.
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European Travels and Romantic Literary Landscape Painting
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American Paradise: The World of the Hudson River School
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1992: National Museum of American Art, Washington, D.C.
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National Museum of African American History and Culture
781:, 1848 (F. Ward Paine, Jr., Portola Valley, California)
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Thirteenth Amendment to the United States Constitution
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840:(after Cole), 1852 (Private Collection, New York City)
846:, 1853 (Detroit Institute of Arts, Detroit, Michigan)
775:, 1846 (Detroit Institute of Arts, Detroit, Michigan)
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Slavery in the colonial history of the United States
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53, no. 1 (2014): 79-115. doi:10.1353/ams.2014.0052.
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Slavery among Native Americans in the United States
1797:– via Oxford African American Studies Center.
1734:– via Oxford African American Studies Center.
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898:National Afro-American Museum and Cultural Center
822:View of Cincinnati, Ohio From Covington, Kentucky
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323:âaccepted to the second exhibition hosted by the
155:â December 21, 1872) was a 19th-century American
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739:, 1843 (Douglass Settlement House, Toledo, Ohio)
432:In 1861, Duncanson created his "greatest work":
3282:Burials at Woodland Cemetery (Monroe, Michigan)
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398:, Duncanson became inspired by the work of the
242:In 1828, the family moved to the âboomtownâ of
1555:Columbia: University of Missouri Press, 1993.
1415:, Washington University in St. Louis, Missouri
1374:, Museum of Contemporary Art, Brunswick, Maine
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1679:. Public Broadcasting Service. Archived from
1435:2009: Cincinnati Art Museum, Cincinnati, Ohio
1377:1972: Cincinnati Art Museum, Cincinnati, Ohio
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1432:Detroit Institute of Arts, Detroit, Michigan
1325:1871: Western Art Gallery, Detroit, Michigan
1303:Annual Exhibition of Paintings and Statuary,
1296:Annual Exhibition of Paintings and Statuary,
759:, Smithsonian Institution, Washington, D.C.)
749:, Smithsonian Institution, Washington, D.C.)
591:Self-imposed exile and international acclaim
171:landscape tradition. As a free black man in
2806:A Storm in the Rocky Mountains, Mt. Rosalie
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1782:. New York: Pantheon Books. pp. 19â20.
1217:Blue Hole, Flood Waters, Miami River (1851)
812:Blue Hole, Flood Waters, Little Miami River
645:. Art historian Joseph D. Ketner considers
559:Work with daguerrotypist James Presley Ball
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1778:Bearden, Romare; Henderson, Harry (1993).
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2035:Bulletin of the Detroit Institute of Arts
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1887:Knight, Christopher (January 20, 2021).
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1924:Art Institute of Chicago Museum Studies
1677:"Pre-Civil War: Robert Scott Duncanson"
1624:Art Institute of Chicago Museum Studies
1451:List of African-American visual artists
1283:, 1867, Smithsonian American Art Museum
1248:Mountain Landscape with Cows and Sheep,
974:Mountain Landscape with Cows and Sheep,
948:Musée national des beaux-arts du Québec
938:Musée national des beaux-arts du Québec
444:Many of Duncanson's paintings, such as
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1696:"Condemning Slavery With a Paintbrush"
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305:The Portrait of a Mother and Daughter.
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2197:Ohio Collection, Dayton Museum of Art
2102:
2100:
2098:
2028:
2026:
2024:
2022:
1978:
1976:
1974:
1972:
1917:
1915:
1913:
1911:
1909:
1869:
1867:
1773:
1771:
1745:
1743:
1741:
1656:
1488:
1268:1870, Smithsonian American Art Museum
351:
2155:"Past Duncanson Artist-in-Residence"
1749:
1722:
1720:
1718:
1716:
1693:
1586:
1584:
1582:
1580:
1578:
1576:
1574:
1572:
1570:
1568:
538:Nicholas Longworth's Belmont Mansion
499:, painted in 1853, is housed at the
417:Blue Hole, Flood Waters, Miami River
200:Robert Seldon Duncanson was born in
3105:Kentucky raid in Cass County (1847)
2184:Paintings by Robert Scott Duncanson
1985:Source: Notes in the History of Art
1657:Moore, Lucinda (October 18, 2011).
1612:178, no. 6 (November 2011): 108â15.
1462:
1446:List of Hudson River School artists
1365:La Jolla Museum of Contemporary Art
1305:Western Art Union, Cincinnati, Ohio
1298:Western Art Union, Cincinnati, Ohio
970:, Durham, North Carolina, purchase)
964:Cottage Opposite Pass at Ben Lomond
24:
3322:19th-century American male artists
2799:The Rocky Mountains, Lander's Peak
2721:Thomas Cole National Historic Site
2095:
2019:
1969:
1906:
1864:
1768:
1738:
1598:. Oxford: Oxford University Press.
1234:Amon Carter Museum of American Art
1170:Land of the Lotus Eaters Landscape
994:Amon Carter Museum of American Art
854:California African American Museum
729:1841 (Fulton County Arts Council,
727:Portrait of a Mother and Daughter,
370:Incidents of Travel in the Yucatan
25:
3333:
2172:
1810:St. Louis: Sayers Printing, 1995.
1713:
1565:
1328:1943: Balmoral Castle, Scotland,
968:North Carolina Central University
587:, and American landscape scenes.
2177:
1474:Getty Union List of Artist Names
1389:Los Angeles County Museum of Art
1360:Gallery of Art, Washington, D.C.
1273:
1258:
1240:
1222:
1210:
1195:
1180:
1162:
1147:
1132:
1117:
1102:
1082:
1068:
1054:
1032:
1017:
379:minister, in 1848. Not only did
3312:People from Mount Healthy, Ohio
2147:
2138:
2125:Smithsonian American Art Museum
2113:
2082:
2069:
1957:Lynford, Sophie (May 3, 2017).
1950:
1855:
1827:
1801:
1786:
1403:National Museum of American Art
1096:Smithsonian American Art Museum
980:, Newark, New Jersey, purchase)
874:Princeton University Art Museum
757:National Museum of American Art
747:National Museum of American Art
325:Cincinnati Academy of Fine Arts
175:America, Duncanson engaged the
3287:19th-century American painters
2856:History of slavery in Michigan
1694:Kahn, Eve M. (July 15, 2011).
1687:
1669:
1650:
1615:
1602:
1413:Mildred Lane Kemper Art Museum
1288:
1175:1861) Swedish Royal Collection
653:
13:
1:
3307:People from Fayette, New York
3251:Michigan Anti-Slavery Society
1110:On the St. Annes, East Canada
1043:
798:
670:. The dementia, and possibly
216:
205:
195:
149:
61:
3302:Hudson River School painters
3037:Personal Liberty Act of 1855
2630:Newington-Cropsey Foundation
914:Silver River, North Carolina
721:Abbreviated list of artworks
605:The Land of the Lotus Eaters
569:coloring photographic prints
454:Italian Landscape with Ruins
7:
3138:Elizabeth Margaret Chandler
2620:New-York Historical Society
1861:Public Broadcasting System.
1439:
1382:Museum of Fine Arts, Boston
1320:Art Association of Montreal
1310:Art Association of Montreal
1004:Museum of Fine Arts, Boston
930:, Toronto, Ontario, Canada)
920:, Columbia, South Carolina)
282:Itinerant portrait painting
10:
3338:
3063:Fugitive Slave Act of 1850
3053:Fugitive Slave Act of 1793
2813:Twilight in the Wilderness
2605:Metropolitan Museum of Art
1877:2003; Accessed 1 Nov. 2020
1727:Ketner, Joseph D. (2008).
1470:"Duncanson, Robert Seldon"
1351:Indianapolis Museum of Art
1203:Ellen's Isle, Loch Katrine
1010:
918:The Columbia Museum of Art
856:, Los Angeles, California)
647:Ellen's Isle, Loch Katrine
623:Ellen's Isle, Loch Katrine
615:Ellen's Isle, Loch Katrine
381:Cliff Mine, Lake Superiorâ
3317:African-American painters
3243:
3118:
3110:Detroit race riot of 1863
3085:
3068:Emancipation Proclamation
3045:
3004:
2997:
2971:
2926:
2885:
2862:
2734:
2648:
2597:
2549:William Louis Sonntag Sr.
2449:Ransome Gillett Holdridge
2429:William Stanley Haseltine
2339:Johann Hermann Carmiencke
2279:
2249:
1997:10.1086/sou.31.3.23208589
1750:Katz, Wendy Jean (2002).
1476:. The J. Paul Getty Trust
1396:Detroit Institute of Arts
1125:Waterfall on Mont-Morency
779:Cliff Mine, Lake Superior
767:Detroit Institute of Arts
686:
501:Detroit Institute of Arts
392:T. Worthington Whittredge
388:Cliff Mine, Lake Superior
363:and other members of the
276:
273:, and Duncanson himself.
271:T. Worthington Whittredge
131:
116:
106:
96:
91:, Michigan, United States
77:
53:
41:
34:
3297:Painters from Cincinnati
3210:Catharine A. F. Stebbins
3032:Constitution of Michigan
3012:Raudot Ordinance of 1709
2635:Tuscaloosa Museum of Art
2539:Thomas Prichard Rossiter
2399:Sanford Robinson Gifford
1833:"Lifting the Veil" 1995.
1456:
1040:Portrait of Freeman Cary
1006:, Boston, Massachusetts)
958:Birmingham Museum of Art
860:Robbing the Eagle's Nest
844:Uncle Tom and Little Eva
773:At the Foot of the Cross
532:Uncle Tom and Little Eva
520:Uncle Tom and Little Eva
497:Uncle Tom and Little Eva
489:Uncle Tom and Little Eva
464:Land of the Lotus Eaters
446:Land of the Lotus Eaters
434:Land of the Lotus Eaters
340:Detroit Daily Advertiser
269:, Godfrey Frankenstein,
239:and later as an artist.
3150:Elizabeth Rous Comstock
2743:Among the Sierra Nevada
2656:Catskill Mountain House
2615:National Gallery of Art
2329:Alfred Thompson Bricher
1423:Studio Museum in Harlem
1384:, Boston, Massachusetts
966:, 1866 (Museum of Art,
908:Cleveland Museum of Art
146:Robert Seldon Duncanson
58:Robert Seldon Duncanson
3292:American male painters
2764:The Heart of the Andes
2589:Alexander Helwig Wyant
2584:Worthington Whittredge
2569:Mary Josephine Walters
2544:Francis Augustus Silva
2529:William Trost Richards
2464:John Frederick Kensett
2439:Hermann Ottomar Herzog
2404:Régis François Gignoux
2364:Jasper Francis Cropsey
2324:James Renwick Brevoort
2207:Long Island University
1729:"Duncanson, Robert S."
1367:, La Jolla, California
1091:Landscape with Rainbow
960:, Birmingham, Alabama)
928:Art Gallery of Ontario
881:Landscape with Rainbow
743:Roses Fancy Still Life
618:
595:With the onset of the
507:'s anti-slavery novel
471:Abolitionist patronage
467:
422:Landscape with Rainbow
211:â 1851), a free black
190:Margaret Rose Vendryes
124:Landscape with Rainbow
48:Portrait of Duncanson.
18:Robert Scott Duncanson
3180:Daniel McBride Graham
2711:Rip Van Winkle Bridge
2686:Kaaterskill High Peak
2554:James Augustus Suydam
2504:Charles Herbert Moore
2409:Eliza Pratt Greatorex
2349:Frederic Edwin Church
2344:John William Casilear
2186:at Wikimedia Commons
2121:"Robert S. Duncanson"
1353:Indianapolis, Indiana
1344:Cincinnati Art Museum
816:Cincinnati Art Museum
683:in Monroe, Michigan.
613:
505:Harriet Beecher Stowe
462:
396:William Louis Sonntag
317:Infant Savior, a copy
267:William Louis Sonntag
3186:Laura Smith Haviland
2963:Augustus B. Woodward
2757:The Course of Empire
2519:William Sidney Mount
2469:Robert G. L. Leonori
2434:Martin Johnson Heade
2414:Daniel Charles Grose
2314:Albert Fitch Bellows
2257:Age of Enlightenment
2157:. Taft Museum of Art
2108:American Art Journal
1663:Smithsonian Magazine
1596:African-American Art
1330:Museum of Modern Art
1188:Vesuvius and Pompeii
1076:Landscape with Sheep
1062:Untitled (Landscape)
1025:Vulture and Its Prey
900:, Wilberforce, Ohio)
888:Land of Lotus Eaters
870:Untitled (Landscape)
850:Italianate Landscape
830:(after Cole), 1852 (
789:Dayton Art Institute
785:Mayan Ruins, Yucatan
769:, Detroit, Michigan)
737:Trial of Shakespeare
635:The Lady of the Lake
601:Otto Reinhold Jacobi
255:Mount Pleasant, Ohio
215:, and Lucy Nickles (
3162:Robert S. Duncanson
3022:Northwest Ordinance
2979:Straits of Mackinac
2872:History of Michigan
2716:Storm King Mountain
2419:James McDougal Hart
2384:Robert S. Duncanson
2369:William Moore Davis
2334:William Mason Brown
2299:John Dodgson Barrow
2294:William Bliss Baker
2243:Hudson River School
2047:10.1086/DIA43492323
1398:, Detroit, Michigan
1000:Dog's Head Scotland
984:Loch Long, Scotland
834:, Atlanta, Georgia)
818:, Cincinnati, Ohio)
808:, Cincinnati, Ohio)
733:, Atlanta, Georgia)
699:Hudson River School
583:, sugar and cotton
581:African slave trade
495:Robert Duncansonâs
409:Hudson River School
400:Hudson River School
365:Hudson River School
298:of European works,
165:Hudson River School
136:Hudson River School
36:Robert S. Duncanson
3144:Zachariah Chandler
2905:Thornton Blackburn
2610:Wadsworth Atheneum
2579:Robert Walter Weir
2534:Ferdinand Richardt
2524:Harriet Cany Peale
2479:Homer Dodge Martin
2474:Edmund Darch Lewis
2389:Asher Brown Durand
2374:Lockwood de Forest
1683:on March 19, 2015.
1551:Ketner, Joseph D.
1405:, Washington, D.C.
1346:, Cincinnati, Ohio
1339:, Denver, Colorado
1317:Dublin Exhibition,
1312:, Montreal, Canada
944:Lake Saint-Charles
910:, Cleveland, Ohio)
832:High Museum of Art
828:The Garden of Eden
795:The Belmont Murals
715:Taft Museum of Art
643:Frederick Douglass
619:
573:panoramic painting
565:James Presley Ball
553:Taft Museum of Art
544:Nicholas Longworth
515:Lake Pontchartrain
468:
357:Landscape painting
352:Landscape painting
111:Landscape painting
3259:
3258:
3174:Charles T. Gorham
3156:George DeBaptiste
3099:Crosswhite Affair
3081:
3080:
2972:Primary locations
2822:
2821:
2681:Kaaterskill Falls
2676:Kaaterskill Clove
2666:Croton Point Park
2499:Louis RĂ©my Mignot
2494:Mary Blood Mellen
2182:Media related to
2110:17, no. 4 (1985).
2092:14, no. 1 (1999).
1893:Los Angeles Times
1875:Grove Art Online.
1850:Lifting the Veil,
1610:Magazine Antiques
1358:Howard University
1337:Denver Art Museum
950:, Québec, Canada)
940:, Québec, Canada)
763:Drunkard's Plight
753:Mt. Healthy, Ohio
681:Woodland Cemetery
528:Uncle Tom's Cabin
510:Uncle Tomâs Cabin
450:Italian Landscape
405:Ohio River Valley
386:After completing
202:Fayette, New York
169:Ohio River Valley
143:
142:
139:Ohio River Valley
85:(aged 50â51)
81:December 21, 1872
70:Fayette, New York
16:(Redirected from
3329:
3244:Related articles
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3002:
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2696:NorthâSouth Lake
2564:William Guy Wall
2394:Hermann Fuechsel
2319:Albert Bierstadt
2309:Julie Hart Beers
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838:Dream of Arcadia
803:
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666:, possibly from
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2899:Lucie Blackburn
2886:Enslaved people
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2951:William Macomb
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2514:Evelina Mount
2512:
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2497:
2495:
2492:
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2485:
2484:George McCord
2482:
2480:
2477:
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2462:
2460:
2459:David Johnson
2457:
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2454:George Inness
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2289:Charles Baker
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2144:Powell, 1999.
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2041:(1/4): 8â17.
2040:
2036:
2029:
2027:
2025:
2023:
2014:
2010:
2006:
2002:
1998:
1994:
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1986:
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1937:
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1930:(1): 82â104.
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672:schizophrenia
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328:
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288:teach himself
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101:Self-teaching
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71:
56:
52:
45:
40:
33:
30:
19:
3272:1820s births
3228:Uriah Upjohn
3161:
3046:Federal laws
2940:Elijah Brush
2927:Slave owners
2811:
2804:
2797:
2790:
2783:
2776:
2771:The Icebergs
2769:
2762:
2755:
2748:
2741:
2706:Platte Clove
2559:Jesse Talbot
2509:Thomas Moran
2424:William Hart
2383:
2267:Victorianism
2176:
2159:. Retrieved
2149:
2140:
2128:. Retrieved
2124:
2115:
2107:
2089:
2084:
2076:
2071:
2038:
2034:
1988:
1984:
1962:
1952:
1927:
1923:
1898:February 14,
1896:. Retrieved
1892:
1882:
1874:
1857:
1849:
1829:
1807:
1803:
1794:
1788:
1779:
1751:
1731:
1703:. Retrieved
1699:
1689:
1681:the original
1671:
1662:
1652:
1627:
1623:
1617:
1609:
1604:
1595:
1552:
1478:. Retrieved
1473:
1464:
1429:
1419:
1316:
1302:
1295:
1280:
1265:
1247:
1229:
1202:
1187:
1172:
1169:
1154:
1140:Mount Oxford
1139:
1124:
1109:
1089:
1075:
1061:
1039:
1024:
999:
989:
983:
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963:
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794:
784:
778:
772:
762:
752:
742:
736:
726:
712:
708:
704:
693:
690:
676:spiritualism
657:
646:
634:
628:
622:
614:
604:
594:
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562:
541:
531:
527:
519:
508:
496:
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488:
481:
474:
463:
453:
449:
445:
443:
433:
431:
420:
416:
387:
385:
380:
374:abolitionist
369:
355:
339:
337:
329:
320:
316:
312:
304:
285:
263:
252:
247:
241:
228:emancipation
224:freed slaves
199:
177:abolitionist
145:
144:
123:
118:Notable work
83:(1872-12-21)
29:
3277:1872 deaths
3236:(1799â1878)
3230:(1808-1896)
3224:(died 1883)
3218:(1816-1894)
3212:(1823-1904)
3206:(1797â1866)
3200:(1817â1890)
3194:(1800â1889)
3188:(1808â1898)
3182:(1817â1888)
3176:(1812â1901)
3170:(1811â1891)
3164:(1821â1872)
3152:(1815-1891)
3146:(1813â1879)
3140:(1807â1834)
3134:(1815â1854)
3128:(1803â1847)
3126:Guy Beckley
2959:(1782â1854)
2942:(1773â1813)
2936:(1739â1815)
2919:(died 1777)
2907:(1812â1890)
2901:(1803-1895)
2895:(fl. 1760s)
2691:Lake Mohonk
2444:Thomas Hill
2354:Thomas Cole
2262:Romanticism
2130:November 8,
1991:(3): 5â12.
1705:January 18,
1289:Exhibitions
1047: 1856
806:Taft Museum
802: 1850
654:Final years
585:plantations
413:Thomas Cole
361:Thomas Cole
290:by copying
233:Upper South
220: 1782
209: 1777
161:Thomas Cole
157:landscapist
153: 1821
65: 1821
3266:Categories
3132:Henry Bibb
3027:Jay Treaty
3005:State laws
2934:John Askin
2574:Paul Weber
296:engravings
294:, copying
196:Early life
173:antebellum
3017:Code Noir
2917:Ann Wyley
2792:The Oxbow
2726:Hyde Park
2671:Ever Rest
2649:Locations
2250:Movements
2063:192732867
2013:192926728
1322:, Ireland
1281:Loch Long
1230:The Caves
1112:(1863â65)
990:The Caves
597:Civil War
524:Civil War
427:Joe Biden
377:Methodist
309:portraits
300:sketching
213:tradesman
97:Education
2161:June 12,
2055:43492323
2005:23208589
1594:(1998).
1480:March 1,
1440:See also
1250:(1866),
1232:(1869),
1094:(1859),
1002:, 1870 (
992:, 1869 (
956:, 1865 (
946:, 1864 (
936:, 1864 (
926:, 1864 (
924:Seascape
916:, 1863 (
906:, 1863 (
896:, 1862 (
862:, 1856 (
852:, 1855 (
814:, 1851 (
787:, 1848 (
765:, 1845 (
755:, 1844 (
745:, 1843 (
664:dementia
660:pastoral
333:Daguerre
132:Movement
3101:of 1847
3095:of 1833
2989:Detroit
2893:Monette
2785:Niagara
2598:Museums
2281:Artists
2271:Realism
1944:4102840
1644:4102840
1011:Gallery
804:â1852 (
575:titled
237:artisan
89:Detroit
3086:Events
2061:
2053:
2011:
2003:
1942:
1758:
1642:
1559:
1428:2003:
1418:1999:
1411:1996:
1401:1983:
1394:1979:
1387:1976:
1380:1972:
1370:1971:
1363:1970:
1356:1967:
1349:1961:
1342:1955:
1335:1953:
1315:1865:
1308:1864:
1301:1843:
1294:1842:
1205:(1871)
1190:(1870)
1157:(1865)
1142:(1864)
1127:(1864)
1027:(1844)
976:1866 (
687:Legacy
625:, 1871
617:, 1871
548:murals
491:, 1853
466:, 1861
319:, and
292:prints
277:Career
127:(1859)
2735:Works
2701:Olana
2059:S2CID
2051:JSTOR
2009:S2CID
2001:JSTOR
1940:JSTOR
1640:JSTOR
1457:Notes
894:Faith
321:Miser
303:1841â
2998:Laws
2163:2018
2132:2020
1900:2021
1852:1995
1756:ISBN
1707:2018
1557:ISBN
1482:2017
641:and
452:and
403:the
394:and
78:Died
54:Born
2043:doi
1993:doi
1932:doi
1632:doi
3268::
2269:/
2123:.
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2057:.
2049:.
2039:86
2037:.
2021:^
2007:.
1999:.
1989:31
1987:.
1971:^
1961:.
1938:.
1928:27
1926:.
1908:^
1891:.
1866:^
1838:^
1815:^
1770:^
1740:^
1715:^
1698:.
1661:.
1638:.
1628:27
1626:.
1567:^
1490:^
1472:.
1044:c.
799:c.
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456:.
315:,
217:c.
206:c.
150:c.
62:c.
2848:e
2841:t
2834:v
2235:e
2228:t
2221:v
2165:.
2134:.
2065:.
2045::
2015:.
1995::
1965:.
1946:.
1934::
1902:.
1764:.
1709:.
1665:.
1646:.
1634::
1484:.
1173:(
1049:)
1042:(
996:)
876:)
866:)
311:â
259:"
148:(
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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