This research note reflects on the ways in which portraits function as complex indicators of racial, cultural, and regional identities and histories. It argues that the flexibility of meaning for such paintings lies not only with the artist and the sitter, but is equally shaped by audiences and historians.
Edited by Naomi Slipp
As Americanists, reckoning with the South might also help us to understand its diverse regional histories and reflect upon broader national contemporary discourses, both from within and without.
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