Adolphe Duperly的反叛版画和解放的历史时刻

IF 0.3 Q2 HISTORY
Elizabeth A. Bohls
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引用次数: 0

摘要

1833年,在牙买加最后一次奴隶起义(1831-1832)和解放黑奴(1834)之间,法国平版画家阿道夫·杜珀利创作了三幅非凡的版画。他借用了James Hakewill的《牙买加风景如画之旅》中的图像,称他的版画为“事件”,这一名称的历史特殊性与风景如画的永恒形成鲜明对比。杜伯利加入了反抗的奴隶,以模糊的方式描绘他们,唤起威胁和庆祝。他们的形象是个性化的,不像早期描绘的被奴役的职员形象或纪律严明的劳动者。尽管受到白人偏执的影响,但杜伯利的图像表明,自由的牙买加人和以前被奴役的牙买加人之间的关系发生了变化,这是一种初步的妥协。他在1838年创作的纪念奴隶制废除的平版版画延续了这一趋势。与同时代的Hakewill和Joseph Kidd不同,Duperly在牙买加定居下来,建立了一家由他的家族经营到20世纪的企业。他对殖民地的投入有助于解释牙买加黑人在他的艺术中前所未有的知名度。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Adolphe Duperly's rebellion prints and the historical moment of emancipation
ABSTRACT French lithographer Adolphe Duperly created three remarkable prints in 1833, between Jamaica's last slave revolt (1831–1832) and Emancipation (1834). He appropriated images from James Hakewill's Picturesque Tour of [ … ] Jamaica, calling his prints “occurrences,” a designation whose historical specificity contrasts with the timelessness of the picturesque. Duperly adds rebelling slaves, depicting them in ambiguous ways evoking both threat and celebration. Their figures are individualized, unlike earlier depictions of the enslaved as staffage figures or disciplined laborers. Colored by white paranoia, Duperly's images nonetheless suggest an incipient coming to terms with a changed relationship between free and formerly enslaved Jamaicans. His 1838 lithograph, Commemorative of the Extinction of Slavery, continues this trend. Unlike contemporaries Hakewill and Joseph Kidd, Duperly settled in Jamaica, establishing a business maintained by his family into the twentieth century. His commitment to the colony helps explain the unprecedented visibility given to black Jamaicans in his art.
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来源期刊
CiteScore
0.60
自引率
25.00%
发文量
18
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