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Slavery, Sugar, and the Culture of Refinement
"This book asks new questions about paintings and prints associated with the British West Indies between 1700 and 1840, when the trade in sugar and slaves was the most active and profitable. In a wide-ranging study of scientific illustrations, scenes of daily life, caricatures, and landscape imagery, Dian Kriz analyses the visual culture of refinement that accompanied the brutal process in which African slaves transformed 'rude' sugar cane into pure white crystals. These works variously imagine Britain's Caribbean colonies as curious, frightening, deadly, pleasurable and even funny for viewers on both sides of the Atlantic."--Jacket.
An Economy of Colour
Now available as an eBook for the first time, this 1998 book from the Melland Schill series looks at The World Trade Organization, which was set up at the conclusion of the Uruguay Round of Trade Negotiations and came into force on 1 January 1995, forming a pillar of the international trading system.This book explains the legal framework established by the WTO, and explores how it can be made to work in practice. Asif H. Qureshi provides a basic guide to the new WTO code of conduct, and then focuses on implementation. First, he explains the institutional provisions of the WTO through an examination of GATT 1994 and the results of the Uruguay Round. Part Two covers techniques of implementation, and the third section covers the issues and problems of implementation relating to both developing countries and trade "blocs". Finally, Qureshi presents a complementary documentary appendix, including a complete copy of the Marrakesh Agreement establishing the WTO.
Art and Emancipation in Jamaica
Coinciding with the bicentenary of the abolition of the British slave trade, this multi-disciplinary volume chronicles the iconography of sugar, slavery, and the topography of Jamaica from the beginning of British rule in 1655 to the aftermath of emancipation in the 1840s. Focusing on the visual and material culture of slavery and emancipation in Jamaica, it offers new perspectives on art, music, and performance in Afro-Jamaican society and on the Jewish diaspora in the Caribbean. Central to the book is "Sketches of Character "(1837-38)--a remarkable series of lithographs by the Jewish Jamaican artist Isaac Mendes Belisario--the earliest visual representation of the masquerade form Jonkonnu. Innovative scholarship traces the West African roots of Jonkonnu through its evolution in Jamaica and continuing transformation today; offers a unique portrait of Jamaican culture at a pivotal historical moment; and provides a new model for interpreting the visual culture of empire.
The Global Eighteenth Century
These essays explore both literal and metaphorical crossings of the globe, addressing the cultural significance of maps, paintings, travel writing, tourist manuals, cultural identities, island gardens, and other topics in order to lend insight to our perception of global culture during the long 18th century.
British Art and the Seven Years' War
Between the Jacobite Rebellion of 1745 and the American Declaration of Independence, London artists transformed themselves from loosely organized professionals into one of the most progressive schools of art in Europe. In British Art and the Seven Years' War Douglas Fordham argues that war and political dissent provided potent catalysts for the creation of a national school of art. Over the course of three tumultuous decades marked by foreign wars and domestic political dissent, metropolitan artists—especially the founding members of the Royal Academy, including Joshua Reynolds, Paul Sandby, Joseph Wilton, Francis Hayman, and Benjamin West—creatively and assiduously placed fine art on a ...
Slave Portraiture in the Atlantic World
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. Essays address this apparent paradox of 'slave portraits' from a variety of interdisciplinary perspectives, probing the historical conditions that made the creation of such rare and enigmatic objects possible and exploring their implications for a more complex understanding of power relations under slavery.
Colouring the Caribbean
Colouring the Caribbean offers the first comprehensive study of Agostino Brunias’s intriguing pictures of colonial West Indians of colour – so called ‘Red’ and ‘Black’ Caribs, dark-skinned Africans and Afro-Creoles, and people of mixed race – made for colonial officials and plantocratic elites during the late-eighteenth century. Although Brunias’s paintings have often been understood as straightforward documents of visual ethnography that functioned as field guides for reading race, this book investigates how the images both reflected and refracted ideas about race commonly held by eighteenth-century Britons, helping to construct racial categories while simultaneously exposing their constructedness and underscoring their contradictions. The book offers provocative new insights about Brunias’s work gleaned from a broad survey of his paintings, many of which are reproduced here for the first time.
The Idea of the English Landscape Painter
This text examines the emergence of the Romantic concept of the landscape genius, arguing that it was a category produced by the critics, painters and the public, in opposition to other ways of thinking about the artist in the period around 1800.
Witnessing Slavery
A timely and original look at the role of the eyewitness account in the representation of slavery in British and European art Gathering together over 160 paintings, watercolors, drawings, and prints, this book offers an unprecedented examination of the shifting iconography of slavery in British and European art between 1760 and 1840. In addition to considering how the work of artists such as Agostino Brunias, James Hakewill, and Augustus Earle responded to abolitionist politics, Sarah Thomas examines the importance of the eyewitness account in endowing visual representations of transatlantic slavery with veracity. "Being there," indeed, became significant not only because of the empirical opportunities to document slave life it afforded but also because the imagery of the eyewitness was more credible than sketches and paintings created by the "armchair traveler" at home. Full of original insights that cast a new light on these highly charged images, this volume reconsiders how slavery was depicted within a historical context in which truth was a deeply contested subject. Distributed for the Paul Mellon Centre for Studies in British Art
Learning to Draw
As early as the sixteenth century, drawing in England came to be seen as something more than an activity exclusive to artists; it became a polite and useful art, a practice of everyday life. This generously illustrated book explores the social and cultural processes that enabled drawing to emerge as an amateur pastime, as well as the meanings that drawing had for people who were not artists. Ann Bermingham shows how the history of drawing in England, from the age of Elizabeth I to the era of early photography, mirrored changes in society, politics, the practical world, and notions of self. The book examines how drawing intersected with a wide range of social phenomena, from political absolutism, writing, empirical science, and Enlightenment pedagogy to nationalism, industrialism, tourism, bourgeois gentility, and religious instruction. Bermingham discusses the central role of drawing and the visual arts in Renaissance debates about government and self-government, then considers the relations between seventeenth-century drawing, natural science, and the masculine ideal of the honest gentleman. She also investigates landscape drawing in the context of eighteenth-century views on sens
