form. Art historian Joseph D. Ketner claims that Duncanson's greatest contribution to art was "his distinctively picturesque-pastoral vision of landscape painting with allusions to popular romantic literature." Duncanson was largely forgotten from American art history until his work was rediscovered in the 1950s and 1960s. However, art historians maintained a false narrative about Duncanson for several decades. Beginning in the 1990s, art historians like Ketner made an effort to research Duncanson's life and work to develop an accurate portrayal of the artist. The primary art historical controversy surrounding Duncanson is whether or not he represented racial issues in his art. Some art historians, like Ketner, theorize that there are veiled racial meanings in his paintings, while others, like Vendryes, consider his landscapes to be “race-free." Ketner asserts that Duncanson's artworks are representations of his cultural and racial identity. Vendryes argues that Duncanson did not explicitly represent contemporary racial issues in his work, and warns viewers from interpreting Duncanson and his art solely through the lens of his race, as it may limit the viewer's understanding of his work. Since 1986, the Taft Museum of Art in Cincinnati, Ohio has maintained an artist-in-residence program for contemporary African-American artists in honor of Duncanson. Abbreviated list of artworks Portrait of a Mother and Daughter, 1841 (Fulton County Arts Council, Hammonds House, Atlanta, Georgia) Trial of Shakespeare, 1843 (Douglass Settlement House, Toledo, Ohio) Roses Fancy Still Life, 1843 (National Museum of American Art, Smithsonian Institution, Washington, D.C.) Mt. Healthy, Ohio, 1844 (National Museum of American Art, Smithsonian Institution, Washington, D.C.) Drunkard's Plight, 1845 (Detroit Institute of Arts, Detroit, Michigan) At the Foot of the Cross, 1846 (Detroit Institute of Arts, Detroit, Michigan) Cliff Mine, Lake Superior, 1848 (F. Ward Paine, Jr., Portola Valley, California) Mayan Ruins, Yucatan, 1848 (Dayton Art Institute, Dayton, Ohio) The Belmont Murals, c. 1850–1852 (Taft Museum, Cincinnati, Ohio) Blue Hole, Flood Waters, Little Miami River, 1851 (Cincinnati Art Museum, Cincinnati, Ohio) View of Cincinnati, Ohio From Covington, Kentucky, 1851 (Cincinnati Historical Society) The Garden of Eden (after Cole), 1852 (High Museum of Art, Atlanta, Georgia) Dream of Arcadia (after Cole), 1852 (Private Collection, New York City) Uncle Tom and Little Eva, 1853 (Detroit Institute of Arts, Detroit, Michigan) Italianate Landscape, 1855 (California African American Museum, Los Angeles, California) Robbing the Eagle's Nest, 1856 (National Museum of African American History and Culture) Untitled (Landscape), late 1850s (Princeton University Art Museum) Landscape