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Slave Portraiture within the Atlantic international is the 1st booklet to target the individualized portrayal of enslaved humans from the time of Europe's complete engagement with plantation slavery within the past due 16th century to its ultimate respectable abolition in Brazil in 1888. whereas this era observed the emergence of portraiture as an immense box of illustration in Western artwork, “slave” and “portraiture” as different types seem to be jointly specific. at the one hand, the good judgment of chattel slavery sought to render the slave's physique as an tool for construction, because the web site of a non-subject. Portraiture, to the contrary, privileged the face because the basic visible matrix for the illustration of a different individuality. The essays during this quantity deal with this obvious paradox of “slave portraits” from various interdisciplinary views. They probe the ancient stipulations that made the construction of such infrequent and enigmatic items attainable and discover their implications for a extra complicated realizing of strength family members lower than slavery.

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Extra resources for Slave Portraiture in the Atlantic World

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The problem of blackness, while undermining the often automatic equation between blackness and slavery. Perhaps some practical examples of the challenges posed by the modern historical and visual entanglement of race with enslavement, three, to be precise, will help explain what we mean. One. There is nothing in Diego Velázquez’s powerful portrait of Juan de Pareja of 1650 (Fig. 5; Plate 1) that suggests the sitter is a slave. Pareja emerges from the warm dark background as a strikingly corporeal presence.

Carmen Fracchia’s “Metamorphoses of the Self in Early Modern Spain: Slave Portraiture and the Case of Juan de Pareja” explores one of the most famous European slave portraits, Diego Velázquez’s Juan de Pareja. Fracchia traces Pareja’s remarkable personal transformation from slave and model into a free man and ambitious painter in the context of courtly culture in imperial Spain. 24 p Introduction Offering new archival material and subtle visual analyses, the essay places these dynamics in dialogue with the theme of “metamorphosis” codified in Pareja’s large-scale history painting of a religious event, The Calling of Saint Matthew.

Of these, about 2 million (10 percent) died in the transatlantic crossing, and another 7 million died in transit from the interior of Africa to the trading posts on the western coast of the continent. 3 million arrived in the Americas during this period. Most of these were destined for the plantations of the Caribbean (about 60 percent) and Brazil (35 percent). The North American colonies received just 5 percent of the estimated total. : Taylor and Francis, 1994). For a powerful account of the process by which captive Africans were first turned into commodities and finally into slaves, see Stephanie E.

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