A History of African-American Artists: From 1792 to the by Harry Henderson, Romare Bearden

By Harry Henderson, Romare Bearden

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This raises questions about his racial identity. 15 effect today. In this situation one must look Baltimore had nearly 100 active abolitionists. They other at included possible sources for confirmation of Johnston's race, such as the abolitionists of Baltimore. many prominent men — Philip Rogers, James Casey, General Joseph Sterett, William Pinkney, Judge Chase, Adam Fonderden, and Elisha Tyson. They se- cured repeal of laws that prohibited the freeing of slaves As by on Maryland's artists from the earliest days, Pleasants was fascinated by the possibility that the portraitist Joshua Johnston was an African-American in days when Baltimore was a major slave-shipping center.

These stories, sistent. in prices. reexamining what Pleasants had said making a total It more of however incon- gathered of eight, None named Johnston. Also missing, noted, were any relevant letters, notes, records showed show or diaries by that existing official a careless indifference, if not in English language the slave owners frightened Baltimore slave owners secured passage of very restrictive laws against French-speaking slaves, threatening them with being sold in the Caribbean if they violated the laws.

Finally, in an effort to stop the destructiveness, in 1841. Marie, a teacher, on painting tours of New England. George was also a painter, working with John and Godfrey on a huge panorama of Niagara Falls. Another brother, Gustavus, the city in 1826 and forced to flee to Canada, defended set seems that artists in Cincinnati. In the first days it an intolerable apprenticeship as a sign painter in Cincinnati Merely being light-complexioned would not have accounted for probability widespread social acceptance.

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