Slavery, Geography and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica
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A01=Charmaine A. Nelson
Agostino Brunias
Author_Charmaine A. Nelson
Black Female Slave
British colonial art
Category=AGA
Category=AGN
Category=NHK
Category=NHTQ
Champ De Mars
Citadel Hill
Early Nineteenth Century Jamaica
Enslaved Blacks
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Free Woman
gender and empire studies
Harbour Street
Helen's Island
Helen’s Island
Jamaican Landscape
James Hakewill
James Street
Marine Landscape
marine landscape art in British colonies
Montego Bay
Negro Village
Nineteenth Century Jamaica
postcolonial geography
racialised landscape representation
Rose Hall
Sir William Young
St Lawrence River
Sugar Estates
Trans Atlantic
Trans Atlantic Slavery
Trans Atlantic World
transatlantic slave trade studies
visual culture of slavery
White Jamaican
White Male Planters
Product details
- ISBN 9781409468912
- Weight: 980g
- Dimensions: 174 x 246mm
- Publication Date: 28 Jul 2016
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Slavery, Geography and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica is among the first Slavery Studies books - and the first in Art History - to juxtapose temperate and tropical slavery. Charmaine A. Nelson explores the central role of geography and its racialized representation as landscape art in imperial conquest. One could easily assume that nineteenth-century Montreal and Jamaica were worlds apart, but through her astute examination of marine landscape art, the author re-connects these two significant British island colonies, sites of colonial ports with profound economic and military value. Through an analysis of prints, illustrated travel books, and maps, the author exposes the fallacy of their disconnection, arguing instead that the separation of these colonies was a retroactive fabrication designed in part to rid Canada of its deeply colonial history as an integral part of Britain's global trading network which enriched the motherland through extensive trade in crops produced by enslaved workers on tropical plantations. The first study to explore James Hakewill's Jamaican landscapes and William Clark's Antiguan genre studies in depth, it also examines the Montreal landscapes of artists including Thomas Davies, Robert Sproule, George Heriot and James Duncan. Breaking new ground, Nelson reveals how gender and race mediated the aesthetic and scientific access of such - mainly white, male - artists. She analyzes this moment of deep political crisis for British slave owners (between the end of the slave trade in 1807 and complete abolition in 1833) who employed visual culture to imagine spaces free of conflict and to alleviate their pervasive anxiety about slave resistance. Nelson explores how vision and cartographic knowledge translated into authority, which allowed colonizers to 'civilize' the terrains of the so-called New World, while belying the oppression of slavery and indigenous displacement.
Charmaine A. Nelson is Professor of Art History, Department of Art History and Communication Studies, McGill University, Canada.
