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Latin Blackness in Parisian Visual Culture, 1852-1932

Autor Dr. Lyneise E. Williams
en Limba Engleză Hardback – 20 feb 2019
Latin Blackness in Parisian Visual Culture, 1852-1932 examines an understudied visual language used to portray Latin Americans in mid-19th to early 20th-century Parisian popular visual media. The term 'Latinize' is introduced to connect France's early 19th-century endeavors to create "Latin America," an expansion of the French empire into the Latin-language based Spanish and Portuguese Americas, to its perception of this population. Latin-American elites traveler to Paris in the 1840s from their newly independent nations were denigrated in representations rather than depicted as equals in a developing global economy. Darkened skin, etched onto images of Latin Americans of European descent mitigated their ability to claim the privileges of their ancestral heritage. Whitened skin, among other codes, imposed on turn-of-the-20th-century Black Latin Americans in Paris tempered their Blackness and rendered them relatively assimilatable compared to colonial Africans, Blacks from the Caribbean, and African Americans. After identifying mid-to-late 19th-century Latinizing codes, the study focuses on shifts in latinizing visuality between 1890-1933 in three case studies: the depictions of popular Cuban circus entertainer Chocolat; representations of Panamanian World Bantamweight Champion boxer Alfonso Teofilo Brown; and paintings of Black Uruguayans executed by Pedro Figari, a Uruguayan artist, during his residence in Paris between 1925-1933.
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Specificații

ISBN-13: 9781501332357
ISBN-10: 150133235X
Pagini: 232
Ilustrații: 9 colour and 37 bw illus
Dimensiuni: 152 x 229 x 21 mm
Greutate: 0.64 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Locul publicării:New York, United States

Caracteristici

Introduces Black Latin Americans as prominent and influential figures in turn of the 20th century and jazz age Paris whose blackness was perceived differently and added nuance to articulations of blackness

Notă biografică

Lyneise E. Williamsis Associate Professor of Art History at UNC Chapel Hill, USA.

Cuprins

List of IllustrationsAcknowledgementsIntroductionThe Term "Latin American"Why Paris?Much More Than PrimitivismReduced to Latin AmericansParisian Figurations of Blackness from the Mid-Nineteenth to the Early Twentieth CenturyOverview of the StudyChapter 1: Playing Up Blackness and Indianness; Downplaying EuropeannessEditing Francisco Laso: Racializing Spanish and Portuguese AmericansPerforming RastaquerismoJustified by Anthropology: Quatrefages, Hamy, and the Casta PaintingsLatin American Self-RepresentationThe Shifting RastaquouèreMaintaining Anthropological Interpretations in the Early Twentieth CenturyConclusionChapter 2: Chocolat the Clown: Not Just BlackChocolat and Footit: Partners in ContrastThe Auguste ChocolatThe Give and Take of Chocolat and FootitChocolat and Footit at the Nouveau CirqueChocolat as Brand ImageBeneath the SurfaceChocolat as Mixed AnimalChocolat the ContaminantImpure Chocolat(e) Chocolat, That Special Ingredient: The Racially Mixed Object of DesireComplicating Notions of MinstrelsyLip InterventionsRepresentations Through ClothingSexualizing Black DandiesAssimilating the LatinBeyond the CircusChocolat, Object of Gay DesireChocolat and the Elite and the VirileConclusionChapter 3: Alfonso Teofilo Brown: Agency and Impositions of Blackness and EuropeannessSport and the Imagined Ideal Male BodyBlack Boxers in Turn-of-the-Century FranceGangly BrownThe Purity and Hybridity of Gangly BrownBrown the GentlemanImages of Black DifferenceBrown the PhilanthropistConclusionChapter 4: Figari's Blacks: Negotiating French and Southern Cone BlacknessFigari and ParisContested Whiteness and the Black BodyConceptualizing Regional IdentityThrough the Anthropological GazeCandombe as Framing DeviceGender and Race in CandombeObjects as MarkersFigari as "Naïf" PainterIncreasing Latin American Presence in ParisPerceptions of Black UruguayansFigari's Evolution in ParisContradictions and Contrasts between Figari's Paintings and Written WorkConclusionCodaSelect Bibliography

Recenzii

Latin Blackness in Parisian Visual Culture, 1852-1932is intellectually ambitious, providing a clear, readable, and well-researched view of a subject almost completely missing from the art historical literature on Parisian modernism: the representation of Black Latin Americans. This book thus crucially adds to a vital literature within modernism studies that considers the relationship of French culture-roughly the center of the art world in the modernist period-to colonized Africa and the African Diaspora. Williams takes up complex subjects of race and racial categories with elegance and clarity, and her acute discussions of particular works anchor these more general discussions in visual immediacy. Starting with a highly engaging consideration of representations of Latinized Blackness, she establishes a clear baseline of assumptions about this hybrid group-and Latin Americans in general-in French popular culture and modernist art.