Pub Date : 2019-10-10DOI: 10.1093/oso/9780198767978.003.0004
C. Fracchia
I discuss the stereotypical sixteenth-century image of slaves in chains produced by Northern European artists in Spain. This traditional iconography has no resonance in topographic views and landscapes by Spanish artists. I focus on the ways that the View of Seville drawing (1573) by Joris Hoefnagel articulates the institutionalization of the local Spanish and transatlantic slave trades and I construct an account of the material culture of slavery based on archival sources and legal discussions. I also lay out Juan Fragoso’s set of recommendations for assessing the economic value of slaves at auction in his Universal Surgery. I address the ways in which the drawings of chained slaves (1529) by Christopher Weiditz represent the traditional iconography of Afro-Hispanic slave labourers and as symbolizing the black resistance forged in their confraternities against their subjugation. These forms of resistance are confirmed by Pedro de León’s experience at the royal prison of Seville.
我讨论了北欧艺术家在西班牙创作的16世纪典型的奴隶形象。这种传统的图像在西班牙艺术家的地形视图和风景中没有共鸣。我关注的是Joris Hoefnagel的《塞维利亚的观点》(1573)阐明了西班牙当地和跨大西洋奴隶贸易的制度化，并基于档案资料和法律讨论构建了奴隶制的物质文化。我还在Juan Fragoso的《通用外科》(Universal Surgery)一书中列出了一套评估拍卖中奴隶经济价值的建议。我认为克里斯托弗·魏迪茨(Christopher Weiditz) 1529年创作的被锁着的奴隶的画作代表了非裔西班牙奴隶劳工的传统肖像，并象征着黑人在他们的兄弟会中对他们的征服所进行的抵抗。Pedro de León在塞维利亚皇家监狱的经历证实了这些形式的抵抗。
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Pub Date : 2019-10-10DOI: 10.1093/oso/9780198767978.003.0007
C. Fracchia
The institution of slavery is a crime against humanity. In Hapsburg Spain, slavery was inscribed on the skin of Afro-Hispanic slaves and ex-slaves. Blackness signified slavery but slavery did not entail blackness. This association was also well established during the Bourbon dynasty, when Afro-Hispanic people were still bought and sold as commodities. Slave trading was practiced on Spanish soil at least until the first quarter of the nineteenth century,...
{"title":"Conclusion","authors":"C. Fracchia","doi":"10.1093/oso/9780198767978.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780198767978.003.0007","url":null,"abstract":"The institution of slavery is a crime against humanity.\u0000 In Hapsburg Spain, slavery was inscribed on the skin of Afro-Hispanic slaves and ex-slaves. Blackness signified slavery but slavery did not entail blackness. This association was also well established during the Bourbon dynasty, when Afro-Hispanic people were still bought and sold as commodities. Slave trading was practiced on Spanish soil at least until the first quarter of the nineteenth century,...","PeriodicalId":194816,"journal":{"name":"'Black but Human'","volume":"924 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123050117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-10DOI: 10.1093/oso/9780198767978.003.0002
C. Fracchia
This chapter looks at Hispanic theologians to discern whether there is any discussion of the presence of souls in Africans that might parallel similar discussions about the Native Americans of the New World, and to see what conditions restricted Africans in their becoming Christian and what benefits might accrue to them in doing so. It discusses the belief that it was necessary to evangelize and baptize the Africans in Spain and the New World, and explores the visual representations of the Baptism of the African to show that the process of Christianization promoted in Seville follows longstanding traditions of evangelization of non-Europeans. The chapter focuses on the operation of the oldest black confraternity (founded in the fourteenth century in Seville) and shows how it becomes the template for all the black confraternities founded throughout the Spanish empire and how it was considered a ‘black nation’ by Afro-Hispanic slaves.
{"title":"What Is Human about Slavery?","authors":"C. Fracchia","doi":"10.1093/oso/9780198767978.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780198767978.003.0002","url":null,"abstract":"This chapter looks at Hispanic theologians to discern whether there is any discussion of the presence of souls in Africans that might parallel similar discussions about the Native Americans of the New World, and to see what conditions restricted Africans in their becoming Christian and what benefits might accrue to them in doing so. It discusses the belief that it was necessary to evangelize and baptize the Africans in Spain and the New World, and explores the visual representations of the Baptism of the African to show that the process of Christianization promoted in Seville follows longstanding traditions of evangelization of non-Europeans. The chapter focuses on the operation of the oldest black confraternity (founded in the fourteenth century in Seville) and shows how it becomes the template for all the black confraternities founded throughout the Spanish empire and how it was considered a ‘black nation’ by Afro-Hispanic slaves.","PeriodicalId":194816,"journal":{"name":"'Black but Human'","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126458084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-10DOI: 10.1093/oso/9780198767978.003.0006
C. Fracchia
I discuss the shift from an hegemonic view of Afro-Hispanic slaves and ex-slaves to the articulation of the emergence of the slave ‘subject’ and the ‘emancipatory subject’ by concentrating on both; the only extant seventeenth-century portrait of an Afro-Hispanic slave subject, Juan de Pareja (1649) by his master, Diego Velázquez, made before Velázquez emancipated Pareja in Rome (1650), and on the articulation of the freed subject in Pareja’s self-portrait, in his painting The Calling of St Matthew (1661). I deal with how Velázquez’s portrait provides the form by which Pareja fashions his Europeanized self-portrait to signify his freedom and I explore the ways its iconography embodies extant discourses on diversity and slavery: Pareja’s attachment both to the collective Christian African past, and to his present with the experience of black communities, where the ‘Black but Human’ topos emerged. I also provide an account of Pareja’s career as an independent artist.
{"title":"The Image of Freedom","authors":"C. Fracchia","doi":"10.1093/oso/9780198767978.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780198767978.003.0006","url":null,"abstract":"I discuss the shift from an hegemonic view of Afro-Hispanic slaves and ex-slaves to the articulation of the emergence of the slave ‘subject’ and the ‘emancipatory subject’ by concentrating on both; the only extant seventeenth-century portrait of an Afro-Hispanic slave subject, Juan de Pareja (1649) by his master, Diego Velázquez, made before Velázquez emancipated Pareja in Rome (1650), and on the articulation of the freed subject in Pareja’s self-portrait, in his painting The Calling of St Matthew (1661). I deal with how Velázquez’s portrait provides the form by which Pareja fashions his Europeanized self-portrait to signify his freedom and I explore the ways its iconography embodies extant discourses on diversity and slavery: Pareja’s attachment both to the collective Christian African past, and to his present with the experience of black communities, where the ‘Black but Human’ topos emerged. I also provide an account of Pareja’s career as an independent artist.","PeriodicalId":194816,"journal":{"name":"'Black but Human'","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127335056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-10DOI: 10.1093/oso/9780198767978.003.0001
C. Fracchia
The African presence in imperial Spain, of between 10-15 per cent of the population, was due to the institutionalization of the transatlantic slave trade that brought between seven- to eight hundred thousand Africans as slaves to Spain and Portugal. If we add those slaves born in these European territories and the three to four hundred thousand Moor, Berber and Turk slaves, there were approximately two million slaves living in the Iberian Peninsula during this period. The Afro-Hispanic proverb ‘Black but Human’ that provides part of the book’s title, serves as a lens through which to explore the ways in which certain visual representations of slavery both embody and reproduce hegemonic visions of subaltern groups, and at the same time provide material for critical and emancipatory practices by Afro-Hispanic slaves and ex-slaves themselves. It thus allows us to generate critical insights into the articulations of slave subjectivity by exploring the links between visual regimes and the early modern Spanish and New World discourses on slavery and human diversity. My book provides a complex new reading of neglected moments of artistic production in Hapsburg Spain establishing their importance as relays of power and resistance. We could claim that the ‘Black but Human’ topos encodes the multilayered processes through which a black emancipatory subject emerges and a ‘black nation’ forges a collective resistance, and the ways in which these moments are articulated visually by a range of artists. Thus, this proverb is the main thread of the six chapters of this book.
{"title":"'Black but Human'","authors":"C. Fracchia","doi":"10.1093/oso/9780198767978.003.0001","DOIUrl":"https://doi.org/10.1093/oso/9780198767978.003.0001","url":null,"abstract":"The African presence in imperial Spain, of between 10-15 per cent of the population, was due to the institutionalization of the transatlantic slave trade that brought between seven- to eight hundred thousand Africans as slaves to Spain and Portugal. If we add those slaves born in these European territories and the three to four hundred thousand Moor, Berber and Turk slaves, there were approximately two million slaves living in the Iberian Peninsula during this period. The Afro-Hispanic proverb ‘Black but Human’ that provides part of the book’s title, serves as a lens through which to explore the ways in which certain visual representations of slavery both embody and reproduce hegemonic visions of subaltern groups, and at the same time provide material for critical and emancipatory practices by Afro-Hispanic slaves and ex-slaves themselves. It thus allows us to generate critical insights into the articulations of slave subjectivity by exploring the links between visual regimes and the early modern Spanish and New World discourses on slavery and human diversity. My book provides a complex new reading of neglected moments of artistic production in Hapsburg Spain establishing their importance as relays of power and resistance. We could claim that the ‘Black but Human’ topos encodes the multilayered processes through which a black emancipatory subject emerges and a ‘black nation’ forges a collective resistance, and the ways in which these moments are articulated visually by a range of artists. Thus, this proverb is the main thread of the six chapters of this book.","PeriodicalId":194816,"journal":{"name":"'Black but Human'","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114796226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-10DOI: 10.1093/oso/9780198767978.003.0003
C. Fracchia
I discuss the semiotic control imposed on the production of religious depictions after the Council of Trent (1563), achieved by the decree on sacred images and the monitoring of art production by a censor appointed by the Inquisition. I map out the visual discourses that offer representations of blackness, slavery and human diversity and I concentrate on ‘Black Sainthood’ promoted in black confraternities: Baltasar in the Adoration of the Magi, Benedict of Palermo from Sicily, Iphigenia, and Elesbaan from Ethiopia. I reveal the prohibition to members of the oldest black confraternity of participation in public processions and I provide the legal case against them. I consider the eighteenth-century legend of the miraculous blackening of the face of the sculpture of St Francis of Paula in La Habana, in Cuba, as a sign of support to the black brothers after the institution had been taken over by the white nobility.
我讨论了1563年特伦特会议(Council of Trent)之后对宗教描绘作品的符号学控制，这是由宗教裁判所任命的关于圣像的法令和对艺术作品的审查所实现的。我绘制了提供黑人，奴隶制和人类多样性表征的视觉话语，我专注于黑人兄弟会中推广的“黑人圣徒”:《贤士崇拜》中的巴尔塔萨，西西里巴勒莫的本尼迪克特，伊菲革尼亚和埃塞俄比亚的埃勒斯班。我向最古老的黑人联谊会的成员透露了禁止他们参加公共游行的禁令，并提供了反对他们的法律案例。我认为，18世纪古巴哈瓦那圣弗朗西斯宝拉雕像的脸被涂黑的奇迹般的传说，是在这个机构被白人贵族接管后对黑人兄弟的支持。
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