MS01.01.03.B01.F25.014

13

himself giving an actual portrait of bravery and heroism through his
depiction of Cinque, The Mendi Prince enslaved aboard the Amistad in
1839, prior to the time that [crossed out: when] the take over of the
Spanish ship by the Mendi was carried out. (STORY OF AMISTAD)
It is doubtful that Jocelyn actually saw Cinque in person,
backed by the fact that those historical symbols one would expect to
see in a portrait of this type are not present or even alluded to
in Cinque's character. Though the slaves aboard the Amistad took
the guns and swords of the Spanish captors to carry out the mutiny,
Jocelyn shows Cinque with spear in hand ignoring firearms, the solution
to the slaves' successful takeover. Yet Jocelyn was attempting to
create an image fitting the description of this famous historical
event which is said to have singularly prevailed in helping to change
the course of history in matters pertaining to slavery in America.

Between the period 1800 and 1860, artists such as James Goodwyn
Clonney, an Englishman who came to America in 1810, Eyre Crowe, also
an Englishman and John Lewis Krimmel, a German by birth, all took
to genre painting in America. Krimmel painted works such as (SLIDE #19)
[u] Quilting Frolic [/u] in which the black image appears again as servant/
slave in the person of a young girl and an entertainer in the person
of a Black musician who provides tunes for the low class dancers.
Crowe worked between 1850 and 1857 in America and documented with
accuracy a scene from (SLIDE #20) [u] A Slave Market in Richmond,
Virginia [/u], the work was done around 1853. [crossed out: An unknown artist of about the same period produced another work entitled (SLIDE # )
[u] The Slave Market [/u] in which the black subjects are treated with
scorn and contempt providing a contrasting view of the slave previous
market scene. The black mother in the foreground of this painting
clings to an older child while all but...]