Edmonia Lewis

Edmonia Lewis is believed to have been born on July 4, 1844. She was born free in Greenbush, New York, which is now the city of Rensselaer.[3] Her father was Afro-Haitian, while her mother, Catherine Mike Lewis, was of Mississauga Ojibwe and African-American descent.[4][5] Lewis's mother was known as an excellent weaver and craftswoman, while her father was a gentleman's servant.[6][7] Her family background inspired Lewis in her later work.

By the time Lewis reached the age of nine, both of her parents had died. Her father died in 1847.[8] Her two maternal aunts adopted her and her older half-brother Samuel. Samuel was born in 1835 to Lewis's father and his first wife in Haiti. The family came to the United States when Samuel was a young child.[8] Samuel became a barber at age 12 after his father died.[8]

The children lived with their aunts near Niagara Falls for about four years. Lewis and her aunts sold Ojibwe baskets and other items, such as moccasins and embroidered blouses, to tourists visiting Niagara Falls, Toronto, and Buffalo. During this time, Lewis went by her Native American name, Wildfire, while her brother was called Sunshine.[4] In 1852, Samuel left for San Francisco, California, leaving Lewis in the care of a Captain S. R. Mills. Samuel provided for her board and education.

In 1856, Lewis enrolled at New-York Central College, McGrawville, a Baptist abolitionist school.[4] At McGrawville, Lewis met many of the leading activists who would become mentors, patrons, and possible subjects for her work as her artistic career developed.[9] During her summer term there in 1858, Lewis took classes in the Primary Department in preparation for college. Lewis was enrolled in primary courses in order to help advance her reading and writings skills along with other subjects of academia that were not quite advanced enough for the Academic Department.[9] In a later interview, Lewis said that she left the school after three years, having been "declared to be wild."[10]

Until I was twelve years old I led this wandering life, fishing and swimming ... and making moccasins. I was then sent to school for three years in [McGrawville], but was declared to be wild,—they could do nothing with me.

— Edmonia Lewis[11]

In 1859, when Edmonia Lewis was about 15 years old, her brother Samuel and abolitionists sent her to Oberlin, Ohio where she attended the secondary Oberlin Academy Preparatory School for the full, three year course,[12] before entering Oberlin College[13], one of the first U.S. higher-learning institutions to admit women and people of differing ethnicities.[14] She changed her name to Mary Edmonia Lewis[15] and began to study art.[16] Lewis boarded with Reverend John Keep and his wife from 1859 until she was forced from the college in 1863. At Oberlin, with a student population of one thousand, Lewis was one of only thirty students of color.[17] Reverend Keep was white, a member of the board of trustees, an avid abolitionist, and a spokesperson for coeducation.[10]

Although Oberlin was the first college to accept black women in a co-educational environment, Lewis later said that she was subject to daily racism and discrimination. She, and other female students, were rarely given the opportunity to participate in the classroom or speak at public meetings.[18] During the 1859-60 school year, Lewis enrolled in the Young Ladies' Preparatory Department, which was designed "to give Young Ladies facilities for the thorough mental discipline, and the special training which will qualify them for teaching and other duties of their sphere."[19]

During the winter of 1862, several months after the start of the Civil War, an incident occurred between Lewis and two Oberlin classmates, Maria Miles and Christina Ennes. The three women, all boarding in Keep's home, planned to go sleigh riding with some young men later that day. Before the sleighing, Lewis served her friends a drink of spiced wine. Shortly after, Miles and Ennes fell severely ill. Doctors examined them and concluded that the two women had some sort of poison in their system, apparently cantharides, a reputed aphrodisiac. For a time it was not certain that they would survive. Days later, it became apparent that the two women would recover from the incident and, authorities initially took no action. There is no evidence that Lewis poisoned the two students, nor that doctors found any traces of poison in the bodies of Miles and Ennes.[20]

News of the controversial incident rapidly spread throughout the town of Oberlin, where the general population was not as progressive as at the college, and through Ohio. While Lewis was walking home alone one night, she was dragged into an open field by unknown assailants, badly beaten, and left for dead.[21] After the attack, local authorities arrested Lewis, charging her with poisoning her friends. John Mercer Langston, an Oberlin College alumnus, and the only practicing African-American lawyer in Oberlin, represented Lewis during her trial. Although most witnesses spoke against her and she did not testify, the jury acquitted her of the charges.[22]

The remainder of Lewis' time at Oberlin was marked by isolation and prejudice. About a year after the poisoning trial, Lewis was accused of stealing artists' materials from the college. She was acquitted due to lack of evidence, but was not considered fully cleared. She was forbidden from registering for her last term by the principal of the Young Ladies' Course, Marianne Dascomb. Lewis was unable to graduate and was effectively forced from the school.[23]

Minnehaha, marble, 1868, collection of the Newark Museum

After college, Lewis moved to Boston in early 1864, where she began to pursue her career as a sculptor. The Keeps wrote a letter of introduction on Lewis' behalf to abolitionist William Lloyd Garrison in Boston. He introduced her to already established sculptors in the area, as well as writers who publicized Lewis in the abolitionist press.[24] Finding an instructor, however, was not easy for her. Three male sculptors refused to instruct her before she was introduced to the moderately successful sculptor, Edward Augustus Brackett (1818–1908).[25]

He specialized in marble portrait busts.[26][27] His clients were some of the most important abolitionists of the day, including Henry Wadsworth Longfellow, William Lloyd Garrison, Charles Sumner, and John Brown.[26] To instruct her, he lent her fragments of sculptures to copy in clay, which he critiqued.[27] Under his tutelage, she crafted her own sculpting tools and sold her first piece, a sculpture of a woman's hand, for $8.[28] Anne Whitney, a fellow sculptor and friend of Lewis', wrote in an 1864 letter to her sister that Lewis's relationship with her instructor did not end amicably. She did not recount the reason for the split.[26] Lewis opened her studio to the public in her first solo exhibition in 1864.[29]

Lewis was inspired by the lives of abolitionists and Civil War heroes. Her subjects in 1863 and 1864 included some of the most famous abolitionists of her day: John Brown and Colonel Robert Gould Shaw.[30] When she met Union Colonel Robert Gould Shaw, the commander of an African American Civil War regiment from Massachusetts, she was inspired to create a bust of his likeness, which impressed the Shaw family, who purchased her homage.[31] Lewis then made plaster cast reproductions of the bust; she sold one hundred at 15 dollars apiece.[32] This was the most famous work to date and the money she earned from the busts allowed her to eventually move to Rome.[33] Anna Quincy Waterston, a poet, then wrote a poem about both Lewis and Shaw.[34]

From 1864 to 1871, Lewis was written about or interviewed by Lydia Maria Child, Elizabeth Peabody, Anna Quincy Waterston, and Laura Curtis Bullard. These were all important women in Boston and New York abolitionist circles.[26] Because of these women, articles about Lewis appeared in important abolitionist journals including Broken Fetter, the Christian Register, and the Independent, as well as many others.[30] Lewis was perceptive to her reception in Boston. She was not opposed to the coverage she received in the abolitionist press, and she was not known to deny monetary aid, but she could not tolerate the false praise. She knew that some did not really appreciate her art, but saw her as an opportunity to express and show their support for human rights.[35]

Early works that proved highly popular included medallion portraits of the abolitionists John Brown and William Lloyd Garrison. Lewis also drew inspiration from Henry Wadsworth Longfellow and his work, particularly his epic poem The Song of Hiawatha. She made several busts of its leading characters, which he drew from Ojibwe legend.[36]

While in Rome, Lewis adopted the neoclassical style of sculpture, as seen in Bust of Dr. Dio Lewis (1868).[37]

The success and popularity of these works in Boston allowed Lewis to bear the cost of a trip to Rome in 1866.[38] On her 1865 passport is written, "M. Edmonia Lewis is a Black girl sent by subscription to Italy having displayed great talents as a sculptor".[3] The established sculptor Hiram Powers gave her space to work in his studio.[39] She entered a circle of expatriate artists and established her own space within the former studio of 18th-century Italian sculptor Antonio Canova.[40] She received professional support from both Charlotte Cushman, a Boston actress and a pivotal figure for expatriate sculptors in Rome, and Maria Weston Chapman, a dedicated worker for the anti-slavery cause.[41]

Rome was where Lewis spent most of her adult career. Italy's less pronounced racism allowed increased opportunity to a black artist.[1] In Rome, Lewis enjoyed more social, spiritual, and artistic freedom than what she had had in the United States. Being a Catholic, her experience in Rome also allowed her to be closer spiritually to her faith. Had she stayed in America, she would have had to continue relying on abolitionist patronage; therefore, Italy allowed her to make her own in the international art world.[42] She began sculpting in marble, working within the neoclassical manner, but focusing on naturalism within themes and images relating to black and American Indian people.[43] The surroundings of the classical world greatly inspired her and influenced her work, in which she recreated the classical art style. For instance, she presented people in her sculptures as draped in robes rather than in contemporary clothing.[44]

Lewis was unique in the way she approached sculpting abroad. She insisted on enlarging her clay and wax models in marble herself, rather than hire native Italian sculptors to do it for her, which was the common practice. Male sculptors were largely skeptical of the talent of female sculptors, and often accused them of not doing their own work.[42] Harriet Hosmer, a fellow sculptor and expatriate, also did this. Lewis also was known to make sculptures before receiving commissions for them, or sent unsolicited works to Boston patrons requesting that they raise funds for materials and shipping.[43]

While in Rome, Lewis continued to express her African-American and Native American heritage. One of her more famous works, "Forever Free", depicted a powerful image of an African American man and women emerging from the bonds of slavery. Another sculpture Lewis created was called "The Arrow Maker", which showed a Native American father teaching his daughter how to make an arrow.[33]

Her work sold for large sums of money. In 1873 an article in the New Orleans Picayune stated: "Edmonia Lewis had snared two 50,000-dollar commissions." Her new-found popularity made her studio a tourist destination.[45] Lewis had many major exhibitions during her rise to fame, including one in Chicago, Illinois, in 1870, and in Rome in 1871.[16]

The Death of Cleopatra, marble, 1876, collection of the Smithsonian American Art Museum

A major coup in her career was participating in the 1876 Centennial Exposition in Philadelphia.[46] For this, she created a monumental 3,015-pound marble sculpture, The Death of Cleopatra, which portrayed the queen in the throes of death.[47] This piece depicts the moment popularized by Shakespeare in Antony and Cleopatra, in which Cleopatra had allowed herself to be bitten by a poisonous asp following the loss of her crown.[17] Of the piece, J. S. Ingraham wrote that Cleopatra was "the most remarkable piece of sculpture in the American section" of the Exposition.[48] Much of the viewing public was shocked by Lewis's frank portrayal of death, but the statue drew thousands of viewers.[49] Cleopatra was considered a woman of both sensuous beauty and demonic power.[50] Her self-annihilation has been portrayed numerously in art as well as literature and cinema. In Death of Cleopatra, Edmonia Lewis added an innovative flair by portraying the Egyptian queen in a disheveled, inelegant manner, a departure from the Victorian approach of representing death.[51] Considering Lewis's interest in emancipation imagery as seen in her work Forever Free, it is not surprising that Lewis eliminated Cleopatra's usual companion figures of loyal slaves from her work. Lewis's The Death of Cleopatra may have been a response to the culture of the Centennial Exposition, which celebrated one-hundred years of the United States being built around the principles of liberty and freedom, a celebration of unity despite centuries of slavery, the recent Civil War, and the failing attempts and efforts of Reconstruction. In order to avoid any acknowledgement of black empowerment by the Centennial, Lewis's sculpture could not have directly addressed the subject of Emancipation.[17] Although her white contemporaries were also sculpting Cleopatra and other comparable subject matter (such as Harriet Hosmer's Zenobia), Lewis was more prone to scrutiny on the premise of race and gender due to the fact that she, like Cleopatra, was female:

The associations between Cleopatra and a black Africa were so profound that ... any depiction of the ancient Egyptian queen had to contend with the issue of her race and the potential expectation of her blackness. Lewis' white queen gained the aura of historical accuracy through primary research without sacrificing its symbolic links to abolitionism, black Africa, or black diaspora. But what it refused to facilitate was the racial objectification of the artist's body. Lewis could not so readily become the subject of her own representation if her subject was corporeally white.[52]

After being placed in storage, the statue was moved to the 1878 Chicago Interstate Exposition where it remained unsold. The sculpture was acquired by a gambler by the name of "Blind John" Condon who purchased it from a saloon on Clark street to mark the grave of a Racehorse named "Cleopatra".[53] The grave was in front of the grandstand of his Harlem race track in the Chicago suburb of Forest Park, where the sculpture remained for nearly one hundred years until the land was bought by the U.S. Postal Service[54] and the sculpture was moved to a construction storage yard in Cicero.[55][54] While at the storage yard, The Death of Cleopatra sustained extensive damage at the hands of well-meaning Boy Scouts who painted and caused other damage to the sculpture. Dr. James Orland, a dentist in Forest Park, and member of the Forest Park Historical Society acquired the sculpture and held it in private storage at the Forest Park Mall.

Later, Marilyn Richardson, an assistant professor in what was then called The Writing Program at the Massachusetts Institute of Technology (MIT), and later an independent curator and scholar of African-American art, who was working on a biography of Lewis, went searching for The Death of Cleopatra." Richardson was directed to the Forest Park Historical Society and Dr. Orland by the Metropolitan Museum of Art who had earlier been contacted by the historical society regarding the sculpture. Richardson, after confirming the sculpture's location, contacted African-American bibliographer Dorothy Porter Wesley and the two gained the attention of NMAA's George Gurney.[56] According to Gurney, Curator Emeritus at the Smithsonian American Art Museum,[57] the sculpture was in a race track in Forest Park, Illinois, during World War II. Finally, the sculpture came under the purview of the Forest Park Historical Society, who donated it to Smithsonian American Art Museum in 1994.[55] Chicago-based Andrezej Dajnowski, in conjunction with the Smithsonian, restored it to its near-original state after repairing the nose, sandals, hands, chin, and extensive "sugaring" (disintegration) at a cost of around $30,000.[56]

A testament to Lewis's renown as an artist came in 1877, when former US President Ulysses S. Grant commissioned her to do his portrait. He sat for her as a model and was pleased with her finished piece.[58] She also contributed a bust of Charles Sumner to the 1895 Atlanta Exposition.[59]

In the late 1880s, neoclassicism declined in popularity, as did the popularity of Lewis's artwork. She continued sculpting in marble, increasingly creating altarpieces and other works for Roman Catholic patrons. In the art world, she became eclipsed by history and lost fame. By 1901 she had moved to London.[60][lower-alpha 1] The events of her later years are not known.[16]

As a black artist, Edmonia Lewis had to be conscious of her stylistic choices because her largely white audience often gravely misread her work as self-portraiture. In order to avoid this, her female figures typically possess European features.[1] Lewis had to balance her own personal identity with her artistic, social, and national identity, a tiring activity that affected her art.[61]

In her 2007 work, Charmaine Nelson wrote of Lewis:

It is hard to overstate the visual incongruity of the black-Native female body, let alone that identity in a sculptor, within the Roman colony. As the first black-Native sculptor of either sex to achieve international recognition within a western sculptural tradition, Lewis was a symbolic and social anomaly within a dominantly white bourgeois and aristocratic community.[1]

This white marble sculpture represents a man standing, staring up, and raising his left arm into the air. Wrapped around his left wrist is a chain; however, this chain is not restraining him. To his right is a woman kneeling with her hands held in a prayer position. The man's right hand is gently placed on her right shoulder. Forever Free represents the emancipation of African-American slaves after the Civil War, a celebration of black liberation, salvation, and redemption. Lewis attempted to break stereotypes of African-American women with this sculpture. For example, she portrayed the woman as completely dressed while the man was partially dressed. This drew attention away from the notion of African-American women being sexual figures. This sculpture also symbolizes the end of the Civil War. While African Americans were legally free, they continued to be restrained, shown by the fact that the couple had chains wrapped around their bodies. The representation of race and gender has been critiqued by modern scholars, particularly the Eurocentric features of the female figure. This piece is held by Howard University Gallery of Art in Washington, D.C.[67]

Inspired by a character from the Old Testament, this was made of white marble. It shows Hagar with her hands in prayer and staring slightly up but not straight across. Hagar was the handmaid or slave of Abraham's wife Sarah. Being unable to conceive a child, Sarah gave Hagar to Abraham so that he could have a son by her. Hagar gave birth to Abraham's firstborn son Ishmael. After Sarah gave birth to her own son Isaac, she resented Hagar and made Abraham "cast Hagar into the wilderness". Lewis uses Hagar to symbolize the African mother in the United States. She represented the abuse of African women. Lewis had a tendency to sculpt historically strong women, as demonstrated not just in Hagar but also in Lewis's Cleopatra piece. Lewis also depicted regular women in great situations, emphasizing their strength.[62]

This sculpture was inspired by Lewis's Native American heritage. An arrow-maker and his daughter sit on a round base. They are dressed in traditional Native American clothes and the male figure has recognizable Native American facial features. Lewis chose to "whitewash" the facial features of her female figures, removing all facial features associated with "colored" races.[68] Lewis pushed the limits with the accuracy of her sculptures. She wanted to be as realistic as possible.[62]