xiii, 224 p

"Examines the artwork of Hammatt Billings, George Cruikshank, Winslow Homer, Eastman Johnson, Henry Ossawa Tanner, and Thomas Satterwhite Noble to show how, as Uncle Tom's Cabin gained popularity, visual strategies were used to coax the subversive potential of Stowe's work back within accepted boundaries that reinforced social hierarchies"--Provided by publisher

Includes bibliographical references and index

Picturing Uncle Tom with Little Eva: reproduction as legacy -- The passion of Uncle Tom: pictures join words to challenge patriarchy -- From Barefoot Madonna to Maggie the Ripper: Thomas Satterwhite Noble reconstructs Eliza and Cassy -- Winslow Homer visits Aunt Chloe's old Kentucky home -- Henry Ossawa Tanner's The banjo lesson and the iconic persistence of Uncle Tom

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