Description
In the mid-1970s, John Hanson Mitchell came upon over two thousand antique glass plate negatives within the attic of an estate in Massachusetts. On the time, he believed the photographs to be the work of William Brewster, the nineteenth century ornithologist and conservationist. Because of a tip from a Harvard research assistant, Mitchell came to imagine that the plates were not the work of Brewster, but of his assistant, a little bit-known African American named Robert Gilbert.
In his quest to uncover the story, Mitchell’s trail leads from the archives of the Museum of Comparative Zoology at Harvard, to the countryside of Virginia; from the haunts of American expatriates in Paris, to the culturally-wealthy world of African Americans in Boston On the turn of the last century.
Gilbert remained as illusive as the image at the original negatives that he created more than a hundred years ago, but with careful deconstruction of the photographic images, Mitchell is in a position to make visible this invisible man. From the investigation of the haunting photographs of landscapes and people, Gilbert slowly comes into focal point as a quiet, unassuming Renaissance man who forged on within the face of social pressures and American racism.
In his quest to uncover the story, Mitchell’s trail leads from the archives of the Museum of Comparative Zoology at Harvard, to the countryside of Virginia; from the haunts of American expatriates in Paris, to the culturally-wealthy world of African Americans in Boston On the turn of the last century.
Gilbert remained as illusive as the image at the original negatives that he created more than a hundred years ago, but with careful deconstruction of the photographic images, Mitchell is in a position to make visible this invisible man. From the investigation of the haunting photographs of landscapes and people, Gilbert slowly comes into focal point as a quiet, unassuming Renaissance man who forged on within the face of social pressures and American racism.
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