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Johnston acquired a home in the French Quarter of New Orleans in 1940, retiring there in 1945, where she died in 1952 at the age of eighty-eight.

This and three other statues of chained slaves, placed at the base of the Monument of the Four Moors at Livorno, Italy, might have been made with actual slaves as models, whose names and circumstances remain unknown Slavery is a social-economic system under which persons are enslaved: deprived of personal freedom and forced to perform labor or services without compensation. The following is a list of historical people who were enslaved at some point during their lives, in alphabetical order by first name.

She traveled widely in her thirties, taking a wide range of documentary and artistic photographs of coal miners, iron workers, women in New England's mills and sailors being tattooed on board ship as well as her society commissions.

While in England she photographed the stage actress Mary Anderson, who was a friend of her mother.

The first two published works of this genre were written by two African-American former slaves.

In 1865, Paul Jennings published his recollections of a harrowing moment in American history, the 1814 burning of the White House during the War of 1812.

President Obama may be mortified by news that he sang along to Mary J.

Blige’s “Real Love,” on his first Inauguration night.

In December 1935, she began a year long project to capture the less evolved structures of the Colonial Era in Virginia.Johnston was named an honorary member of the American Institute of Architects for her work in preserving old and endangered buildings and her collections have been purchased by institutions such as the Metropolitan Museum of Art, the Virginia Museum of Fine Arts and the Baltimore Museum of Art.Although her relentless traveling was curtailed by petrol rationing in the Second World War the tireless Johnston continued to photograph.As her focus in architecture grew, she became specifically interested in documenting the architecture of the American South.She was not interested in photographing the grand homes and estates of the American South, but rather the quickly deteriorating structures in these communities that portrayed the life of common southerners.

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