Witnessing Slavery
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Witnessing Slavery by Sarah Thomas
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
“Thomas delivered an excellent volume in which she comprehensibly shows the great impact that visual culture had on the era of abolition and how contested images of eyewitness artists were used for the propaganda purposes of the pro- and anti-slavery movements”—Annika Vosseler, Connections
“Engaging and provocative . . . Deals mainly with British publications during the heyday of illustrated book publishing, persuasively arguing that these artworks were deeply influenced by the politics surrounding their production.”—Richard Price, New West Indian Guide
“[A] lavishly illustrated and finely produced book . . . Thomas brings together several bodies of scholarship on the visual culture of slavery, travel, and imperial landscape.”—Esther Chadwick, Art History
“A powerful look at the varied contexts in which artists found themselves in the Americas as witnesses to societies that depended on enslaved labour . . . The book’s resonance with our contemporary reality is impossible to miss.”—Allison Young, Slavery & Abolition
“[A] beautifully effective book. Large-size, perfect color reproductions of paintings and prints on a remarkably readable and viewable heavy-stock paper make it possible to survey the art of slavery for our own determinations.”—John E. Crowley, Journal of British Studies
“Engaging and provocative . . . Deals mainly with British publications during the heyday of illustrated book publishing, persuasively arguing that these artworks were deeply influenced by the politics surrounding their production.”—Richard Price, New West Indian Guide
“[A] lavishly illustrated and finely produced book . . . Thomas brings together several bodies of scholarship on the visual culture of slavery, travel, and imperial landscape.”—Esther Chadwick, Art History
“A powerful look at the varied contexts in which artists found themselves in the Americas as witnesses to societies that depended on enslaved labour . . . The book’s resonance with our contemporary reality is impossible to miss.”—Allison Young, Slavery & Abolition
“[A] beautifully effective book. Large-size, perfect color reproductions of paintings and prints on a remarkably readable and viewable heavy-stock paper make it possible to survey the art of slavery for our own determinations.”—John E. Crowley, Journal of British Studies
Sarah Thomas is the co-creator and Chief Imaginator of Kalamata's Kitchen, but she considers her title of Professional Try-Things-Twicer the most important of all. Sarah grew up surrounded by the delicious scents and flavors of her mother's Indian Kerala cuisine. Her love of food and storytelling led Sarah to the hospitality industry, and though she was a sommelier for years, these days she's focused on introducing Kalamata and her Taste Buds to as many new friends as possible.
Derek Wallace is the creator of Kalamata's Kitchen. He spent sixteen years working in sales and marketing leadership, until in 2016, he realized how much he wanted to inspire his son, Henry, to experience the world through the lens of food. So, he came up with the idea of a little girl named Kalamata, and has devoted himself to introducing her to the world ever since. Jo Kosmides Edwards is the Doodling Dynamo of Kalamata's Kitchen. She thinks of herself as a maker with a love for creating in many mediums, including books, murals, and fine art. Her love of food started as child in her father's restaurant, where she earned the reputation of the kid who would try anything.
Derek Wallace is the creator of Kalamata's Kitchen. He spent sixteen years working in sales and marketing leadership, until in 2016, he realized how much he wanted to inspire his son, Henry, to experience the world through the lens of food. So, he came up with the idea of a little girl named Kalamata, and has devoted himself to introducing her to the world ever since. Jo Kosmides Edwards is the Doodling Dynamo of Kalamata's Kitchen. She thinks of herself as a maker with a love for creating in many mediums, including books, murals, and fine art. Her love of food started as child in her father's restaurant, where she earned the reputation of the kid who would try anything.
| SKU | Nicht verfügbar |
| ISBN 13 | 9781913107055 |
| ISBN 10 | 1913107051 |
| Titel | Witnessing Slavery |
| Autor | Sarah Thomas |
| Buchzustand | Nicht verfügbar |
| Bindungsart | Hardback |
| Verlag | Paul Mellon Centre for Studies in British Art |
| Erscheinungsjahr | 2019-10-15 |
| Seitenanzahl | 304 |
| Hinweis auf dem Einband | Die Abbildung des Buches dient nur Illustrationszwecken, die tatsächliche Bindung, das Cover und die Auflage können sich davon unterscheiden. |
| Hinweis | Nicht verfügbar |