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Slaves Waiting for SaleAbolitionist Art and the American Slave Trade$
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Maurie D. McInnis

Print publication date: 2011

Print ISBN-13: 9780226559339

Published to Chicago Scholarship Online: September 2013

DOI: 10.7208/chicago/9780226559322.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 31 July 2021

Epilogue

Epilogue

Chapter:
(p.214) (p.215) Epilogue
Source:
Slaves Waiting for Sale
Author(s):

Maurie D. McInnis

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226559322.003.0009

This chapter focuses on remembrances of the slave trade. Artistic representations of the slave trade largely disappeared after the Civil War. Among the few who used their art to continue to question the impact of slavery and the slave trade for African Americans in the post-war war era was the Southerner Thomas Satterwhite Noble, who painted two works immediately connected to the slave trade in the years following the war: The American Slave Mart (1865) and The Price of Blood. Around the turn of the century, a new form of public remembrance also arose. Largely connected to the growth in middle-class white tourism, this new form was nostalgia for an imagined idea of the South, a land of leisure and romance, a simpler place than the rapidly industrializing North. Central to that vision of the South was a benign view of slavery, one that imagined a harmonious relationship between masters and slaves, a natural hierarchy.

Keywords:   slave trade, american slavery, slave traders, slave auctions, thomas satterwhite noble, nostalgia

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