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Art historian Elizabeth Hutton Turner has said of Lawrence's works in series that they were conceived as 'image and word' together, with the works' 'poetry' emerging from the 'repetition of certain shapes' linking one panel to the next. These compositional decisions eliminate extraneous background details that would take away from the poignant emotions of the narrative. ' Working with a palette of browns, bright red, yellow-orange, black, white, and blue, Lawrence created his figures as non-naturalistic color blocks, their limbs elongated, their torsos concealed beneath blocky clothing, and their facial features simplified to eyes and mere outlines of a nose and mouth. Lawrence later recalled the work's important political gestures as 'some of the most successful statements I have made in my life.

The third grouping, a mother, father, and infant, symbolizes the hope and fear of a generation born at the cusp of great change and the promise of freedom throughout the United States tantalizingly at hand. The second, middle group shows an older woman, symbolizing an older generation with memories of slavery and the commonality of violence, sheltering a young child who, perhaps unused to such scenes, is seemingly distracted, and grasps the woman's thumb. The first group depicts two adults and a child, wide-eyed with fear as they witness the brutality of the riot. Lawrence divided the panel into three dramatic groups. A group of freed slaves huddle in a shelter, watching the carnage of a Civil War anti-draft riot with expressions of horror and sorrow. It was the fire of the enemy opened in the rear of the loyal army.' Panel 28 uses simplified forms, a limited color palette, and a clear narrative progression from left to right in tandem with evocative, descriptive text. This mob was part of the rebel force, without the rebel uniform but with all its deadly hate.

The colored populace took refuge in cellars and garrets. They hanged Negroes, burned their homes, dashed out the brains of young children against the lamp posts.

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The full text of Panel 28 from The Frederick Douglass Series reads: 'A cowardly and bloody riot took place in New York in July 1863 - a mob fighting the draft, a mob willing to fight to free the Union, a mob unwilling to fight to free slaves, a mob that attacked every colored person within reach disregarding sex or age. Lawrence's ability to imbue the particular drama of everyday life with the gravitas of collective, or universal, humanity is one of his greatest artistic feats.ġ938-39 The Frederick Douglass series, Panel 28 Lawrence's use of abstraction in depicting the characters of his stories allow those stories, even if historically specific, to have more universal appeal, as the viewer can imagine him or herself in similar positions.Additionally, Lawrence used flat, unmodulated colors in large planes that had the quality of print graphics. He paired long, descriptive captions with his paintings as was common in photo magazines and books in the 1930s and 1940s. Lawrence borrowed strategies from print media to make his stories based in experiential reality as compelling as possible.Influenced by avant-garde cinema, Lawrence's series often have a montage-effect, but he used structural strategies, such as a unified color palette and recurring motifs, to connect the individual paintings into a coherent whole. Lawrence often worked in series, creating numerous individual panels, to tell a story.Spending hours at the public library pouring over historical texts, memoirs, and newspapers and attending history clubs that were then popular in Harlem, Lawrence translated these histories into images and linked them to contemporary political struggles both in the North and the Jim Crow segregated South, reinvigorating traditional history painting. Early in his career, Lawrence's artistic process relied on a vast amount of historical research.