Celeste-Marie Bernier is Professor of United States and Atlantic Studies, University of Edinburgh. Bill E. Lawson is Emeritus, Distinguished Professor in Philosophy at the University of Memphis.

• List of Illustrations xi Acknowledgements xivForeword Deborah Willis 1 Preface Celeste-Marie Bernier and Bill E. Lawson 7 Introduction: ‘Paint me as I am’: The Many Faces of Frederick Douglass Celeste-Marie Bernier and Bill E. Lawson 19 Part I Imaging Frederick Douglass1 P ictures and Progress: Frederick Douglass and the Beginnings of an African American Aesthetic in Photography Donna M. Wells 43 2 The Abolitionist and the Camera: Frederick Douglass’ Photographic Half-Century Zoe Trodd 57 3 Anna Murray Douglass, ‘The Mother of Cedar Hill’:Photography and the Representation of Nineteenth-Century Black Women’s Activism Earnestine Jenkins 77 4 ‘A Faithful Representation of the Man?’ The Pre-Civil War ‘Sorrow Images’ of Frederick Douglass Celeste-Marie Bernier 105 5 Last Objects: Death, Autobiography and the Final Imprint Fionnghuala Sweeney 143 Part II Imagining Frederick Douglass6 Transatlantic Portrayals of Frederick Douglass and his Liberating Sojourn in Music and Visual Arts 1845–2015 Alan Rice 167 7 Cedar Hill: Frederick Douglass’ Second Skin Jeffrey C. Stewart 189 8 Frederick Douglass in the Age of Moving Pictures Hannah Durkin 231 9 Looking Forward and Looking Back: Rashid Johnson and Frederick Douglass on Photography Shawn Michelle Smith 255 10 Viral Virtual Varicose Douglass Inside the World Wide Web: Or How to Make a Great Black Man Invisible Marcus Wood 275 11 Subverting the Racist Lens: Frederick Douglass, Humanity and the Power of the Photographic Image Bill E. Lawson and Maria Brincker 299 Afterword John Stauffer 329 Notes on Contributors 333 Index 339

Celeste-Marie Bernier is Professor of United States and Atlantic Studies, University of Edinburgh. Bill E. Lawson is Emeritus, Distinguished Professor in Philosophy at the University of Memphis.

• List of Illustrations xi Acknowledgements xivForeword Deborah Willis 1 Preface Celeste-Marie Bernier and Bill E. Lawson 7 Introduction: ‘Paint me as I am’: The Many Faces of Frederick Douglass Celeste-Marie Bernier and Bill E. Lawson 19 Part I Imaging Frederick Douglass1 P ictures and Progress: Frederick Douglass and the Beginnings of an African American Aesthetic in Photography Donna M. Wells 43 2 The Abolitionist and the Camera: Frederick Douglass’ Photographic Half-Century Zoe Trodd 57 3 Anna Murray Douglass, ‘The Mother of Cedar Hill’:Photography and the Representation of Nineteenth-Century Black Women’s Activism Earnestine Jenkins 77 4 ‘A Faithful Representation of the Man?’ The Pre-Civil War ‘Sorrow Images’ of Frederick Douglass Celeste-Marie Bernier 105 5 Last Objects: Death, Autobiography and the Final Imprint Fionnghuala Sweeney 143 Part II Imagining Frederick Douglass6 Transatlantic Portrayals of Frederick Douglass and his Liberating Sojourn in Music and Visual Arts 1845–2015 Alan Rice 167 7 Cedar Hill: Frederick Douglass’ Second Skin Jeffrey C. Stewart 189 8 Frederick Douglass in the Age of Moving Pictures Hannah Durkin 231 9 Looking Forward and Looking Back: Rashid Johnson and Frederick Douglass on Photography Shawn Michelle Smith 255 10 Viral Virtual Varicose Douglass Inside the World Wide Web: Or How to Make a Great Black Man Invisible Marcus Wood 275 11 Subverting the Racist Lens: Frederick Douglass, Humanity and the Power of the Photographic Image Bill E. Lawson and Maria Brincker 299 Afterword John Stauffer 329 Notes on Contributors 333 Index 339

Celeste-Marie Bernier is Professor of United States and Atlantic Studies, University of Edinburgh. Bill E. Lawson is Emeritus, Distinguished Professor in Philosophy at the University of Memphis.

• List of Illustrations xi Acknowledgements xivForeword Deborah Willis 1 Preface Celeste-Marie Bernier and Bill E. Lawson 7 Introduction: ‘Paint me as I am’: The Many Faces of Frederick Douglass Celeste-Marie Bernier and Bill E. Lawson 19 Part I Imaging Frederick Douglass1 P ictures and Progress: Frederick Douglass and the Beginnings of an African American Aesthetic in Photography Donna M. Wells 43 2 The Abolitionist and the Camera: Frederick Douglass’ Photographic Half-Century Zoe Trodd 57 3 Anna Murray Douglass, ‘The Mother of Cedar Hill’:Photography and the Representation of Nineteenth-Century Black Women’s Activism Earnestine Jenkins 77 4 ‘A Faithful Representation of the Man?’ The Pre-Civil War ‘Sorrow Images’ of Frederick Douglass Celeste-Marie Bernier 105 5 Last Objects: Death, Autobiography and the Final Imprint Fionnghuala Sweeney 143 Part II Imagining Frederick Douglass6 Transatlantic Portrayals of Frederick Douglass and his Liberating Sojourn in Music and Visual Arts 1845–2015 Alan Rice 167 7 Cedar Hill: Frederick Douglass’ Second Skin Jeffrey C. Stewart 189 8 Frederick Douglass in the Age of Moving Pictures Hannah Durkin 231 9 Looking Forward and Looking Back: Rashid Johnson and Frederick Douglass on Photography Shawn Michelle Smith 255 10 Viral Virtual Varicose Douglass Inside the World Wide Web: Or How to Make a Great Black Man Invisible Marcus Wood 275 11 Subverting the Racist Lens: Frederick Douglass, Humanity and the Power of the Photographic Image Bill E. Lawson and Maria Brincker 299 Afterword John Stauffer 329 Notes on Contributors 333 Index 339