time, traveling among Cincinnati, Detroit, and Monroe, Michigan. His first datable work is from 1841—The Portrait of a Mother and Daughter. This work is similar to the style of many contemporary painters, demonstrating Duncanson's experience learning by copying others' works. In 1842, Duncanson had three portraits—Fancy Portrait, Infant Savior, a copy, and Miser—accepted to the second exhibition hosted by the Cincinnati Academy of Fine Arts.(p. 15) While Duncanson's work was accepted into the show, and was well received, it is likely that Duncanson was not allowed to take art classes at the Academy because of his race. This exhibition served as his public debut to the art world, but none of Duncanson’s family members were permitted to attend the show because of their race. His mother, while unable to attend the show, is reported to have said “I know what they look like ...I know that they are there! That’s the important thing.” Taking a short break from portrait work, Duncanson collaborated with another artist, photographer Coates. Together, on March 19, 1844, Coates and Duncanson advertised a spectacle of "Chemical Paintings...comprising four splendid views after the singular style of Daguerre.”(p. 18) Duncanson was believed to have been the artistic mind behind the composition of the images while Coates took care of the technical side. Although Duncanson was making progress as an artist personally and publicly, the lack of commissions for his work pushed him to move around and work as an itinerant portrait painter beginning in 1845, spending the majority of his time in Detroit. While in Detroit, Duncanson worked primarily as a portrait painter and was well received by the local press. In 1846, the Detroit Daily Advertiser praised Duncanson for his skill and color usage, adding, “Mr. Duncanson deserves, and we trust will receive the patronage of all lovers of the fine arts.” Portrait commissions in Detroit were forthcoming. Duncanson received his most substantial portrait commission by the Berthelet family, a prominent Detroit family. However, Duncanson became more interested in the genre painting tradition. He was first exposed to the tradition of genre painting through the work of fellow Cincinnati artist James H. Beard.(p. 19) Duncanson returned to Cincinnati in 1846, aspiring to expand his repertoire. Landscape painting Landscape painting was an important genre from the 1830s to the 1900s. Artist Thomas Cole and other members of the Hudson River School used nature to convey ideas about America