This is how you see her? Rachael Pringle Polgreen of Barbados by Thomas Rowlandson’s satirical hand

Temi Odumosu
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Abstract

ABSTRACT This study examines the complicated role that works of art play in colonial remembrance, and the ways in which they sustain stereotypes, biases and power relations over the passage of time. It takes as its case study Thomas Rowlandson’s hand-coloured etching, Rachel Pringle of Barbadoes (1796), which has been used as visual evidence for the fragmented biography of an Afro-Caribbean entrepreneur, mythologised as a brothel-keeper servicing the British navy, against the backdrop of slavery. Since the story of Rachael Pringle Polgreen (c.1753–1791) is well-known, I focus on an analysis of the artwork and its unusual composition, speculating reasons for its appearance in London’s print culture. Tracing the spectral afterlives of this print, I also argue that the image functions as a colonial keepsake, treasured as evidence of intimate connection between metropole and (post) colony.
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这就是你对她的看法?托马斯·罗兰的讽刺之手《巴巴多斯的Rachael Pringle Polgreen》
本研究探讨了艺术作品在殖民记忆中扮演的复杂角色,以及它们在时间的流逝中维持刻板印象、偏见和权力关系的方式。它以托马斯·罗兰森(Thomas Rowlandson)的手工彩色蚀刻作品《巴巴多斯的蕾切尔·普林格尔》(Rachel Pringle of Barbadoes, 1796)为例进行研究,这幅作品被用作一个加勒比黑人企业家支离破碎的传记的视觉证据,在奴隶制的背景下,他被神话为为英国海军服务的妓院老板。由于Rachael Pringle Polgreen (c.1753-1791)的故事广为人知,我将重点分析这幅艺术品及其不同寻常的构图,并推测其在伦敦印刷文化中出现的原因。追踪这幅版画的幽灵余世,我也认为这幅图像是殖民地的纪念品,作为大都市和(后)殖民地之间密切联系的证据而被珍藏。
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来源期刊
CiteScore
0.60
自引率
25.00%
发文量
18
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