Interracial dating stereotypes
Mc Elroy in the catalog to the exhibit "Facing History: The Black Image in American Art 1710-1940." According to Mc Elroy, the artistic convention of representing African-Americans as less than fully realized humans began with Justus Engelhardt Kühn's colonial era painting Henry Darnall III as a child. Watson represents an historical event, while Liberty is indicative of abolitionist sentiments expressed in Philadelphia's post revolutionary intellectual community.
Although Kühn's work existed "simultaneously with a radically different tradition in colonial America" as indicated by the work of portraitists such as Charles (or Carolus) Zechel, (see Portrait of a Negro Girl and Portrait of a Negro boy) the market demand for such work reflected the attitudes and economic status of their audience. Liberty Displaying the Arts and Sciences, or The Genius of America Encouraging the Emancipation of the Blacks, 1792. Nevertheless, Jennings' painting represents African-Americans as passive, submissive beneficiaries of not only slavery's abolition, but knowledge, which liberty has graciously bestowed upon them.
Neither the Roper Report nor the General Social Survey specifically queried respondents on their attitudes or practices concerning interracial dating.
White blackface performers in the past used burnt cork and later greasepaint or shoe polish to blacken their skin and exaggerate their lips, often wearing woolly wigs, gloves, tailcoats, or ragged clothes to complete the transformation.
The best known stock character of this sort is Jim Crow, featured in innumerable stories, minstrel shows, and early films.
Parting Comments Before Marriage – Stereotypes and Obstacles No matter your background, an interracial marriage will be met with obstacles on both sides.
It is especially the case for the generation of people whose parents were immigrants, and they themselves were raised here.