The choice of Wyeth—not Pollock, not Warhol—to represent the kind of American art that the publishers wished to highlight in the magazines to their burgeoning [Taiwanese] readership, almost three decades after the end of WWII, was indeed curious. Why Wyeth, in the early 1970s?
I have looked at hundreds of colonial portraits, and the most intriguing figure that I have seen is unnamed, barely visible, only about five inches tall, and whose face is largely obscured. This figure is an African groom—who I can now argue is the first known representation of a person of African descent in a British North American painting.
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