04901nam 2200889 450 991080974400332120220207214514.00-271-08820-60-271-08822-210.1515/9780271088228(CKB)4100000011216033(MiAaPQ)EBC6224566(DE-B1597)583707(DE-B1597)9780271088228(OCoLC)1253314086(EXLCZ)99410000001121603320200930d2020 ub 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierContraband guides race, transatlantic culture, and the arts in the Civil War era /Paul H. D. KaplanUniversity Park, Pennsylvania :The Pennsylvania State University Press,[2020]©20201 online resource (313 pages)0-271-08385-9 Includes bibliographical references and index.Front matter --Contents --List of illustrations --Acknowledgments --Introduction --1 Representations of People of Color in Nineteenth-Century American Accounts of Italian Travel --2 “A Mulatto Sculptor from New Orleans” --3 “The Black Man To-day Means Liberty” --4 “Something American” --5 Old Masters --6 Contraband Guide --Notes --Bibliography --IndexIn his best-selling travel memoir, The Innocents Abroad, Mark Twain punningly refers to the black man who introduces him to Venetian Renaissance painting as a “contraband guide,” a term coined to describe fugitive slaves who assisted Union armies during the Civil War. By means of this and similar case studies, Paul H. D. Kaplan documents the ways in which American cultural encounters with Europe and its venerable artistic traditions influenced nineteenth-century concepts of race in the United States.Americans of the Civil War era were struck by the presence of people of color in European art and society, and American artists and authors, both black and white, adapted and transformed European visual material to respond to the particular struggles over the identity of African Americans. Taking up the work of both well- and lesser-known artists and writers—such as the travel writings of Mark Twain and William Dean Howells, the paintings of German American Emanuel Leutze, the epistolary exchange between John Ruskin and Charles Eliot Norton, newspaper essays written by Frederick Douglass and William J. Wilson, and the sculpture of freed slave Eugène Warburg—Kaplan lays bare how racial attitudes expressed in mid-nineteenth-century American art were deeply inflected by European traditions. By highlighting the contributions people of black African descent made to the fine arts in the United States during this period, along with the ways in which they were represented, Contraband Guides provides a fresh perspective on the theme of race in Civil War–era American art. It will appeal to art historians, to specialists in African American studies and American studies, and to general readers interested in American art and African American history.African American artEuropean influencesAfrican American art19th centuryArt, American19th centuryAfrican Americans in artHistory19th centuryArt and raceHistory19th centuryBlack people in artHistory19th centuryAbraham Lincoln.Adoration of the Magi.African American.Afro-European.Billy Lee.Charles Eliot Norton.Civil War.Emanuel Leutze.Eugène Warburg.Frederick Douglass.George Washington.Harriet Beecher Stowe.Jacopo Tintoretto.John Hay.John Ruskin.Joshua Bowen Smith.Mark Twain.Neoclassical sculpture.Paolo Veronese.Pierre Soulé.Race.Slavery.Transatlantic.William Cooper Nell.William Dean Howells.William J. Wilson.African American artEuropean influences.African American artArt, AmericanAfrican Americans in artHistoryArt and raceHistoryBlack people in artHistory704.0396073Kaplan Paul H. D(Paul Henry Daniel),1952-1711139MiAaPQMiAaPQMiAaPQBOOK9910809744003321Contraband guides4102245UNINA