Commissioned in 1983 by the Association of Black Princeton Alumni, this bust of Frederick Douglass was the first piece of art on the Princeton campus to depict an influential African American figure. On the plaque is a list of recipients of the Frederick Douglass Award, given to students who exhibit courage, leadership, and intellectual achievement and contribute to a deeper understanding of racial minorities.
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Ruth Inge Hardison was an African American sculptor and photographer, known for her 1960s bust series Negro Giants in History. Departing from many representations of the renowned abolitionist, Hardison conspicuously omitted Douglass’s prominent beard. His bare face gives the impression of a young, passionate leader of resistance. Casting the sculpture in bronze gave Douglass’s features a literal edge. His jawline is angular, and his chin is shaped in a straight line. This rigidity pairs well with the fire in Douglass’s gaze. Deep, thin lines are etched around his eyes. The deep lines of his brows, coupled with the deep lines immediately above them, bring Douglass’s frown to life. Without the distraction of facial hair, Douglass’s penetrating stare is foregrounded, and the anger expressed through his furrowed brow is brought to life.
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However, it is Douglass’s hair that captures the most attention, dwarfing the rest of his features. It stretches above his head before cascading down to enclose his cheeks like a lion’s mane. This image, in turn, extends Douglass’s overall persona. His unkempt hair, paired with sharp angles and a dedicated glower, sends the message that Douglass is a force to be reckoned with. Displaying Douglass as a young radical in a space regularly filled with students seems appropriate as a response to calls from the African American alumni group.
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Lesa Redmond, Princeton University Class of 2017