Search results for: blacks-and-blackness-in-european-art-of-the-long-nineteenth-century

Blacks and Blackness in European Art of the Long Nineteenth Century

Author : AdrienneL. Childs
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Compelling and troubling, colorful and dark, black figures served as the quintessential image of difference in nineteenth-century European art; the essays in this volume further the investigation of constructions of blackness during this period. This collection marks a phase in the scholarship on images of blacks that moves beyond undifferentiated binaries like ?negative? and ?positive? that fail to reveal complexities, contradictions, and ambiguities. Essays that cover the late eighteenth through the early twentieth century explore the visuality of blackness in anti-slavery imagery, black women in Orientalist art, race and beauty in fin-de-si?e photography, the French brand of blackface minstrelsy, and a set of little-known images of an African model by Edvard Munch. In spite of the difficulty of resurrecting black lives in nineteenth-century Europe, one essay chronicles the rare instance of an American artist of color in mid-nineteenth-century Europe. With analyses of works ranging from G?cault's Raft of the Medusa, to portraits of the American actor Ira Aldridge, this volume provides new interpretations of nineteenth-century representations of blacks.

Value in Art

Author : Henry M. Sayre
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Art historian Henry M. Sayre traces the origins of the term “value” in art criticism, revealing the politics that define Manet’s art. How did art critics come to speak of light and dark as, respectively, “high in value” and “low in value”? Henry M. Sayre traces the origin of this usage to one of art history’s most famous and racially charged paintings, Édouard Manet’s Olympia. Art critics once described light and dark in painting in terms of musical metaphor—higher and lower tones, notes, and scales. Sayre shows that it was Émile Zola who introduced the new “law of values” in an 1867 essay on Manet. Unpacking the intricate contexts of Zola’s essay and of several related paintings by Manet, Sayre argues that Zola’s usage of value was intentionally double coded—an economic metaphor for the political economy of slavery. In Manet’s painting, Olympia and her maid represent objects of exchange, a commentary on the French Empire’s complicity in the ongoing slave trade in the Americas. Expertly researched and argued, this bold study reveals the extraordinary weight of history and politics that Manet’s painting bears. Locating the presence of slavery at modernism’s roots, Value in Art is a surprising and necessary intervention in our understanding of art history.

Contraband Guides

Author : Paul H. D. Kaplan
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In his best-selling travel memoir, The Innocents Abroad, Mark Twain punningly refers to the black man who introduces him to Venetian Renaissance painting as a “contraband guide,” a term coined to describe fugitive slaves who assisted Union armies during the Civil War. By means of this and similar case studies, Paul H. D. Kaplan documents the ways in which American cultural encounters with Europe and its venerable artistic traditions influenced nineteenth-century concepts of race in the United States. Americans of the Civil War era were struck by the presence of people of color in European art and society, and American artists and authors, both black and white, adapted and transformed European visual material to respond to the particular struggles over the identity of African Americans. Taking up the work of both well- and lesser-known artists and writers—such as the travel writings of Mark Twain and William Dean Howells, the paintings of German American Emanuel Leutze, the epistolary exchange between John Ruskin and Charles Eliot Norton, newspaper essays written by Frederick Douglass and William J. Wilson, and the sculpture of freed slave Eugène Warburg—Kaplan lays bare how racial attitudes expressed in mid-nineteenth-century American art were deeply inflected by European traditions. By highlighting the contributions people of black African descent made to the fine arts in the United States during this period, along with the ways in which they were represented, Contraband Guides provides a fresh perspective on the theme of race in Civil War–era American art. It will appeal to art historians, to specialists in African American studies and American studies, and to general readers interested in American art and African American history.

Theodore Gericault Painting Black Bodies

Author : Albert Alhadeff
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This book examines Théodore Géricault’s images of black men, women and children who suffered slavery’s trans-Atlantic passage in the late eighteenth and early nineteenth centuries, including his 1819 painting The Raft of the Medusa. The book focuses on Géricault’s depiction of black people, his approach towards slavery, and the voices that advanced or denigrated them. By turning to documents, essays and critiques, both before and after Waterloo (1815), and, most importantly, Géricault’s own oeuvre, this study explores the fetters of slavery that Gericault challenged—alongside a growing number of abolitionists—overtly or covertly. This book will be of interest to scholars in art history, race and ethnic studies and students of modernism.

Black White

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Antiques

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Sociological Abstracts

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Robert S Duncanson 19th Century Black Romantic Painter

Author : James Dallas Parks
File Size : 49.8 MB
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Ninteenth century Stage Images of Black Women

Author : Judith Michelle Williams
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The Black Arts Movement

Author : James Edward Smethurst
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Looks at the hsitory of the Black Arts movement and its impact on culture and politics in the United States.