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JOHN W. JONES "Color of Money"  Artist Gallery


Depictions of Slavery in Confederate and Southern States Currency
Original Acrylic on Canvas Paintings by  

NORTH CAROLINA

State of North Carolina, $4.00

Factory Workers 

Southerners also knew that if slavery could be transferred from the fields to the factories, slaveowners could control the emerging industrial economy in America and the world. “Slave Factory Workers” is the only known image of slaves in an industrial setting. However, Southerners were worried that if slaves proved intelligent enough to operate a machine, it would be difficult to justify keeping them in bondage

In addition, the concept of “Industrial Slavery” was threatening to white industrial wage laborers and the economic dominance of factory owners who had to pay for labor.


GEORGIA


The State of Georgia $20.00

Agitation against slavery assumed a critical importance by the end of the 1850s. Banks and engravers were very deliberate in portraying the importance of African American slave labor to the economic development of the South and the nation. Scenes of agricultural labor, dominated, including cotton, tobacco, sugar cane, and turpentine. Images also reveal how slavery influenced every aspect of daily life in the United States, including the introduction of such dietary staples as sugar, rice, and poultry, as well as such luxury items such as tobacco.

Banks and engravers told a story of slavery that glorified, justified, and ratified an inhumane institution. John W. Jones on the other hand, tells a story of strong and indomitable character, the will to survive and carry on the qualities brought from Africa. Look at how the artist uses light and color to tell this story. Notice how the clothing of these noble people is depicted in the colors of precious gems.


ALABAMA


State of Alabama  $50.00

mages on Southern currencies circulating throughout the country were designed to reinforce Southern convictions about the legitimacy of enslaved labor and to convince Northerners of its beneficial nature for Africans. Images were increasingly characterized by smiling workers and well dressed blacks in happy scenes. Note the painful hypocrisy in portraying a happy mother and child within a system that routinely separated families and sold children.



SOUTH CAROLINA

State of South Carolina  $50.00

Though the end of the Civil War abolished slavery, its destructive images of racism and discrimination prevailed, engraved on currencies in the South through a century of Jim Crow laws and segregation. 
As late as 1872, for example, an image of “happy” slaves picking cotton appeared with George Washington on a $50.00 revenue bond scrip issued by the State of South Carolina.



VIRGINIA & WASHINGTON, D.C.

Citizens Bank, Washington DC  $3.00

State of Virginia  $50.00

After independence, support for centralized government in the United States was encouraged among rebellious and disenfranchised white laborers through the creation of a permanently subordinate black slave caste available for economic exploitation.

The demand for images of slavery on Southern currency, which came about as a part of the growing importance of the "slavery question," caught printers off guard. They responded by changing their existing images of white laborers intoblack slaves. 

Notice how the white farmer carrying a basket of corn on the note from The Citizens Bank of Washington, D.C. is transformed into a black slave carrying the same basket of corn on the $50.00 note issued by the Bank of Howardsville in Virginia.



MICHIGAN & SOUTH CAROLINA

State of Michigan  $1.00

State of South Carolina  $5.00

After independence, support for centralized government in the United States was encouraged among rebellious and disenfranchised white laborers through the creation of a permanently subordinate black slave caste available for economic exploitation.

The demand for images of slavery on Southern currency, which came about as a part of the growing importance of the "slavery question," caught printers off guard. They responded by changing their existing images of white laborers intoblack slaves. 

Notice how the solitary rider on the $1.00 note from Michigan, stopped to watch a group of white harvesters becomes an overseer with a whip taking stock of black slaves picking cotton on the $5.00 note from South Carolina.



GEORGIA

Georgia Savings Bank, Georgia, $5.00

Within the slaveocracy, exploitation was economic, political, socio-cultural, even biological and physical in character. New groups of people such as mulattos emerged and were enslaved, thereby expanding the numbers of the slave caste.

In the image titled “Slave Profits,” engravers recycled a classic mythical figure to legitimate slavery. Moneta, a Roman goddess of money, claims the riches of an enslaved labor system seen toiling in the background. They work, and she gets the money. In recycling the myth once more, notice how the artist John W. Jones chooses to tell the story. Compare his creation of the goddess with that of the engraver. Why did the artist paint Moneta, as a mulatto in the painting “Slave Profits”? What other elements of the slave system are depicted in the painting?



KENTUCKY

$2 IN KENTUCKY

Title: Slave Butchering Hog
Artist: John Jones
Original Acrylic on Canvas

 

Title: Confederate Currency: 
The Color of Money
Artist: John Jones
Editor: Dr. Gretchen Barbatsis

John W. Jones 
Artist, Lecturer and Legacy Preservationist

John W. Jones - Biography

Born May 11, 1950 in Columbia, S.C. Jones has been a freelance artist and illustrator for more than 25 years. His former clients include Time Life Books, IBM, Westinghouse, Rubbermaid, NASA, Gadded Space and Flight Center, and the U.S. Postal Service.

Jones explores life through art. This multi-talented artist uses oils, acrylics and watercolors for his painting. Striving for detail in light and reflection, he meticulously draws each painting first, and then layers it with color, resulting in very realistic interpretations of everyday life and landscapes, as well as historical insights into our past.

Jones’ goal is to paint the African American experience starting with the slave trade in Africa, through the Middle Passage and pre-civil war era, and contrast it with African Americans today.

Mr. Jones is the artist and author of the book and traveling exhibition, Confederate Currency: The Color of Money, Images of Slavery in Confederate and Southern States Currency.

In addition to the “Confederate Currency: The color of Money” series, he has painted a series on the Buffalo Soldiers, the 54thMassachusetts regiment and African Americans in the Military. He is currently working on a project that puts focus on the everyday lives of the Gullah people and the struggles and issues they face in trying to sustain their culture in modern day America.

His work is represented in several private and public collections including the Charleston Metro Chamber of Commerce, the City of Charleston, Benedict College, The College of Charleston, and The Martin Luther King, Jr., National Historic Site. His recent published works include "The cover of the Charleston Area Visitors guide", and "the Charleston Farmers Market". His paintings are available at the Rita Smith Gallery in Columbia, SC and Gallery Chuma in Charleston, SC.

Jones has received several awards, including merit awards for his works in the 1998 and 1999 Piccolo Spoleto Festival Art Show.

Jones, who graduated from high school in 1968 and self-taught, has been drawing since early childhood. Drafted into the U.S. Army in 1970, Jones served in the Vietnam War, where he also took illustration classes in military School.

Jones has lectured widely as an artist, activist and motivational speaker at various universities and colleges, conferences and corporate events.

His current traveling exhibition, Confederate Currency: The Color of Money has been featured in several well-respected and top media outlets, including The New York Times, Time Magazine, San Francisco Chronicle, The Boston Globe, CNN and National Public Radio and The Post and Courier.

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Please click on this link to hear the John W. Jones Fresh Air interview by Barbara Bogaev
broadcast on August 14, 2002 on over 400 NPR radio stations nationwide.


 

 





 



 



 

 

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         Live Television interview on April 10, 2001 on

 

APRIL 30, 2001 VO. 157 NO. 17

Ghosts Of The South

FOR MORE INFO: www.colorsofmoney.com