Notes
1. Hugh Honour, The Image of the Black in Western Art, 214.
2. Ibid., 214.
3. Ibid.,214.
4. Alain Locke, "Foreward" in The Negro in Art, (New York: Hacker Art Books, 1940), 3.
5. Elizabeth Johns, "Standing Outside the Door" in American Genre Painting, (New Haven: Yale University Press, 1991), 100
6. Stephen Johnson, Burnt Cork: Traditions and Legacies of Blackface Minstrelsy (Boston: University of Massachusetts Press, 2012).
7. Elizabeth Johns, "Ordering the Body Politic" in American Genre Painting (New Haven: Yale UnivesrityUniversity Press, 1991), 7.
8. Elizabeth Johns, "Introduction" in American Genre Painting, (Yale University Press: New Haven), xii-xiii.
9. Elizabeth Johns, "Standing Outside the Door" in American Genre Painting, (Yale University Press: New Haven), 103.
10. Ibid., 103. and Hugh Honor in "Two Major Themes: Slave Sales and Fugitives" in The Image of the Black in Western Art, (Harvard University Press: Cambridge, MA), 206.
11. Hugh Honour, "Negro Life" in The Image of the Black in Western Art, (Harvard University Press: Cambridge, MA), 222.
12. Angela L. Miller, Janet C. Berlo, Bryan Wolf and Jennifer L. Roberts, "The Cultural Work of Genre Painting" in American Encounters, (Upper Saddle River: Pearson Higher Education), 193.
13. Elizabeth Johns, "Standing Outside the Door" in American Genre Painting, (Yale University Press: New Haven), 108.
14. Albert Boime, "Triangular Trade and Triangular Composition" in The Art of Exclusion, (Smithsonian Institution Press: Washington, D.C.), 16.
15. Elizabeth Jones, "Introduction" in American Genre Painting, (Yale University Press: New Haven), xvii.
16. Elizabeth Jones, "Ordering the Body Politic" in American Genre Painting, (Yale University Press: New Haven), 11.
17. Michael Janofsky, "Philadelphia Mandates Black History for Graduation". New York Times, June 25, 2005.
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