Latin blackness in Parisian visual culture, 1852-1932 / Lyneise E. Williams.

"Bloomsbury visual arts."

Includes bibliographical references and index.

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

Online resource; title from PDF title page (EBSCO, viewed January 14, 2019).

Intro; Title Page; Copyright Page; Contents; List of Illustrations; Color Plates; Figures; Acknowledgments; 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 centuries; Overview of the study; Notes; Chapter 1: Playing Up Blackness and Indianness, Downplaying Europeanness; Editing Francisco Laso: Racializing Spanish and Portuguese Americans; Justified by anthropology: Quatrefages, Hamy, and the casta paintings; Latin American self-representation

The shifting rastaquouèreMaintaining anthropological interpretations in the early twentieth century; Conclusion; Notes; Chapter 2: Chocolat the Clown: Not Just Black; Chocolat and Footit: Partners in contrast; Chocolat as brand image; Chocolat the contaminant; Chocolat, that special ingredient: The racially mixed object of desire; Complicating notions of minstrelsy; Representations through clothing; Sexualizing Black dandies; Assimilating the Latin; Beyond the circus; Conclusion; Notes; Chapter 3: Alfonso Teofilo Brown: Agency and Complications of Blackness and Europeanness

Sport and the imagined ideal male bodyBlack 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; Notes; Chapter 4: Figari's Blacks: Negotiating French and Latin 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 UruguayansFigari's evolution in Paris; Contradictions and contrasts between Figari's paintings and written work; Conclusion; Notes; Coda; Manuscripts and Archives; Newspapers/Journals/Magazines; Primary Sources (Pedro Figari); Secondary Sources; Index

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