The Requisite Local Coloring”
Painting The Washington Family in London
Bibliographic Data
| ID | 15010366 |
|---|---|
| Authors | Jennifer Germann (0000-0001-5996-8719, corresponding author) |
| Year | 2021 |
| Volume | 35 |
| Issue | 3 |
| Pages | 26-37 |
| Publication date | 2021-09-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | American Art (JOURNAL) |
| Journal identifiers | ISSN: 1073-9300 • E-ISSN: 1549-6503 |
| Publisher | University of Chicago Press (PUBLISHER • US) |
| DOI | 10.1086/717646 |
| OpenAlex | W3216964516 |
| Language | EN |
| References cited | 9 |
This is a three-part perspective on a single work of art: Edward Savage’s The Washington Family (1789–96). Mia L. Bagneris’s essay places this painting alongside other images of George Washington with African diasporic subjects from the eighteenth century to the present to illuminate how the iconic image of the founding father—upheld as a symbol of the values of the nation itself—was and is inextricably bound up in White supremacy and anti-Blackness. Jennifer Van Horn’s analysis is cartographic in focus, situating the painting in relation to geographic debates about slavery and the racialized contest over mobility in light of the relocation of the enslaved person depicted, and in relation to a second version of the image displayed at Henry Clay’s Kentucky plantation. Jennifer Germann uncovers the hidden history of the painting’s London creation to explore Savage’s choice of the enslaved attendant portrait format, and his selection of free Black model John Riley, amidst the uncertainty surrounding the portrayal of Black figures in the 1780s and 1790s. She elucidates how disremembering has obscured John Riley as well as historical Black subjects in American art more broadly
Art · Art history · CONTEST · French horn · Painting · Portrait · Sociology · Historical Art and Culture Studies · History · Philosophy
| Citation velocity | historical |
|---|---|
| Highly cited | No |