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In repositioning Meta Warrick Fuller's Ethopia Awakening (1921) within a feminist context, I will draw on that critical Pan-Africanist text, Emancipation and the Freed in Sculpture (1916) by Freeman Murray. Murray's groundbreaking illustration of negative stereotype in visual art was an intellectual argument for black self-determination. Pan-African art criticism gained mass appeal during the Harlem Renaissance with the publishing of The New Negro (1925), by philosopher Alain Locke. In his book, he prescribed the reclamation of African culture for growing numbers of professional African American artists. Both Murray's and Locke's theories were closely associated with W.E.B. Du Bois' promotion of positive images of blacks. From their two perspectives Fuller's Ethopia Awakening was deemed the visual epitome of the "Talented Tenth" movement.
Mary Schmidt Campbell attributes the influence for Ethopia Awakening to Du Boisian philosophy, which "emphasized the Black Americans' common......

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