An 1845 portrait of one of the first African-Americans enslaved in the United States, which was given to a Smithsonian Institution exhibition in 2013, is a rare example of an artist creating a work of art that was never meant to be viewed by the public.
The painting by artist Charles M. Walker, who died in 2012, shows the face of a man in an ornate robe with a large, black beard and a pair of white gloves on a bed of flowers.
He is dressed in a black coat, with a red star in the center.
In the background, an African-American woman is sitting with her back to the viewer, dressed in the same black gown as the slave.
In the painting, Walker is depicted as an old, balding man with a moustache and a beard.
But the portrait has a history that stretches back centuries.
In 1823, Walker was working on a portrait of slave John C. Brown when he was killed by a mob in what would become known as the “Battle of Bull Run.”
The painting was later destroyed.
Walker’s death left a hole in the public’s understanding of African-America history, according to a report by the National Park Service.
In fact, the painting has become a rallying point for abolitionists, who have been lobbying to have the painting removed from the National Museum of African American History and Culture.
In 2014, the Smithsonian Institution announced it was pulling the painting from the exhibition, which included Walker’s portraits of African Americans.
In a statement, the museum said it was “deeply troubled” by the museum’s decision.
“This portrait of the slave John Brown was never intended for public viewing,” the statement said.
“Its display is not a museum exhibit, and its display is an artifact of racism.
The painting’s historical significance was never the intent of the artist, and it does not reflect contemporary social, political, or cultural trends.”
The painting was purchased by the Smithsonian in the late 1980s.
In 2017, it was restored and opened for public view at the National Portrait Gallery in Washington.
The National Museum’s statement was published on its website.
In a statement emailed to The Washington Times, the Museum said it had consulted with Walker’s family and would “continue to explore ways to address this painting’s cultural significance and value.”
Walker was an artist whose work was a major influence on the development of modern art.
He also made contributions to the creation of a range of other works, including the “The Negro,” a portrait that became a rallying cry for the Civil Rights movement in the 1960s.
The museum said in its statement that the museum would continue to seek new ways to explore Walker’s work and the value it represents.