Organized by Curator, William Keyes Rudolph, in collaboration with The Historic New Orleans Collection, the exhibition In Search of Julien Hudson: Free Artist of Color in Pre-Civil War New Orleans, on view until March 11 at the Worcester Art Museum, is an ambitious project. It is the first retrospective of Hudson’s work and presented as an art historical discussion. Through traditional paintings, miniatures, prints, and sculpture by a number of artists, not just Hudson, along with in-depth exhibition literature, the show provides a contextual view of Hudson’s portrait work during a transitional period in American history.
Julien Hudson (1811-1844), already known in the art historical literature, was not identified as black until 1995. He was a mystery. “His history is a combination of detection, speculation, and invention, conducted at different times by multiple people and all containing aspects of truth,” writes Rudolph. Hudson’s career spanned about a decade and only six signed and dated paintings have survived. The work, in comparison to some of his contemporaries, is not as accomplished, yet he remains significant. Hudson is respected as the second earliest biracial artist in the United States after Joshua Johnson (1763-1824).
The exhibition brings to light the importance of portraiture as a mode in the play of class, race, and identity politics in nineteenth century American history. As free people of color expanded their economic influence they became patrons of the arts. Hudson was one of several artists during this period who was hired by blacks to paint their portraits. Hudson’s Portrait of a Black Man is an example of the type of dignified and culturally mixed portrayals of free people of color. The unidentified sitter wears the clothing styles of both his white and black heritage.
Special attention should to be given to the accomplished paintings of Jacques Guillaume Lucien Amans (1801-1888) who is represented by two superb portraits including the well-known Creole in a Red Turban, circa 1840. It can be noted clearly how Hudson attempted to follow the Neoclassical tradition as exemplified by Amans in his own portrait style.
Hudson’s own mixed ancestry allowed him to function successfully within multiple worlds and was, as Rudolph explains in his essay, the “historic reality of a particular class of people in the eighteenth- and -nineteenth century.” His 1839 Self-Portrait is a curious example and underscores the reality that racial identity is not easy to determine. A white appearance allowed Creole people to participate in important professions leading significant and open lives as artists, musicians, and writers.
The rich history and accomplishment of African Americans is celebrated in February in the United States and Free Artist of Color in Pre-Civil War New Orleans is a must see exhibition.
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