Study For Liberty Displaying the Arts and Sciences, or The Genius of America Encouraging the Emancipation of the Blacks

ca. 1791–92
On view at The Met Fifth Avenue in Gallery 717
Philadelphia-born Jennings spent his career in London in the circle of Benjamin West. Around 1791, he began work on an allegorical history painting intended as a gift for the new building of the Library Company of Philadelphia, based on instructions he received from its founder, Benjamin Franklin, and directors, most of whom were Quakers and active abolitionists. This rare study captures the vision for the finished painting in the figure of Liberty, surrounded by symbols of the arts and sciences, including a globe showing what may represent the French colony of Saint-Domingue (now Haiti), site of a major slave uprising in 1791. In opposition to armed resistance, Liberty seems to be advocating for more peaceful outcomes, as severed chains rest at her feet and she gestures toward a group of emancipated men, women, and children, painted in the conventional, paternalistic period pose of supplication. In the middle-ground, Black figures dance around a Liberty Pole, and play an African-derived American gourd banjo. This is the first known painting by an American-born artist to address the issue of transatlantic slavery and its abolition.

Artwork Details

Object Information
  • Title: Study For Liberty Displaying the Arts and Sciences, or The Genius of America Encouraging the Emancipation of the Blacks
  • Artist: Samuel Jennings (American, 1789–1834)
  • Date: ca. 1791–92
  • Culture: American
  • Medium: Oil on canvas
  • Dimensions: 10 3/4 × 12 1/2 in. (27.3 × 31.8 cm)
  • Credit Line: Purchase, Karen Buchwald Wright Gift, 2016
  • Object Number: 2016.50
  • Curatorial Department: The American Wing

Audio

Cover Image for 4021. Study For Liberty

4021. Study For Liberty

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NARRATOR: In this study for a painting, Samuel Jennings presents Lady Liberty in white with broken chains at her feet. The floor is strewn with objects relating to the arts and sciences, indicating a path to freedom paved by a Western education. Before her, Free Black figures bow gratefully, while others celebrate in the landscape. On the left, you can see a globe.

And that’s where things get interesting.

VINCENT BROWN: What I see there is the island of Hispaniola in red and green, blown up way out of proportion to anything that you might expect from the Caribbean on a globe like this.

NARRATOR: That’s Vincent Brown, the Charles Warren Professor of American History and Professor of African and African American Studies at Harvard University.

VINCENT BROWN: Knowing that this painting was finished in 1791 or 1792, during the massive slave uprising that became the Haitian Revolution and resulted in the creation of the second independent postcolonial nation state in the Americas and the first to abolish slavery, that becomes far more significant than almost anything else that I see. While one might assume that this is just Black figures thankful for the gift of wisdom, for the gift of liberty that comes from a white patron, this globe tells another story. It almost suggests that, look, if not liberty, then revolution.

NARRATOR: Jennings gave the final painting to the Library Company of Philadelphia. He had first suggested an image of Minerva, goddess of wisdom, but the committee members actually asked Jennings to make this abolitionist scene of Liberty and freed Black Americans.

VINCENT BROWN: It's an image of emancipation that's very much a gift from white people to black people, but it's also a representation of, frankly, their fundamental belief in white superiority. Something like the Haitian Revolution upset that idea entirely—this was black people making a world for themselves, by themselves. That’s just a place a lot of abolitionists could not get to. Even as we look back and understand that they were probably on the right side of history, they had their limitations too.

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