Slave Portraiture in the Atlantic World
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Slave Portraiture in the Atlantic World is the first book to focus on the individualized portrayal of enslaved people from the time of Europe's full engagement with plantation slavery in the late sixteenth century to its final official abolition in Brazil in 1888. While this period saw the emergence of portraiture as a major field of representation in Western art, "slave" and "portraiture" as categories appear to be mutually exclusive. On the one hand, the logic of chattel slavery sought to render the slave's body as an instrument for production, as the site of a non-subject. Portraiture, on the contrary, privileged the face as the primary visual matrix for the representation of a distinct individuality. The essays in this volume address this apparent paradox of "slave portraits" from a variety of interdisciplinary perspectives. They probe the historical conditions that made the creation of such rare and enigmatic objects possible and explore their implications for a more complex understanding of power relations under slavery.
negotiated in order to accommodate (or not) the black slave. Specific historical case studies are a vital way of opening the topic up to examination in ways that will constitute a significant new departure for the study of portrait representations. However, in this account I hope not to lose sight of the tangible and actual while endeavoring also to extrapolate some general principles. In recent years attention has increasingly been paid to the topic of portraiture in relation to slavery. For my
place/space the slave inhabits; the substitution of face for place through this maneuver produces the slave itself as habitus. It is to this that Barthes was responding so dramatically in his reaction to Avedon’s photograph of a man once a slave. I want, finally, to turn to the question of doubling, to ask what the implications of this might be for portraits of slaves or slaves in portraits. The relationship that is central to the experience of portraiture runs between subject and viewer. We may
Poem in Honour of the Reverend Mr. Whitefield was sent from a minister in Scotland to a minister in Boston, which suggests that the poem may have been printed in Scotland and that Sarah (like her husband) had discovered a transatlantic audience as a result of the religious revivals in her community.17 Signing her poems as a “Female Friend” and as a “Gentle Woman,” Sarah Moorhead managed to employ the marginal status of female voices in midcentury Boston to make distinctly public points. An art
Three Gentlemen from Esmeraldas not fulfill del Barrio’s desire to be released by his majesty from his tasks as the oldest judge and civil servant in Quito. He died in service in the Americas, and Don Francisco and his sons returned to Esmeraldas, where they held sway, independent of the authority that tried to lay claim to them, just as they appear in their portrait. Bibliography of Archival Sources Archivo General de las Indias, Sevilla Varias Cartas de Juan del Barrio y Sepúlveda to Philip
the process of self-idealization by choosing to Europeanize his features.47 In his self-portrait Pareja is making his own social statement as a free man and claiming his talent as a history painter by inserting himself in a large religious composition, with life-sized figures, where he could display his anatomical skills and the use of the rhetorical language of gestures. P 155 Carmen Fracchia In order to deconstruct the subjectivity of the former slave painter in The Calling of Saint Matthew