The Legacy of Daniel A. P. Murray
As Told Through Photography from the 1900 Paris Exposition
This StoryMap is part of the series "Mapping the Stories: The Legacy of Daniel A. P. Murray," which includes several projects produced by Library of Congress Junior Fellows in 2024. Additional entries in this series include Researching Race Textbooks in the 1900 Paris Exposition and Daniel A. P. Murray's Literary Elitism .
Introduction
Daniel A. P. Murray (1852-1925) . Photographer unknown, undated. Library of Congress.
Daniel A. P. Murray (1852-1925), born in Baltimore, Maryland, was the second African American to be employed at the Library of Congress. Working as an assistant librarian for forty years, Murray was dedicated to collecting literature written by and for African Americans. Murray is well known for his own writings on African American history and worked with other prominent civil rights activists, such as W.E.B Du Bois, in support of the preservation and positive representation of Black culture and history.
One of Daniel A. P. Murray and W.E.B Du Bois's most notable collaborations was their contributions to an exhibit at the 1900 Paris Exposition.
The 1900 Paris Exposition
Exposition Universelle of 1900
La Porte Monumentale - chief entrance to the Exposition, Paris , Benjamin Lloyd Singley, 1900, Prints and Photographs Division.
The 1900 Paris Exposition was a world’s fair held to celebrate the achievements of mankind from the past century. A major inspiration for the exposition was to marvel at the sheer number of technological advancements that had been made in the 19th century. There were a variety of things to see such as moving sidewalks, advanced telescopes, escalators - objects that had never been seen before. The Eiffel Tower made its debut the year before at the 1889 Paris Exposition. Spanning over 530 acres, the fairgrounds included the Grand Palais, the Globe Céleste, and the Champ de Mars.
There were over 50 million visitors from all over the world with almost every nation being represented with an exhibit. The United States' exhibit emphasized their position as a Western power. Within the larger exhibit on the U.S.A there was a smaller display that specifically highlighted the achievements and advancements of African Americans and their culture in America.
The American Negro Exhibit
Exhibit of the American negroes at the Paris exposition , photographer unknown, 1900, Prints and Photographs Division.
The initial exhibit concept and planning for the American Negro Exhibit were done by Thomas Calloway, an African American lawyer and journalist. Thomas Calloway directly appealed to William McKinley, the 25th President of the United States, for African Americans to be represented within the larger exhibit focused on the United States.
The exhibit was entitled "The American Negro Exhibit." The display included maps, books, photographs, research, and charts that spotlighted the achievements and advancements of African Americans and their culture. Daniel A. P. Murray contributed a bibliography of literature written by and for African Americans. W.E.B Du Bois curated a collection of photographs that highlighted the diverse and rich identities and lives of Black people. Over 500 photographs were assembled into albums and entitled "Types of American Negroes."
In this exhibit there are, of course, the usual paraphenalia for catching the eye — photographs, models, industrial work, and pictures. But it does not stop here; beneath all this is a carefully thought-out plan, according to which the exhibitors have tried to show: (a) The history of the American Negro. (b) His present condition. (c) His education. (d) His literature.
'Types of American Negroes' albums
LEFT: [Home of an African American lawyer...] , Thomas E. Askew, [1899 or 1900], Prints and Photographs Division. MIDDLE: [Three African American boys...] , Photographer unknown, [1899 or 1900], Prints and Photographs Division. RIGHT: [African American men and women posed for portrait...] , Thomas E. Askew, [1899 or 1900], Prints and Photographs Division.
Photography opened a new world of opportunities to authentically represent oneself. This is particularly true of African Americans in the late 19th century and early 20th century. During this period, there was an influx of African Americans getting their photos taken as a reclamation of identity and agency, following a long period of being robbed of both. Representation by them and for them had become possible.
LEFT: [Young African American man, half-length portrait...] , Photographer unknown, [1899 or 1900], Prints and Photographs Division. MIDDLE: [African American girl, half-length portrait...] , Thomas E. Askew, [1899 or 1900], Prints and Photographs Division. RIGHT: [Young African American woman, half-length portrait...] , photographer unknown, [1899 or 1900], Prints and Photographs Division.
The portraits feature African Americans in a light that had not been possible before. The dresses, poses, props, and gazes are intentional choices made to display the subjects in a progressive manner. This was a direct contrast to the rampant racist portrayals seen in American society at the time. Both men, women, and children donned affluent clothing and sophisticated poses, portraying themselves as intelligent, well-to-do, and “cultured.” The albums show families, business owners, musicians, students, and more.
LEFT: [African American woman, head-and-shoulders...] , Photographer unknown, [1899 or 1900], Prints and Photographs Division. MIDDLE: [African American girl, half-length portrait, looking at an open book] , Photographer unknown [1899 or 1900], Prints and Photographs Division. RIGHT: [Young African American woman, three-quarter length portrait, facing slightly right, with hands...] , Thomas E. Askew, [1899 or 1900], Prints and Photographs Division.
The photographs speak to the nuanced Black experience.
LEFT: [African American man, half-length portrait...] , Photographer unknown, [1899 or 1900], Prints and Photographs Division. MIDDLE: [African American woman, head-and-shoulders...] , Photographer unknown, [1899 or 1900], Prints and Photographs Division. RIGHT: [African American man giving piano lesson...] , Photographer unknown, [1899 or 1900], Prints and Photographs Division.
The Legacy of Daniel A. P. Murray
The 1900 Paris Exposition was a monumental event. The representation of African Americans at this global fair, considering the state of society at the time, is extremely significant. Following the Paris Exposition, Daniel A. P. Murray went on to exhibit his contributed book collection, along with the rest of the exhibit display, at 6 other expos in the following 13 years.
This timeline shows the subsequent expositions that the American Negro Exhibit traveled to:
Murray recognized the power and impact of the photographs; the entire collection was bequeathed to the Library in 1926.
LEFT: [Four African American women seated...] , Thomas E. Askew, [1899 or 1900], Prints and Photographs Division. MIDDLE: [African American family posed for portrait...] , Photographer unknown, [1899 or 1900], Prints and Photographs Division. RIGHT: [African American band posed on steps to brick...] , Photographer unknown, [1899 or 1900], Prints and Photographs Division.
Daniel A. P. Murray’s legacy continues to inspire and teach us by keeping these stories and individuals alive in conversation and engagement.
LEFT: [Two African American men sitting in horse-drawn carriage,...] , Photographer unknown, [1899 or 1900], Prints and Photographs Division. MIDDLE: [Exterior view of "Dr. McDougald's Drug Store"...] , Photographer unknown, [1899 or 1900], Prints and Photographs Division. RIGHT: [Interior view of grocery store in Georgia] , Photographer unknown, [1899 or 1900], Prints and Photographs Division.
African American 20th Century Photography
Self portrait of James Van Der Zee , ca. 1918. Via Wikimedia Commons.
Photographer James Van Der Zee (1886 - 1983) captured African Americans during the Harlem Renaissance, appealing to the same goals of self-representation. Black people in the middle class often commissioned photographs from Van Der Zee to encapsulate the reality of their social lives and culture. Through attentive compositions the photographer aimed to convey a racial pride.
LEFT: Portrait of Sisters , James Van Der Zee, 1926, National Gallery of Art. RIGHT: Portrait of a Couple , James Van Der Zee, 1924, National Gallery of Art.
Photography continues to be a meaningful part of African American culture, as a medium for self-expression and representation.
