Breaking Out – A Lively Scrimmage

The late nineteenth-century Darktown prints by Currier & Ives depict racist stereotypes that are offensive and disturbing. The Metropolitan Museum of Art preserves such works to shed light on their historical context and to enable the study and evaluation of racism.

This print shows a rearing brown horse breaking free from being tethered to a wooden rail fence, thereby destroying the fence and sending three Black (African American) boys and a youth (wearing a red vest) tumbling and flying through the air. One of the airborne boys, center, has his arms and legs wrapped around a fence rail. At the lower right, another Black boy runs away along the remaining rail fence. Beyond the chaotic scene in the foreground, there is an idyllic pasture hillside beneath a pale blue sky.


Nathaniel Currier, whose successful New York-based lithography firm began in 1835, produced thousands of hand-colored prints in various sizes that together create a vivid panorama of mid-to-late nineteenth century American life and its history. People eagerly acquired such lithographs featuring picturesque scenery, rural and city views, ships, railroads, portraits, hunting and fishing scenes, domestic life and numerous other subjects, as an inexpensive way to decorate their homes or business establishments. As the firm expanded, Nathaniel included his younger brother Charles in the business. In 1857, James Merritt Ives (the firm's accountant since 1852 and Charles's brother-in-law) was made a business partner; subsequently renamed Currier & Ives, the firm continued until 1907. The artist of this print is Thomas Worth, a prolific nineteenth-century illustrator who excelled at drawing horses and other subjects, many of which were made into lithographs published by Currier & Ives.