MS01.01.03.B01.F25.015

14

[crossed out: forsaking an infant lying nearby on the ground. She is under
the lash of the whip of disobedience and receives little or no sympathy
from the remainder of the audience. Several slaves can be seen
behind the man with the whip, perhaps awaiting their turn to be put up
for bid. The cinematic sequence of the painting indicates that
the artists was aware of compositional standards that showed his
knowledge of narrative painting. On the steps of the hotel
porch, a Mulatto woman dressed in clothing reminiscent of garments
worn by octoroons in New Orleans is being gently examined by a
prospective buyer. Gavel in hand, the auctioneer awaits the highest
bid to close the sale and release the beautiful young woman of color
to the purchaser. The presence of the riverboat docked nearby and
the style of architecture, particularly that of the house with the
hip root seen across the river, suggest that the work was painted
perhaps in New Orleans or in a Louisiana river town.]

Clonney, the Englishman, turned from miniature painting to
create a scene such as (SLIDE #20a) [u] The Militia Training [/u], 1841, in
which Whites provided a mixture of entertainment, patriotism and
frolicing around all mixed into one act.

Christian Mayr's painting entitled (SLIDE #21) [u] Kitchen Ball at
White Sulphur Springs [/u] was done in 1838 and presents most
vividly a frolicing scene of the famous resort house in Sulphur Springs
(now West Virginia). The servants at the resort hotel are shown
spending some leisure time imitating the big balls that took place in
the celebrated ballroom at Sulphur Springs. Subjects which emphasized
state of character among Blacks, the ability to be good workers and
provide laughter for the leisure class whites while indulgingly patronized