18th century
19th century
A01=Sarah Thomas
abolition
african american history
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art book
Author_Sarah Thomas
automatic-update
brazil
british art
british west indies
Category1=Non-Fiction
Category=ACQ
Category=ACV
Category=AGA
Category=HBG
Category=HBJD1
Category=HBLL
Category=HBTS
Category=NHB
Category=NHD
Category=NHTS
COP=United Kingdom
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documentary
english colonialism
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eq_history
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eq_non-fiction
eyewitness account
iconography
JMW Turner
Language_English
lavishly illustrated
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Price_€50 to €100
PS=Active
slave trade
slavery
softlaunch
transatlantic slavery
Product details
- ISBN 9781913107055
- Dimensions: 216 x 267mm
- Publication Date: 10 Sep 2019
- Publisher: Paul Mellon Centre for Studies in British Art
- Publication City/Country: GB
- Product Form: Hardback
- Language: English
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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
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
Sarah Thomas is lecturer in the Department of History of Art at Birkbeck, University of London.
