MS01.01.03.B02.F10.019

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16

In the years ahead, ^ [Patrick Reason] Robert S. Duncanson,
Edward Mitchell Bannister, [strikethrough: Robert Douglas, Jr.]
[strikethrough: and Patrick Reason would surface] Edmonia[?] Lewis and Henry O. Tanner were to
come to the attention of the American
public as artists who [strikethrough: were] like
Joshua Johnston, were destined to
forsake the crafts tradition and
present themselves as fine artists
working as painters, [strikethrough: and] engravers and sculptors
with [strikethrough: some] a measure of acceptance within the [strikethrough: within[?] the art establishment.] mainstream
of ^ [the] prevailing styles in American art.
However, of all of the black artists ^ [of the early years of the 19th century] whose careers
have come to our attention, none was no
actively engaged in [strikethrough: the development] using
his art to support anti-slavery activity [strikethrough: work] as
was Patrick H. Reason whose engravings
and lithographs were used widely
in support abolitionist causes. Reason's
apprenticeship in the art of engraving
took place while he was [strikethrough: just[?]] still in
[strikethrough: a] [?]. He became sensitively
aware of the problem of slavery
in American society and the
inhumane conditions that accompanied
this great travesty of justice [strikethrough: among] within
the Black race [strikethrough: in America]. But he
was equally sensitive to the denial
of the rights of ^ [Black] women and showed
his ^ [deep] concern for this problem
by engraving, by [strikethrough: the] stipple [strikethrough: process] method,
as early as 1835, this celebrated work.

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