Comments

You must log in or register to comment.

onemanclic t1_iydbs2y wrote

But what about our heritage! /s

58

LittleKitty235 t1_iydz9om wrote

King George III, one of Americas greatest patriots! We need to teach both sides!

21

iliveoffofbagels t1_iyebzbt wrote

It was melted down into bullets. Is that not American enough for you?

18

onemanclic t1_iyeodhf wrote

Ha, love it! We should do the same for the recent Confederate statues!
Conservatives will love that too. We can sell them as commemorative bullets that they can use for their mass shootings. /s

5

BrooklynRobot t1_iyef543 wrote

The proud history of removing statues of dudes that don’t deserve to be honored in public.

27

Logical_Highway6908 t1_iydnv9h wrote

I’m tired of the cancel culture mob tearing down historical monuments. /s

26

Correct-Cricket3355 OP t1_iyd813c wrote

Have this print hanging in my bedroom. Found it at an antique store in Wisconsin.

16

HiFiGuy197 t1_iydi2z3 wrote

Remember the Bowling Green Massacre!

16

TheOneWhoReadsHugo t1_iydgrwz wrote

Who was it a statue of?

13

Correct-Cricket3355 OP t1_iydkpei wrote

BuT hE DoeSn’T HaVe A TAiL!?!

Five days after the Declaration of Independence was signed in Philadelphia, a pro-revolutionary group known as the New York Sons of Liberty tore down a statue of George III standing at Broadway and Bowling Green. This imaginative recreation of that event correctly shows enslaved and free Black men performing most of the labor, but dresses them in fanciful Turkish attire—a costume often worn by Black men in European art that refers to the legality of slavery in the Ottoman Empire. The Baroque architecture is more characteristic of a large European city from that era than Anglo-Dutch colonial New York, and the actual statue showed the king on horseback. Published in Paris, but based on a print issued slightly before in Augsburg and demonstrates broad European interest in the dramatic events taking place across the Atlantic. It was intended to be shown on a wall or screen using a "magic lantern", an optical device that projected the image by means of candles and mirrors, and often called a "Vue d'Optique.

10

dovishbull t1_iye6iw5 wrote

They actually melted the statue and turned it into bullets. Fun fact.

11

Gozillasbday t1_iydymyx wrote

It's almost like it's customary to tear down statue's of people who lose the war, not erect more at a later date long after the fact. In fact it feels downright American to tear down statues of losers.

10

mowotlarx t1_iyemxrl wrote

We should have kept the statue up because without statues we will forget history, amiright? /s

8

olli_bombastico t1_iyegec2 wrote

Black slave labor is doing all the work while the white folks are standing there watching. Just in case the Royals came out on top.

5

Flatbush_Zombie t1_iydp77j wrote

This was made François Xav. Habermann, an artist who made a whole series of these scenes of New York during the revolution.

I have myself have this one hanging on my wall that depicts how the British responded after taking the city ack.

On the originals you'll notice that the title at top is backwards as these were meant to be viewed through a zograscope! Also an easy way to tell an original from a repro but very neat none the less.

3

mathfacts t1_iyekrp1 wrote

Cancel culture strikes again. Sad to see

2

bobbyamillion t1_iyeybf7 wrote

The event occurred but the depiction is likely wrong. Someone somewhere else heard the story and assumed slaves pulled down the statue. Likely they didn't.

As well the built environment is not accurate.

2

Correct-Cricket3355 OP t1_iyf7drp wrote

Answered this previously:

Five days after the Declaration of Independence was signed in Philadelphia, a pro-revolutionary group known as the New York Sons of Liberty tore down a statue of George III standing at Broadway and Bowling Green. This imaginative recreation of that event correctly shows enslaved and free Black men performing most of the labor, but dresses them in fanciful Turkish attire—a costume often worn by Black men in European art that refers to the legality of slavery in the Ottoman Empire. The Baroque architecture is more characteristic of a large European city from that era than Anglo-Dutch colonial New York, and the actual statue showed the king on horseback. Published in Paris, but based on a print issued slightly before in Augsburg and demonstrates broad European interest in the dramatic events taking place across the Atlantic. It was intended to be shown on a wall or screen using a "magic lantern", an optical device that projected the image by means of candles and mirrors, and often called a "Vue d'Optique.”

3