In the realm of historical photography, few images resonate as profoundly as “Scourged Back,” a striking photograph that chronicles the harrowing reality of slavery in America. Captured in the 19th century, this powerful image depicts a Louisiana man, formerly enslaved, bearing the marks of severe physical abuse. The photograph became a pivotal tool for the abolitionist movement during the Civil War, shedding light on the brutalities of slavery to an otherwise unaware Northern audience.
More than 160 years after its creation, the influence of “Scourged Back” remains palpable. Museums, libraries, and universities across the United States prominently display this poignant portrait, utilizing it as an educational resource in a nation grappling with its historical injustices. As discussions surrounding the presentation of history in American museums grow increasingly contentious, this iconic photograph has emerged as a focal point in the ongoing cultural debates, especially regarding the previous Trump administration's efforts to reshape narratives in federal institutions.
Recently, the Washington Post reported that officials at an undisclosed national park had issued orders to remove “Scourged Back” along with other exhibits related to slavery. This decision aligns with an executive order from Trump that aimed to eliminate content deemed disparaging to “Americans past or living.” However, the US Interior Department, which oversees national parks, has since denied these claims, stating that no requests to remove the photograph had been made. Elizabeth Peace, a spokesperson for the department, emphasized the commitment to review any materials that may have been altered or removed inappropriately.
The potential removal of “Scourged Back” has sparked outrage among artists, activists, and curators, with many expressing their disapproval. Alan Spears, senior director of cultural resources at the National Parks Conservation Association, declared that removing the photograph would be “as shameful as it is wrong.” This incident coincides with a broader trend of criticism directed at museums by Trump, who has accused institutions like the Smithsonian of focusing excessively on the negative aspects of slavery.
The identity of the man in “Scourged Back,” known as either Peter or Gordon, remains a topic of historical debate. It is believed he escaped from a Louisiana cotton plantation in early 1863, eventually reaching Union lines in Baton Rouge. His journey was marked by hardship, as he reportedly suffered severe beatings from his overseer. Following his escape, Peter underwent a medical examination and was photographed by William D. McPherson and J. Oliver, with at least three versions of the image being produced. The final version, which is the most recognized, was crafted with a keen awareness of its potential impact, as noted by historian David Silkenat.
Originally produced as a “carte de visite,” a popular small-format photograph of the time, “Scourged Back” exemplified the power of photography as a medium for social change. The ease of reproduction allowed the image to circulate quickly, reaching audiences far beyond its initial context. The abolitionist newspaper, The Liberator, played a crucial role in disseminating the photograph, encouraging its readers to confront the harsh realities of slavery.
By July 1863, “Scourged Back” had been featured in the prominent publication Harper’s Weekly, further amplifying its reach. The image, while sensationalized in some respects, provided a stark visual confirmation of the violence inherent in American slavery. This depiction resonated deeply with Northern audiences, who had largely been shielded from the brutal realities of the institution.
The haunting image of Peter's scarred back continues to inspire contemporary artists and activists. Notably, in 2017, artist Arthur Jafa incorporated the photograph into his sculpture “Ex-Slave Gordon.” The image resurfaced during the Black Lives Matter protests in 2020, appearing in Kadir Nelson’s collage for the New Yorker cover, and influencing Dario Calmese’s photography with Viola Davis. Additionally, Peter’s story was retold in the 2022 film “Emancipation” starring Will Smith.
Despite the controversies surrounding its display, institutions like the National Portrait Gallery and the National Museum of African American History and Culture continue to hold prints of “Scourged Back.” As the Trump administration initiates reviews of Smithsonian content, the future of how this photograph is presented remains uncertain. The ongoing debate surrounding the portrayal of America’s complex past will undoubtedly shape the narrative of “Scourged Back” in the years to come.
