Like rural people throughout the world, former slaves’ ideas of freedom were directly related to land ownership. Only land, wrote Merrimon Howard, a freedman from Mississippi, would enable “the poor class to enjoy the sweet boon of freedom.” On the land they would develop independent communities free of white control. Many former slaves insisted that through their unpaid labor, they had acquired a right to the land. “The property which they hold,” declared an Alabama black convention, “was nearly all earned by the sweat of our brows.” In some parts of the South, blacks in 1865 seized property, insisting that it belonged to them. On one Tennessee plantation, former slaves claimed to be “joint heirs” to the estate and, the owner complained, took up residence “in the rooms of my house.”
Winslow Homer’s 1876 painting, A Visit from the Old Mistress, depicts an imaginary meeting between a southern white woman and her former slaves. Their stance and gaze suggest the tensions arising from the birth of a new social order. Homer places his subjects on an equal footing, yet maintains a space of separation between them. He exhibited the painting to acclaim at the Paris Universal Exposition in 1878.
In its individual elements and much of its language, former slaves’ definition of freedom resembled that of white Americans—self-ownership, family stability, religious liberty, political participation, and economic autonomy. But these elements combined to form a vision very much their own. For whites, freedom, no matter how defined, was a given, a birthright to be defended. For African-Americans, it was an open-ended process, a transformation of every aspect of their lives and of the society and culture that had sustained slavery in the first place. Although the freedpeople failed to achieve full freedom as they understood it, their definition did much to shape national debate during the turbulent era of Reconstruction.