Lyneise E Williams

Latin Blackness in Parisian Visual Culture, 1852-1932

• Gebundenes Buch

Produktbeschreibung

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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Produktdetails

• Verlag: Bloomsbury Academic
• Seitenzahl: 232
• Erscheinungstermin: 21. Februar 2019
• Englisch
• Abmessung: 236mm x 158mm x 20mm
• Gewicht: 636g
• ISBN-13: 9781501332357
• ISBN-10: 150133235X
• Artikelnr.: 52820157

Autorenporträt

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

Inhaltsangabe

List of Illustrations Acknowledgements Introduction The Term "Latin
American" Why Paris? Much More Than Primitivism Reduced to Latin Americans
Parisian Figurations of Blackness from the Mid-Nineteenth to the Early
Twentieth Century Overview of the Study Chapter 1: Playing Up Blackness and
Indianness; Downplaying Europeanness Editing Francisco Laso: Racializing
Spanish and Portuguese Americans Performing Rastaquerismo Justified by
Anthropology: Quatrefages, Hamy, and the Casta Paintings Latin American
Self-Representation The Shifting Rastaquouère Maintaining Anthropological
Interpretations in the Early Twentieth Century Conclusion Chapter 2:
Chocolat the Clown: Not Just Black Chocolat and Footit: Partners in
Contrast The Auguste Chocolat The Give and Take of Chocolat and Footit
Chocolat and Footit at the Nouveau Cirque Chocolat as Brand Image Beneath
the Surface Chocolat as Mixed Animal Chocolat the Contaminant Impure
Chocolat(e) Chocolat, That Special Ingredient: The Racially Mixed Object of
Desire Complicating Notions of Minstrelsy Lip Interventions Representations
Through Clothing Sexualizing Black Dandies Assimilating the Latin Beyond
the Circus Chocolat, Object of Gay Desire Chocolat and the Elite and the
Virile Conclusion Chapter 3: Alfonso Teofilo Brown: Agency and Impositions
of Blackness and Europeanness Sport and the Imagined Ideal Male Body Black
Boxers in Turn-of-the-Century France Gangly Brown The Purity and Hybridity
of Gangly Brown Brown the Gentleman Images of Black Difference Brown the
Philanthropist Conclusion Chapter 4: Figari's Blacks: Negotiating French
and Southern Cone Blackness Figari and Paris Contested Whiteness and the
Black Body Conceptualizing Regional Identity Through the Anthropological
Gaze Candombe as Framing Device Gender and Race in Candombe Objects as
Markers Figari as "Naïf" Painter Increasing Latin American Presence in
Paris Perceptions of Black Uruguayans Figari's Evolution in Paris
Contradictions and Contrasts between Figari's Paintings and Written Work
Conclusion Coda Select Bibliography