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American Emancipation

in Forever Free

Henry Rocher, Carte-de-visite of Edmonia Lewis. ca. 1870. Albumen silver print.

Working Thesis: In Forever Free, Edmonia Lewis used the Neoclassical medium of white marble to address the social and political struggles of African-Americans following the Emancipation Proclamation. Emancipation, or the lack thereof, is expressed through a de-emphasis of race that denotes the white body as the free body and communicates the hardships experienced by African-Americans attempting to integrate into a white American society.

Edmonia Lewis, Forever Free (The Morning of Liberty), 1867. Marble, 41 x 22 x 17 inches.

"Am I Not a Woman and a Sister?," Antislavery Token, 1838. Copper.

Edmonia Lewis, Forever Free detail.

Detail of Emancipation Group

Charles-Henri-Joseph Cordier, African in Algerian Costume, 1857. Bronze, onyx, and prophyry.

Tremont Temple Baptist Church, Boston.

Reverend Leonard A. Grimes.

Thomas Ball, Emancipation Group, 1890's. Lincoln Park, Washington, D.C.

John Gibson, Tinted Venus, 1851-56. Polychrome marble.

  • Include a discussion of how Lewis' personal experiences have shaped her work on Forever Free?
  • Brief discussion on the rise of the Ku Klux Klan (KKK) in the southern states as an example of further struggles to achieve black equality following the Emancipation Proclamation?
  • Organization of arguments - do the arguments flow well or is there a lack of clarity? Has the paper attempted to address too many ideas or does it create a unified discussion?

Harriet Hosmer, Freedman's Memorial to Lincoln, 1867. Plaster.

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