Alabama Loyalists Greeting the Federal Gun-Boats, from the portfolio Harper’s Pictorial History of the Civil War (Annotated)

Media - 2008.19.1.1 - SAAM-2008.19.1.1_1 - 70182
Copied Kara Walker, Alabama Loyalists Greeting the Federal Gun-Boats, from the portfolio Harper's Pictorial History of the Civil War (Annotated), 2005, offset lithograph and screenprint on paper, 39 x 53 in. (99.1 x 134.6 cm), Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2008.19.1.1, © 2005 Kara Walker

Artwork Details

Title
Alabama Loyalists Greeting the Federal Gun-Boats, from the portfolio Harper’s Pictorial History of the Civil War (Annotated)
Artist
Printer
LeRoy Neiman Center for Print Studies, Columbia University
Publisher
LeRoy Neiman Center for Print Studies, Columbia University
Date
2005
Location
Not on view
Dimensions
39 x 53 in. (99.1 x 134.6 cm)
Markings
lower right, in pencil: 34/35 KW 2005 lower center, printed in image: ALABAMA LOYALISTS GREETING THE FEDERAL GUN-BOATS on back, lower right, stamped ink chopmark: ( )
Copyright
© 2005 Kara Walker
Credit Line
Museum purchase through the Luisita L. and Franz H. Denghausen Endowment
Mediums Description
offset lithograph and screenprint on paper
Classifications
Highlights
Keywords
  • African American
  • History — United States — Civil War
Object Number
2008.19.1.1
Linked Open Data
https://edan.si.edu/saam/id/object/2008.19.1.1

Artwork Description

For her series Harper’s Pictorial History of the Civil War (Annotated), Kara Walker appropriated and enlarged select illustration from Harper’s Pictorial History of the Civil War, a two-volume publication of 1866. She chose fifteen wood engravings, enlarged them through offset lithography, and overlaid them with large, black stencils. Walker’s signature silhouettes interrupt and transform the nineteenth-century narratives of battle, death, and retreat in these large-scale prints. According to the artist, the Civil War prints from Harper’s “are the landscapes that I imagine exist in the back of my somewhat more austere wall pieces,” namely the large black silhouette compositions for which she is best known.
Walker’s scenes are set in the American South before and during the Civil War. They play off stereotypes to portray, often grotesquely, life on the plantation, where masters and mistresses and slave men, women, and children enact a subverted version of the past. Walker suggests a critical understanding of the past and proposes an examination of contemporary racial and gender stereotypes.

Multiplicity, 2011