Colonial Art And Art-Historical Analysis Of The 18th Century

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Elegant and charming, an 18th-century painting shows a young woman who gazes straight in front of her and holds a basket of fruits on a rural background. However, the model is different from the traditional upper-class portrait painting because she is a black slave woman. 18th-century portrait painting 's goal was to illustrate a human subject for public and private persons, or the inspiration by admiration or affection for the person. It was often necessary to state and record the family as primarily commemorating the rich and powerful historically class in portrait paintings. However, over the time it became more common for the middle-class person to order portraits of their families and colleagues. Therefore, it was not common to illustrate someone of a lower class, neither a slave as a subject of a painting. For it public artwork and mysterious pictured from an era of substantial racial prejudice. Taking the Portrait d’une Femme Haïtienne, 1786, by François Beaucourt work of art, and I will examine it with the methodologies developments of the Marxist, postcolonial, and Museum practice theories that are well established in the discipline of art-historical analysis. In the context of the world within which the painting was created, when Britain still bought and sold Africans in a booming slaving industry. Those three methodologies are corresponding with the idea of this research on the objectification, interpretation, and association of the racial, desire and sexuality

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