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  1. Latin blackness in Parisian visual culture, 1852-1932
    Autor*in: Williams, Lyneise E.
    Erschienen: 2019
    Verlag:  Bloomsbury Visual Arts, New York

    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... mehr

    Standort:
    Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek
    Signatur:
    ::8:2019:1915:
    Fernleihe:
    keine Fernleihe

    Standort:
    Universitätsbibliothek Heidelberg
    Signatur:
    2019 C 884
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    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. 0Latin-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

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 9781501332357; 150133235X
    Schlagworte: Blacks in art; Latin Americans in art; Imperialism in art; Art and society; Art and society; Art and society; Blacks in art; Imperialism in art
    Umfang: xvi, 213 Seiten, Illustrationen
    Bemerkung(en):

    "Bloomsbury visual arts.". - Includes bibliographical references
  2. Latin blackness in Parisian visual culture, 1852-1932
    Autor*in: Williams, Lyneise E.
    Erschienen: 2019
    Verlag:  Bloomsbury Visual Arts, London ; Bloomsbury Publishing, New York

    "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... mehr

    Zugang:
    Resolving-System (lizenzpflichtig)

    Standort:
    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Potsdamer Straße
    Fernleihe:
    keine Fernleihe

    Standort:
    Universitäts- und Landesbibliothek Sachsen-Anhalt / Zentrale
    Fernleihe:
    keine Fernleihe

    Standort:
    Bibliotheks-und Informationssystem der Carl von Ossietzky Universität Oldenburg (BIS)
    Fernleihe:
    keine Fernleihe

    Standort:
    Universität Potsdam, Universitätsbibliothek
    Fernleihe:
    keine Fernleihe

     

    "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."--Bloomsbury Publishing 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.

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Staatsbibliothek zu Berlin
    Sprache: Englisch
    Medientyp: Ebook
    Format: Online
    ISBN: 9781501332388; 9781501332364; 9781501332371
    Weitere Identifier:
    Auflage/Ausgabe: First edition
    Schlagworte: Imperialism in art; Art and society; Art and society; Latin Americans in art; Blacks in art
    Umfang: 1 Online-Ressource (xvi, 216 pages), Illustrationen
    Bemerkung(en):

    Compliant with Level AA of the Web Content Accessibility Guidelines. Content is displayed as HTML full text which can easily be resized or read with assistive technology, with mark-up that allows screen readers and keyboard-only users to navigate easily

    Includes bibliographical references and index
  3. Latin Blackness in Parisian visual culture, 1852-1932
    Autor*in: Williams, Lyneise E.
    Erschienen: 2022
    Verlag:  Bloomsbury Visual Arts, Bloomsbury Publishing Inc., New York ; London ; Oxford ; New Delhi ; Sydney

    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... mehr

    Standort:
    Bayerische Staatsbibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Zentralinstitut für Kunstgeschichte, Bibliothek
    Fernleihe:
    keine Ausleihe von Bänden, nur Papierkopien werden versandt

     

    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. 0Latin-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

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    ISBN: 9781501332357; 9781501391019
    RVK Klassifikation: LH 84960
    Schlagworte: Lateinamerikaner <Motiv>; Kunst; Schwarze <Motiv>; Medien
    Weitere Schlagworte: Blacks in art; Latin Americans in art; Imperialism in art; Art and society / France / Paris / History / 19th century; Art and society / France / Paris / History / 20th century; Art and society; Blacks in art; Imperialism in art; France / Paris; 1800-1999; History
    Umfang: xvi, 213 Seiten, 8 ungezählte Seiten Tafeln, Illustrationen
  4. Latin Blackness in Parisian visual culture, 1852-1932
    Autor*in: Williams, Lyneise E.
    Erschienen: 2022
    Verlag:  Bloomsbury Visual Arts, New York ; London ; Oxford ; New Delhi ; Sydney

    Standort:
    Universitätsbibliothek der LMU München
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
  5. Latin Blackness in Parisian visual culture, 1852-1932
    Autor*in: Williams, Lyneise E.
    Erschienen: 2022
    Verlag:  Bloomsbury Visual Arts, Bloomsbury Publishing Inc., New York ; London ; Oxford ; New Delhi ; Sydney

    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... mehr

    Standort:
    Humboldt-Universität zu Berlin, Universitätsbibliothek, Jacob-und-Wilhelm-Grimm-Zentrum
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    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. 0Latin-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

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    ISBN: 9781501332357; 9781501391019
    RVK Klassifikation: LH 84960
    Schlagworte: Lateinamerikaner <Motiv>; Kunst; Schwarze <Motiv>; Medien
    Weitere Schlagworte: Blacks in art; Latin Americans in art; Imperialism in art; Art and society / France / Paris / History / 19th century; Art and society / France / Paris / History / 20th century; Art and society; Blacks in art; Imperialism in art; France / Paris; 1800-1999; History
    Umfang: xvi, 213 Seiten, 8 ungezählte Seiten Tafeln, Illustrationen
  6. Latin blackness in Parisian visual culture, 1852-1932
    Autor*in: Williams, Lyneise E.
    Erschienen: 2019
    Verlag:  Bloomsbury Visual Arts, New York

    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... mehr

    Standort:
    Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    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. 0Latin-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

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 9781501332357; 150133235X
    Schlagworte: Blacks in art; Latin Americans in art; Imperialism in art; Art and society; Art and society; Art and society; Blacks in art; Imperialism in art
    Umfang: xvi, 213 Seiten, Illustrationen
    Bemerkung(en):

    "Bloomsbury visual arts.". - Includes bibliographical references
  7. Latin blackness in Parisian visual culture, 1852-1932
    Autor*in: Williams, Lyneise E.
    Erschienen: 2019
    Verlag:  Bloomsbury Visual Arts, London ; Bloomsbury Publishing, New York

    "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... mehr

    Zugang:
    Resolving-System (lizenzpflichtig)

    Standort:
    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Unter den Linden
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Universität Potsdam, Universitätsbibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    "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."--Bloomsbury Publishing 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.

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Staatsbibliothek zu Berlin
    Sprache: Englisch
    Medientyp: Ebook
    Format: Online
    ISBN: 9781501332388; 9781501332364; 9781501332371
    Weitere Identifier:
    Auflage/Ausgabe: First edition
    Schlagworte: Imperialism in art; Art and society; Art and society; Latin Americans in art; Blacks in art
    Umfang: 1 Online-Ressource (xvi, 216 pages), Illustrationen
    Bemerkung(en):

    Compliant with Level AA of the Web Content Accessibility Guidelines. Content is displayed as HTML full text which can easily be resized or read with assistive technology, with mark-up that allows screen readers and keyboard-only users to navigate easily

    Includes bibliographical references and index