By Harry Henderson, Romare Bearden
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Additional info for A History of African-American Artists: From 1792 to the Present
Al- together, these 3,000 black people constituted in older eastern cities. who had actor him to join an improvisation that was the in the largest concentrations of free African-Americans in on the American stage America. '* had their own churches, schools, stores, hotels, and places of entertainment. Their leaders Robert J. I. Harlan, Peter H. Clark, and others widely respected. "^ And from Kentucky In Cincinnati Gaines, who crossed the — were Ohio River hunters came to Cin- ple buy ammunition, guns, and camping gear.
Reported on February ''' 2, The Carolina, and then Dr. James Oliver, became an in Charleston, He helped abolitionist. organize the 1852 Cincinnati Antislavery Convention, which Frederick Douglass took a leading role. Duncanson also painted a portrait of James G. Birney, a southerner who had freed his slaves and become at an abolitionist in Cincinnati. He did this portrait in 1846 after Birney ran for president on the Liberty Party platform, urging the abolition of slavery; Detroit Daily Advertiser 1846; That same year Duncanson it has since made been lost.
Entitled Shake- it this cither in abolitionist records, diaries. correspondence, or Academy of Art tish was of inquiry to the Royal Scot- visits in Edinburgh Duncanson although he benefited from largely self-taught, 1853 and in Edinburgh in may have prompted such as Calvin T. Starbuck, publisher of the Cincinnati Times; James Foster, publisher of the Chronicle and artists. Thomas Faris, a Robert S. Newton and 1866 in myth of support from work gradually began to be purchased by influential people, in 1979.
A History of African-American Artists: From 1792 to the Present by Harry Henderson, Romare Bearden