Books by Henry Louis, Jr. Gates
The Image of the Black in Western Art: Africans in the Christian Ordinance of the World: New Edition (Part 2) (The Image of the Black in Western Art, Volume II)
by David Bindman, Henry Louis, Jr. Gates
In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.
Africans in the Christian Ordinance of the World, written by a small team of French scholars, has established itself as a classic in the field of medieval art. The most striking development in this period was the gradual emergence of the black Magus, invariably a figure of great dignity, in the many representations of the Adoration of the Magi by the greatest masters of the time. The new introduction by Paul Kaplan provides a fresh perspective on the image of the black in medieval European art and contextualizes the classic essays on the subject.
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The Image of the Black in Western Art: From the Pharaohs to the Fall of the Roman Empire: New Edition (Volume I)
by David Bindman, Henry Louis, Jr. Gates
In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.
The new edition of From the Pharaohs to the Fall of the Roman Empire offers a comprehensive look at the fascinating and controversial subject of the representation of black people in the ancient world. Classic essays by distinguished scholars are aptly contextualized by Jeremy Tanner’s new introduction, which guides the reader through enormous changes in the field in the wake of the “Black Athena” story.
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The Image of the Black in Western Art: From the Demonic Threat to the Incarnation of Sainthood: New Edition (Part 1) (The Image of the Black in Western Art, Volume II)
by David Bindman, Henry Louis, Jr. Gates
In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.
From the Demonic Threat to the Incarnation of Sainthood, written largely by noted French scholar Jean Devisse, has established itself as a classic in the field of medieval art. It surveys as never before the presence of black people, mainly mythical, in art from the early Christian era to the fourteenth century. The extraordinary transformation of Saint Maurice into a black African saint, the subject of many noble and deeply touching images, is a highlight of this volume. The new introduction by Paul Kaplan provides a fresh perspective on the image of the black in medieval European art and contextualizes the classic essays on the subject.
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The Image of the Black in Western Art: Artists of the Renaissance and Baroque (Part 1) (The Image of the Black in Western Art, Volume III)
by David Bindman, Henry Louis, Jr. Gates
In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.
The much-awaited Artists of the Renaissance and Baroque has been written by an international team of distinguished scholars, and covers the sixteenth and seventeenth centuries. The rise of slavery and the presence of black people in Europe irrevocably affected the works of the best artists of the time. Essays on the black Magus and the image of the black in Italy, Spain, and Britain, with detailed studies of Rembrandt and Heliodorus’s Aethiopica, all presented with superb color plates, make this new volume a worthy addition to this classic series.
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Who’s Black and Why?: A Hidden Chapter from the Eighteenth-Century Invention of Race
by Henry Louis, Jr. Gates, Andrew S. Curran, Gates, Henry Louis (edt); Curran, Andrew S. (edt)
“A fascinating, if disturbing, window onto the origins of racism.”
―Publishers Weekly
“The eighteenth-century essays published for the first time in Who’s Black and Why? contain a world of ideas―theories, inventions, and fantasies―about what blackness is, and what it means. To read them is to witness European intellectuals, in the age of the Atlantic slave trade, struggling, one after another, to justify atrocity.”
―Jill Lepore, author of These Truths: A History of the United States
The first translation and publication of sixteen submissions to the notorious eighteenth-century Bordeaux essay contest on the cause of black skin―an indispensable chronicle of the rise of scientifically based, anti-Black racism.
In 1739 Bordeaux’s Royal Academy of Sciences announced a contest for the best essay on the sources of “blackness.” What is the physical cause of blackness and African hair, and what is the cause of Black degeneration, the contest announcement asked. Sixteen essays, written in French and Latin, were ultimately dispatched from all over Europe. The authors ranged from naturalists to physicians, theologians to amateur savants. Documented on each page are European ideas about who is Black and why.
Looming behind these essays is the fact that some four million Africans had been kidnapped and shipped across the Atlantic by the time the contest was announced. The essays themselves represent a broad range of opinions. Some affirm that Africans had fallen from God’s grace; others that blackness had resulted from a brutal climate; still others emphasized the anatomical specificity of Africans. All the submissions nonetheless circulate around a common theme: the search for a scientific understanding of the new concept of race. More important, they provide an indispensable record of the Enlightenment-era thinking that normalized the sale and enslavement of Black human beings.
These never previously published documents survived the centuries tucked away in Bordeaux’s municipal library. Translated into English and accompanied by a detailed introduction and headnotes written by Henry Louis Gates, Jr., and Andrew Curran, each essay included in this volume lays bare the origins of anti-Black racism and colorism in the West.
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$29.95
Who’s Black and Why?: A Hidden Chapter from the Eighteenth-Century Invention of Race
by Henry Louis, Jr. Gates, Andrew S. Curran, Gates, Henry Louis (edt); Curran, Andrew S. (edt)
2023 PROSE Award in European History
“An invaluable historical example of the creation of a scientific conception of race that is unlikely to disappear anytime soon.”
―Washington Post
“Reveals how prestigious natural scientists once sought physical explanations, in vain, for a social identity that continues to carry enormous significance to this day.”
―Nell Irvin Painter, author of The History of White People
“A fascinating, if disturbing, window onto the origins of racism.”
―Publishers Weekly
“To read [these essays] is to witness European intellectuals, in the age of the Atlantic slave trade, struggling, one after another, to justify atrocity.”
―Jill Lepore, author of These Truths: A History of the United States
In 1739 Bordeaux’s Royal Academy of Sciences announced a contest for the best essay on the sources of “blackness.” What is the physical cause of blackness and African hair, and what is the cause of Black degeneration, the contest announcement asked. Sixteen essays, written in French and Latin, were ultimately dispatched from all over Europe. Documented on each page are European ideas about who is Black and why. Looming behind these essays is the fact that some four million Africans had been kidnapped and shipped across the Atlantic by the time the contest was announced.
The essays themselves represent a broad range of opinions, which nonetheless circulate around a common theme: the search for a scientific understanding of the new concept of race. More important, they provide an indispensable record of the Enlightenment-era thinking that normalized the sale and enslavement of Black human beings.
These never previously published documents survived the centuries tucked away in Bordeaux’s municipal library. Translated into English and accompanied by a detailed introduction and headnotes written by Henry Louis Gates, Jr., and Andrew Curran, each essay included in this volume lays bare the origins of anti-Black racism and colorism in the West.
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$19.95
COLORED PEOPLE: A Memoir.
In a coming-of-age story as enchantingly vivid and ribald as anything Mark Twain or Zora Neale Hurston, Henry Louis Gates, Jr., recounts his childhood in the mill town of Piedmont, West Virginia, in the 1950s and 1960s and ushers readers into a gossip, of lye-and-mashed-potato “processes,” and of slyly stubborn resistance to the indignities of segregation.
A winner of the Chicago Tribune’s Heartland Award and the Lillian Smith Prize, Colored People is a pungent and poignant masterpiece of recollection, a work that extends and deepens our sense of African American history even as it entrances us with its bravura storytelling
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The New Negro: Readings on Race, Representation, and African American Culture, 1892-1938
by Henry Louis, Jr. Gates, Gene Andrew Jarrett
When African American intellectuals announced the birth of the "New Negro" around the turn of the twentieth century, they were attempting through a bold act of renaming to change the way blacks were depicted and perceived in America. By challenging stereotypes of the Old Negro, and declaring that the New Negro was capable of high achievement, black writers tried to revolutionize how whites viewed blacks--and how blacks viewed themselves. Nothing less than a strategy to re-create the public face of "the race," the New Negro became a dominant figure of racial uplift between Reconstruction and World War II, as well as a central idea of the Harlem, or New Negro, Renaissance. Edited by Henry Louis Gates, Jr., and Gene Andrew Jarrett, The New Negro collects more than one hundred canonical and lesser-known essays published between 1892 and 1938 that examine the issues of race and representation in African American culture.
These readings--by writers including W.E.B. Du Bois, Paul Laurence Dunbar, Alain Locke, Carl Van Vechten, Zora Neale Hurston, and Richard Wright--discuss the trope of the New Negro, and the milieu in which this figure existed, from almost every conceivable angle. Political essays are joined by essays on African American fiction, poetry, drama, music, painting, and sculpture. More than fascinating historical documents, these essays remain essential to the way African American identity and history are still understood today.
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The Annotated African American Folktales (The Annotated Books)
by Maria Tatar, Henry Louis, Jr. Gates
* Winner of the 2018 NAACP award for Outstanding Literary Work of Fiction
* Recipient of the 2019 Anne Izard Storytellers' Choice Award
These nearly 150 African American folktales animate our past and reclaim a lost cultural legacy to redefine American literature.
Drawing from the great folklorists of the past while expanding African American lore with dozens of tales rarely seen before, The Annotated African American Folktales revolutionizes the canon like no other volume. Following in the tradition of such classics as Arthur Huff Fauset's "Negro Folk Tales from the South" (1927), Zora Neale Hurston's Mules and Men (1935), and Virginia Hamilton's The People Could Fly (1985), acclaimed scholars Henry Louis Gates Jr. and Maria Tatar assemble a groundbreaking collection of folktales, myths, and legends that revitalizes a vibrant African American past to produce the most comprehensive and ambitious collection of African American folktales ever published in American literary history. Arguing for the value of these deceptively simple stories as part of a sophisticated, complex, and heterogeneous cultural heritage, Gates and Tatar show how these remarkable stories deserve a place alongside the classic works of African American literature, and American literature more broadly.
Opening with two introductory essays and twenty seminal African tales as historical background, Gates and Tatar present nearly 150 African American stories, among them familiar Brer Rabbit classics, but also stories like "The Talking Skull" and "Witches Who Ride," as well as out-of-print tales from the 1890s' Southern Workman. Beginning with the figure of Anansi, the African trickster, master of improvisation―a spider who plots and weaves in scandalous ways―The Annotated African American Folktales then goes on to draw Caribbean and Creole tales into the orbit of the folkloric canon. It retrieves stories not seen since the Harlem Renaissance and brings back archival tales of "Negro folklore" that Booker T. Washington proclaimed had emanated from a "grapevine" that existed even before the American Revolution, stories brought over by slaves who had survived the Middle Passage. Furthermore, Gates and Tatar's volume not only defines a new canon but reveals how these folktales were hijacked and misappropriated in previous incarnations, egregiously by Joel Chandler Harris, a Southern newspaperman, as well as by Walt Disney, who cannibalized and capitalized on Harris's volumes by creating cartoon characters drawn from this African American lore.
Presenting these tales with illuminating annotations and hundreds of revelatory illustrations, The Annotated African American Folktales reminds us that stories not only move, entertain, and instruct but, more fundamentally, inspire and keep hope alive.
The Annotated African American Folktales includes:
Introductory essays, nearly 150 African American stories, and 20 seminal African tales as historical background The familiar Brer Rabbit classics, as well as news-making vernacular tales from the 1890s' Southern Workman An entire section of Caribbean and Latin American folktales that finally become incorporated into the canon Approximately 200 full-color, museum-quality images color throughout; 160 illustrations
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The Image of the Black in Western Art: The Eighteenth Century (Part 3) (The Image of the Black in Western Art, Volume III)
by David Bindman, Henry Louis, Jr. Gates
In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.
Europe and the World Beyond focuses geographically on peoples of South America and the Mediterranean as well as Africa―but conceptually it emphasizes the many ways that visual constructions of blacks mediated between Europe and a faraway African continent that was impinging ever more closely on daily life, especially in cities and ports engaged in slave trade.
The Eighteenth Century features a particularly rich collection of images of Africans representing slavery’s apogee and the beginnings of abolition. Old visual tropes of a master with adoring black slave gave way to depictions of Africans as victims and individuals, while at the same time the intellectual foundations of scientific racism were established.
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Slaves and Liberators: New Edition (Part 1) (The Image of the Black in Western Art, Volume IV)
by David Bindman, Henry Louis, Jr. Gates
In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.
Slaves and Liberators looks at the political implications of the representation of Africans, from the earliest discussions of the morality of slavery, through the rise of abolitionism, to the imposition of European imperialism on Africa. Popular imagery and great works, like Gericault’s Raft of the Medusa and Turner’s Slave Ship, are considered in depth, casting light on widely differing European responses to Africans and their descendants.
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Black Models and White Myths: New Edition (Part 2) (The Image of the Black in Western Art, Volume IV)
by David Bindman, Henry Louis, Jr. Gates
In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.
Black Models and White Myths examines the tendentious racial assumptions behind representations of Africans that emphasized the contrast between “civilization” and “savagery” and the development of so-called scientific and ethnographic racism. These works often depicted Africans within a context of sexuality and exoticism, representing their allegedly natural behavior as a counterpoint to inhibited European conduct.
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"Race," Writing, and Difference (A Critical Inquiry Book)
by Kwame Anthony Appiah, Henry Louis, Jr. Gates
A classic of cultural criticism, "Race," Writing, and Difference provides a broad introduction to the idea of "race" as a meaningful category in the study of literature and the shaping of critical theory. This collection demonstrates the variety of critical approaches through which one may discuss the complexities of racial "otherness" in various modes of discourse. Now, fifteen years after their first publication, these essays have managed to escape the cliches associated with the race-class-gender trinity of '80s criticism, and remain a provocative overview of the complex interplay between race, writing, and difference.
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Black Literature and Literary Theory
Libro usado en buenas condiciones, por su antiguedad podria contener señales normales de uso
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Identities (A Critical Inquiry Book)
by Kwame Anthony Appiah, Henry Louis, Jr. Gates
The study of identity crosses all disciplinary borders to address such issues as the multiple interactions of race, class, and gender in feminist, lesbian, and gay studies, postcolonialism and globalization, and the interrelation of nationalism and ethnicity in ethnic and area studies. Identities will help disrupt the cliché-ridden discourse of identity by exploring the formation of identities and problem of subjectivity.
Leading scholars in literary criticism, anthropology, sociology, and philosophy explore such topics as "Gypsies" in the Western imagination, the mobilization of the West in Chinese television, the lesbian identity and the woman's gaze in fashion photography, and the regulation of black women's bodies in early 20th-century urban areas. This collection of twenty articles brings together the special issue of Critical Inquiry entitled "Identities" (Summer 1992), two other previously published essays, and five previously published critical responses and rejoinders, all of which is interrogated in two new essays by Michael Gorra and Judith Butler.
Contributors include Elizabeth Abel, Kwame Anthony Appiah, Akeel Bilgrami, Daniel Boyarin, Jonathan Boyarin, Judith Butler, Hazel V. Carby, Xiaomei Chen, Diana Fuss, Henry Louis Gates, Jr., Avery Gordon, Michael Gorra, Cheryl Herr, Saree S. Makdisi, Walter Benn Michaels, Christopher Newfield, Gananath Obeyesekere, Molly Anne Rothenberg, Gayatri Chakravorty Spivak, Sara Suleri, Katie Trumpener, and Joseph Valente.
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Lincoln on Race and Slavery
by Donald Yacovone, Henry Louis, Jr. Gates
From acclaimed scholar Henry Louis Gates, Jr., the most comprehensive collection of Lincoln's writings on race and slavery
Generations of Americans have debated the meaning of Abraham Lincoln's views on race and slavery. He issued the Emancipation Proclamation and supported a constitutional amendment to outlaw slavery, yet he also harbored grave doubts about the intellectual capacity of African Americans, publicly used the n-word until at least 1862, and favored permanent racial segregation. In this book―the first complete collection of Lincoln's important writings on both race and slavery―readers can explore these contradictions through Lincoln's own words. Acclaimed Harvard scholar and documentary filmmaker Henry Louis Gates, Jr., presents the full range of Lincoln's views, gathered from his private letters, speeches, official documents, and even race jokes, arranged chronologically from the late 1830s to the 1860s.
Complete with definitive texts, rich historical notes, and an original introduction by Henry Louis Gates, Jr., this book charts the progress of a war within Lincoln himself. We witness his struggles with conflicting aims and ideas―a hatred of slavery and a belief in the political equality of all men, but also anti-black prejudices and a determination to preserve the Union even at the cost of preserving slavery. We also watch the evolution of his racial views, especially in reaction to the heroic fighting of black Union troops.
At turns inspiring and disturbing, Lincoln on Race and Slavery is indispensable for understanding what Lincoln's views meant for his generation―and what they mean for our own.
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Lincoln on Race and Slavery
by Donald Yacovone, Henry Louis, Jr. Gates
From acclaimed scholar Henry Louis Gates, Jr., the most comprehensive collection of Lincoln's writings on race and slavery
Generations of Americans have debated the meaning of Abraham Lincoln's views on race and slavery. He issued the Emancipation Proclamation and supported a constitutional amendment to outlaw slavery, yet he also harbored grave doubts about the intellectual capacity of African Americans, publicly used the n-word until at least 1862, and favored permanent racial segregation. In this book―the first complete collection of Lincoln's important writings on both race and slavery―readers can explore these contradictions through Lincoln's own words. Acclaimed Harvard scholar and documentary filmmaker Henry Louis Gates, Jr., presents the full range of Lincoln's views, gathered from his private letters, speeches, official documents, and even race jokes, arranged chronologically from the late 1830s to the 1860s.
Complete with definitive texts, rich historical notes, and an original introduction by Henry Louis Gates, Jr., this book charts the progress of a war within Lincoln himself. We witness his struggles with conflicting aims and ideas―a hatred of slavery and a belief in the political equality of all men, but also anti-black prejudices and a determination to preserve the Union even at the cost of preserving slavery. We also watch the evolution of his racial views, especially in reaction to the heroic fighting of black Union troops.
At turns inspiring and disturbing, Lincoln on Race and Slavery is indispensable for understanding what Lincoln's views meant for his generation―and what they mean for our own.
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The Portable Nineteenth-Century African American Women Writers (Penguin Classics)
by Henry Louis, Jr. Gates, Hollis Robbins
A landmark collection documenting the social, political, and artistic lives of African American women throughout the tumultuous nineteenth century. Named one of NPR's Best Books of 2017.
The Portable Nineteenth-Century African American Women Writers is the most comprehensive anthology of its kind: an extraordinary range of voices offering the expressions of African American women in print before, during, and after the Civil War. Edited by Hollis Robbins and Henry Louis Gates, Jr., this collection comprises work from forty-nine writers arranged into sections of memoir, poetry, and essays on feminism, education, and the legacy of African American women writers. Many of these pieces engage with social movements like abolition, women’s suffrage, temperance, and civil rights, but the thematic center is the intellect and personal ambition of African American women. The diverse selection includes well-known writers like Sojourner Truth, Hannah Crafts, and Harriet Jacobs, as well as lesser-known writers like Ella Sheppard, who offers a firsthand account of life in the world-famous Fisk Jubilee Singers. Taken together, these incredible works insist that the writing of African American women writers be read, remembered, and addressed.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
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The Rise of Black Artists (Part 2) (The Image of the Black in Western Art, Volume V)
by David Bindman, Henry Louis, Jr. Gates
In the 1960s, art patrons Dominique and Jean de Menil founded an image archive showing the ways that people of African descent have been represented in Western art from the ancient world to modern times. Highlights from the image archive, accompanied by essays written by major scholars, appeared in three large‐format volumes, consisting of one or more books, that quickly became collector’s items. A half‐century later, Harvard University Press and the Du Bois Institute are proud to have republished five of the original books and five completely new ones, extending the series into the twentieth century.
The Rise of Black Artists, the second of two books on the twentieth century and the final volume in The Image of the Black in Western Art, marks an essential shift in the series and focuses on representation of blacks by black artists in the West. This volume takes on important topics ranging from urban migration within the United States to globalization, to Négritude and cultural hybridity, to the modern black artist’s relationship with European aesthetic traditions and experimentation with new technologies and media. Concentrating on the United States, Europe, and the Caribbean, essays in this volume shed light on topics such as photography, jazz, the importance of political activism to the shaping of black identities, as well as the post-black art world.
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The Image of the Black in Western Art: The Impact of Africa (Part 1) (The Image of the Black in Western Art, Volume V)
by David Bindman, Henry Louis, Jr. Gates
In the 1960s, art patrons Dominique and Jean de Menil founded an image archive showing the ways that people of African descent have been represented in Western art from the ancient world to modern times. Highlights from the image archive, accompanied by essays written by major scholars, appeared in three large-format volumes, consisting of one or more books, that quickly became collector's items. A half-century later, Harvard University Press and the Du Bois Institute are proud to have republished five of the original books and to present five completely new ones, extending the series into the twentieth century.
The Impact of Africa, the first of two books on the twentieth century, looks at changes in the Western perspective on African art and the representation of Africans, and the paradox of their interpretation as simultaneously "primitive" and "modern." The essays include topics such as the new medium of photography, African influences on Picasso and on Josephine Baker's impression of 1920s Paris, and the influential contribution of artists from the Caribbean and Latin American diasporas.
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The Image of the Black in African and Asian Art
by Suzanne Preston Blier, David Bindman, Henry Louis, Jr. Gates
The Image of the Black in African and Asian Art asks how the black figure was depicted by artists from the non-Western world. Beginning with ancient Egypt―positioned properly as part of African history―this volume focuses on the figure of the black as rendered by artists from Africa, East Asia, and the Indian subcontinent. The aesthetic traditions illustrated here are as diverse as the political and social histories of these regions. From Igbo Mbari sculptures to modern photography from Mali, from Indian miniatures to Japanese prints, African and Asian artists portrayed the black body in ways distinct from the European tradition, even as they engaged with Western art through the colonial encounter and the forces of globalization.
This volume complements the vision of art patrons Dominique and Jean de Menil who, during the 1960s, founded an image archive to collect the ways that people of African descent have been represented in Western art from the ancient world to modern times. A half‐century later, Harvard University Press and the Hutchins Center for African and African American Research completed the historic publication of The Image of the Black in Western Art―ten books in total―beginning with Egyptian antiquities and concluding with images that span the twentieth century. The Image of the Black in African and Asian Art reinvigorates the de Menil family’s original mission and reorients the study of the black body with a new focus on Africa and Asia.
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From Colony to Nation (Volume 1) (The Image of the Black in Latin American and Caribbean Art) (Book 1)
by David Bindman, Henry Louis, Jr. Gates, Alejandro de la Fuente
The Image of the Black in Latin American and Caribbean Art is the first comprehensive survey of the visual representation of people of African descent in Latin America and the Caribbean, some twelve million of whom were forcibly imported into the Americas during the transatlantic slave trade. This first volume spans four centuries, from the first Spanish occupation of Latin America and the Caribbean in the fifteenth century; through the establishment of slave colonies on the mainland and islands by the British, French, and Danish; to the revolutionary emergence of independence, first in Haiti in 1804, and then across Latin America. Essays by leading scholars and superb illustrations bring to light a remarkable range of imagery that provides vivid insights into the complex racial history of the period.
The two volumes complement the vision of Dominique and Jean de Menil, art patrons who, during the 1960s, founded an archive to collect images depicting the myriad ways that people of African descent have been represented in Western art from the ancient world to modern times. The Image of the Black in Latin American and Caribbean Art continues the de Menil family’s original mission and brings to the fore a renewed focus on a rich and understudied area.
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