Free PDF Hidden Witness: African American Images from the Dawn of Photography to the Civil War, by Jackie Napolean Wilson
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Hidden Witness: African American Images from the Dawn of Photography to the Civil War, by Jackie Napolean Wilson
Free PDF Hidden Witness: African American Images from the Dawn of Photography to the Civil War, by Jackie Napolean Wilson
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As slaves, African Americans were virtually invisible to history. Even after the Civil War there were not many African American photographers and very few people had the time, money or freedom to sit for a portrait. Consequently only a few hundred such pictures have survived from that time to bear witness to African Americans and the lives they led. Jackie Wilson has assembled a comprehensive collection of such images into one volume. The daguerreotypes and tintypes shown here present these men and women in situations and attire that brings the truth of their daily lives much closer to us. Scenes of maternal affection, matrimony, war and the grim realities of the master/slave relationship help focus perceptions of the African American experience in the US.
- Sales Rank: #1145342 in Books
- Published on: 2000-01
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 8.50" w x .75" l,
- Binding: Hardcover
- 191 pages
Amazon.com Review
The image is striking: A woman gazes serenely at the camera, baby cradled in her arms in classic Madonna-and-child pose. More striking is the fact that the sitters are black, and the photograph dates from 1860. Few photographs from the mid-19th century feature African Americans, enslaved or free. Those that do are often staged and reflect the biases of the photographer or the printmaker who published them. Others, however, provide glimpses of daily life before the abolition of slavery.
Renowned collector of early photographs Jackie Napolean Wilson has compiled 70 such images in Hidden Witness. Each photograph--whether an outdoor scene, where slaves are afterthoughts in the frame, so-called Mammy portraits of slaves holding white children, studio portraits of proud freemen and women--is accompanied by a brief explanation, contextualizing the image and speculating on the nature of the pictured relationships. Some of the subjects are famous, such as Abraham Lincoln and Frederick Douglass; others, though unknowns, carry a force of their own: the exuberant grin of the prizewinning boxer, the proud stance of a Union soldier, the quiet dignity of a slave nurse. A handsome addition to the history of African Americans and photography. --Sunny Delaney
From Library Journal
Hidden Witness consists of reproductions of 69 photographs--almost all from attorney Wilson's private collection as well as a few from the Getty Museum's holdings--that depict African Americans in the 1840s, 1850s, and early 1860s. Most of the photos are formal studio portraits, but others are outdoor scenes. The commentary by Wilson accompanying each photo is more personal reaction and interpretation than conventional scholarship. Something of the difficult lives and restrictive environment in which the pre-Emancipation slaves and freedmen existed are revealed through often subtle clues in posing, clothing, sitter's interactions, arrangement of nearby objects, etc. Considering the paucity of visual documentation from the era of American slavery, this collection of photos is an invaluable resource. In contrast, Jezierski (history, Saginaw Valley State Univ.) offers us a thorough, scholarly study of a heretofore little explored aspect of African American cultural history, detailing the lives and careers of a family of black professional photographers who operated studios in Pennsylvania and Michigan. The nearly eight decades in which Glenalvin, Wallace, and William Goodridge practiced literally spans the early history of photography in America. The Goodridge Brothers not only managed to establish themselves and then flourish as professional photographers, they also gained international renown for their expertise in large-format photography. Both books will engage two groups of readers, those interested in African American history and students of the development of photography in America. Recommended for all libraries serving either of those two constituencies.
-Eugene C. Burt, Seattle
Copyright 2000 Reed Business Information, Inc.
About the Author
Jackie Napolean Wilson is an attorney and historian who has been collecting since 1978. He was guest curator of the historic Hidden Witness exhibition at The J. Paul Getty Museum. This book is based on that Exhibition. Mr. Wilson lives in Detroit.
Most helpful customer reviews
8 of 8 people found the following review helpful.
Fantastic Pictures, Be wary of the Commentary
By A Customer
I give this book 4 stars because the photographs are FANTASTIC!! But, I have to agree, Mr. Wilson does take extreme liberty with some of his comments. Don't get me wrong, there are indeed some history lessons to be had here, but indeed on page 27 those women are related. Where he got the idea that these women were merely "abolitionists" puzzles me. I think perhaps he was trying to teach a history lesson here, and he needed a picture to try and fit that lesson, he just used the wrong picture to make his point. I can't imagine someone having such a fabulous picture and not understand the true meaning of it. So, with that said please enjoy the pictures and the history lesson that he's trying to teach. Just don't try and put the two together.
12 of 12 people found the following review helpful.
Interesting images of 19th black Americans
By The Sanity Inspector
These pictures are taken from the author's collection of early photographs of black Americans, reputed on the flap copy to be the largest such in existence. If you enjoy looking at old photos, these richly repay the viewing. The plantation scenes are interesting--many such grand houses still survive, so it is intriguing to see them peopled with their original inhabitants. The portraits are also compelling, as we try to read the eyes of the subject across the void of years. The author does climb on rainbows a bit, trying to get into these people's minds. And he is inexplicably wrong about the first photo in the book--the black gardener is not in the photo by mistake, but obviously by the family's choice, since the long exposure required by the primitive cameras obliged the subjects to be still for an appreciable length of time. Plus, he is clearly posed in a well-lit spot. Quibbles aside, this is a very interesting collection of antebellum photos of black Americans, slave and free. Photography buffs will find it rewarding.
9 of 9 people found the following review helpful.
Beautiful Photographs, Forget the Commentary
By K. I. Simon
Who could not be intrigued with the faces illustrating this book. This is a wonderful collection of early photography. As one looks into the eyes of each subject, one longs to look into their mind and soul. "What is the true story behind this picture?"
To answer that question, don't read the commentary. It is clear Jackie Wilson had an "adgenda" and he went way out to proclaim his propoganda. It's a shame, his words ruined a otherwise poignant collection.
Mr. Wilson relates a story of women abolitionists to discribe the photograph on page 27 stating this is simply a picture of a black and white woman ignoring the presence of the child. Blinded by his own prejudices, he fails to see the striking resemblence between all three around the eyes and the mouth. He brushes away the fact that the little girl leans toward the older woman, yet holds hands with both. He ignores the leaning in of the older woman toward the child. I'm no expert, but clearly I see a Mother with her adult Daughter and Granddaughter.
On page 46 Mr. Wilson discribes the beads worn by the "Seated Black Woman" as "rarely seen African trade beads, a form of currency in Africa, which may well symbolize her awareness of her ancestral links." Huh? The woman is clearly wearing Rosary Beads. A form of prayer used by Roman Catholics. Obviously, the woman wants to share her awareness of her Faith. I'm surprised an editor let that pass.
No one will ever know the true stories behind these photographs, but interpretations that bear no resemblance to the truth make this a book which has a questionable crediblility.
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