The Freedman

Museum of Fine Arts, Houston, Afro–Atlantic Histories, Oct. 24, 2021–Jan. 17, 2022, no cat. no.; Washington, DC, National Gallery of Art, Apr. 10–July 17, 2022; Los Angeles County Museum of Art, Dec. 11, 2022–Sept. 10, 2023; Dallas Museum of Art, Oct. 22, 2023–Feb. 11, 2024 (Washington, DC, only).

Lorado Taft, The History of American Sculpture (Macmillan, 1924), 220–21, 229. Judith A. Barter, et al., American Arts at The Art Institute of Chicago: From Colonial Times to World War I (Art Institute of Chicago, 1998), 193–195, cat. 88 (ill.). Clare Kunny and Andrew Walker, “Introduction,” Art Institute of Chicago Museum Studies 27, no. 1 (2001): 4–6. Angela Miller, “Albert Bierstadt, Landscape Aesthetics, and the Meanings of the West in the Civil War Era,” Art Institute of Chicago Museum Studies 27, no. 1 (2001): 40–41, 57–59. Kirk Savage, “Molding Emancipation: John Quincy Adams Ward’s The Freedman and the Meaning of the Civil War,” Art Institute of Chicago Museum Studies 27, no. 1 (2001): 26–39, fig. 2. Adriano Pedrosa, ed., Afro-Atlantic Histories, exh. cat. (DelMonico Books, 2021), no cat. no., fig. 85 (ill.). Thayer Tolles, "The Freedman in Multiple: A Look at Its Casting History," in Emancipation: The Unfinished Project of Liberation, ed. Margaret C. Adler, exh. cat. (Fort Worth, TX: Amon Carter Museum of American Art, 2023), 96–111 (another example ill.).