This story is fascinating. It’s about the quest to understand the origins of a painting of three white children that originally included a young slave. At some point, the enslaved youth was painted over and eliminated.

One determined art collector enlisted the help of art historians to identify the white children and the enslaved youth. The young man was named Bélizaire. The painting was held for decades in storage in a New Orleans art museum. It was just another family painting: three children. If you can open the video, please do (I don’t know if it is behind a pay wall).

Once the original painting was restored and its history documented, it was purchased by the Metropolitan Museum of Art, where it is prominently displayed.

“How a Rare Portrait of an Enslaved Child Arrived at the Met” is a 10-minute film that touches on themes of race, art and history.

For many years, a 19th century painting of three white children in a Louisiana landscape held a secret. Beneath a layer of overpaint meant to look like the sky: the figure of an enslaved youth. But a 2005 restoration revealed him and now the painting has a new, very prominent home at the Metropolitan Museum of Art. Who was the enslaved child? Who covered over his figure? Why did the painting languish for decades in attics and a museum basement?

The Times further describes the journey of the painting:

To learn more, read “‘His Name Was Bélizaire’: Rare Portrait of Enslaved Child Arrives at the Met.” Alexandra Eaton writes:

One reason “Bélizaire and the Frey Children” has drawn attention is the naturalistic depiction of Bélizaire, the young man of African descent who occupies the highest position in the painting, leaning against a tree just behind the Frey children. Although he remains separated from the white children, Amans painted him in a powerful stance, with blushing cheeks, and a kind of interiority that is unusual for the time.

Since the Black Lives Matter movement, the Met and other museums have responded to calls to reckon with the presentation of Black figures. When the European Galleries reopened in 2020, the museum included wall texts to highlight the presence of African people in Europe and to call attention to issues of racism, previously unmentioned. In the American Wing, which had presented “a romanticized history of American art,” Kornhauser said, a presidential portrait was recast with the consciousness of the present: John Trumbull’s 1780 portrait of George Washington and his enslaved servant William Lee identified only the former president until 2020, when Lee’s name was added to the title. However, unlike Bélizaire, Lee is depicted at the margins, lacking in any emotion or humanity.

Jeremy K. Simien, an art collector from Baton Rouge, spent years trying to find “Bélizaire” after seeing an image of it online in 2013, following its restoration, that featured all four figures. Intrigued, he kept searching, only to find an earlier image from 2005, after the painting had been de-accessioned by the New Orleans Museum of Art and was listed for auction by Christie’s. It was the same painting, but the Black child was missing. He had been painted out.

“The fact that he was covered up haunted me,” Simien said in an interview.