Medium :Gouache over pencil on artist boardĭimension: 15 x 29 3/16 inches (38.1 x 74.14 cm) SStudy for Aspects of Negro Life: An Idyll of the Deep South, (1934) I suggest you enlarge this one for its artistic value. I also love black and white photos they seem more real true to life. I choose this picture because it talks about one of lesser known contributions of African Americans to our Nation.
Smith's accomplishments as a photographer of cowboy and ranch life at the beginning of the twentieth century are manifest in the more than 1,500 photographic prints in the Prints & Photographs Division's collections. The photographer Erwin Smith (1886-1947) has been referred to as "one of the greatest photographers of cowboy life who ever lived."(1) He created engaging and action-filled images of cowboys and ranch life that have come to symbolize the universal western cowboy type. After the Civil War many were employed as horsebreakers and for other tasks, but few of them became ranch foremen or managers" ()
A good many of the first black cowboys were born into slavery but later found a better life on the open range, where they experienced less open discrimination than in the city. "Black cowboys have been part of Texas history since the early nineteenth century, when they first worked on ranches throughout the state. Location: Amon Carter Museum of American ArtĪ little known fact some of the first cowboys were black. The Freedman.Īfrican-American Cowboys with Their Mounts Sadd. He has a look of confidence and HOPE for the future. The muscular build of the subject and the position of his head. I also like the strength of character shown. I picked this piece because of what the name Freedman, which later became Freeman which a last name was given to many freed slaves. The muscular figure is executed with remarkable attention to realistic physiognomy and anatomy"(). The broken manacles of servitude on the former slave's left wrist and in his right hand state in basic terms the essence of the sculpture. Not only does this piece offer a commentary on the chief political and moral topic of the era, but it also proclaims Ward's abolitionist sentiments. "The Freedman arose from a desire for sculpture that addressed current issues, rather than the less tangible ideals prevalent in Neoclassical works. (American, Urbana, Ohio 1830–1910 New York)
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