The Metropolitan Museum of Art recently acquired a 19th-century portrait that had concealed an enslaved figure for over a century. The painting's journey reflects the erasure of Black figures in American history. Art collector Jeremy K. Simeon discovered the painting's significance and uncovered its hidden history. The story began with the Grasser family, who originally owned the painting. Audrey Grasser, the mother, donated it to a museum in 1972, but it was stored away for 32 years. Institutional neglect played a role in its obscurity. After being sold at auction, the painting was restored, revealing the hidden figure. Research by Katie Shannon identified the figure as Belazaire, who was enslaved but traveled with the Frye family and may have cared for their children. The painting was eventually acquired by the Metropolitan Museum of Art, shedding light on a hidden chapter of American history.
Sure, here are the key facts extracted from the provided text:
1. The Metropolitan Museum of Art acquired a 19th-century portrait depicting an enslaved person.
2. The portrait was initially acquired from an auction record by Jeremy K. Simeon.
3. The painting had a fourth figure (an enslaved child) that had been painted out.
4. The family story behind the painting involved a relative of the white children in the portrait, Eugene Grasser.
5. Audrey, Eugene's mother, donated the painting to the New Orleans Museum of Art in 1972.
6. The painting was placed in museum storage for 32 years and was neglected.
7. Craig Crawford, a painting conservator, was hired to restore the painting.
8. Katie Shannon researched and traced the identity of the enslaved child in the painting, who was named Belazair.
9. Belazair was sold with his mother, Sally, in 1828 and accompanied Frederick Frye on voyages.
10. Belazair was later sold to Evergreen Plantation, and at some point, he was painted out in the portrait.
11. The cover-up of Belazair in the portrait likely occurred around the turn of the century in New Orleans.
12. The Metropolitan Museum of Art acquired the painting for its permanent collection.
13. The importance of preserving and exhibiting such artworks highlighting the history of enslaved people is emphasized.
14. The neglect of such artworks in museum storage is highlighted as a concerning issue.
These are the factual points extracted from the text, excluding opinions and additional details.