colonial French policies and, 11, 12–13, 13, 104, 106, 106–7;

England and, 1, 2, 3, 23, 30, 30–31, 32, 66, 267;

Enlightenment and, 284;

France and, 1, 23, 283–85;

racial theories and, 20;

of slave trade, 1, 130, 282, 285;

symbols of, 1, 3, 172, 174, 174–75, 284;

women as black and, 4, 11, 12–13, 13. See also abolition in U.S.; emancipation; equality

anti-abolitionist movement and, 61, 63, 74;

chains as symbol of, 1, 172, 174, 174–75;

child as white and, 4, 4–5;

Mexican War of 1846-1848, 81–82, 82, (82–83);

slave as black woman and, 172, 174–75, 174–75;

Uncle Tom characteristics and, 3, 7, 280. See also abolition

American viewpoints and, 191, 192–93, 207;

blacks’ place in white society and, 171, 171;

black-white contrast and, 46, 46–48;

black-white relations and, 251–52;

Enlightenment and, 16, 249, 251, 257, 259;

facial features and, 17, 19–24, 20–21;

French artwork and, 41, 42–43, 207;

hierarchy/social status and, 252, 252–53, 259;

objective observation, 11, 12–13, 13, 16, 104, 106–7, 106–7, 109–10;

otherness and, 11, 12–13, 13, 16;

physiognomy and, 17–22, 18–20, 24–25, 24–27, 27–30, 286;

prognathism, 21–23;

racial theories and, 17–24, 18–21, 24–25, 26–27, 27–30, 286;

skin color, 17, 20–21;

South Africans and, 56–57, 57–59, 59;

Spanish artwork and, 249, 251–52, 252–53, 257, 259;

studies of models and, 41, 42–43, 46, 46–48, 207;

Swiss artwork and, 46, 46–48;

whiteness, 16, 22;

whites, 16. See also stereotypic features

allegory of, xi–xii;

black skin color, xi–xii, xxii;

central, xii, xviii;

colonial, 32–34, 33, 35, 279, 280;

Europeans’ knowledge about, xviii, xxiv;

missionaries in, xviii, 136, 145, 221, 237;

as “noble savage,” 32–33, 33, 54, 55, 136, 145, 259;

North, xiv, xv, xvii, 110, 238–39, 239;

objective observation and, 104, 106–7, 106–7;

salvation and, xviii;

slave trade and, 7, 8, 10, 130–31, 132–33, 203–4, 204, 230, 284–86;

stereotypic characteristics and, 32–33, 33;

stereotypic features and, xxii;

West, xii, xv, xvii, xviii, 131, 132–33. See also African artifacts/artwork; blacks; colonial Europeans; ethnographic marginalization; objective observation in Senegal; Orient, the; persons of African descent; South Africa/Africans

eroticism and, 242–43, 243;

ethnic diversity and, 242–43, 243;

ethnographic marginalization and, 227–29, 228;

European artwork as influenced by, 238–39, 238–39, 241, 241–43, 243;

Magus/Magi narrative and, 241, 241;

racial prejudice, and influences of, 245, 245–46;

studies of models and, 242–43, 243;

virility characteristic and, 242–43, 243. See also Africa/Africans; ethnographic marginalization

aesthetic/unaesthetic image and, 191, 192–93, 207;

blacks boxing with whites and, 200–201, 200–201;

black-white relations and, 192, 193–94, 194–95, 197, 198–99, 200–201, 200–201;

classical conventions and, 4, 201, 202–3;

dancing and, 192, 193, 194;

equality and, 197, 198–99, 200–201, 200–201;

ethnic diversity and, 197, 198–99, 200;

exoticism, 201, 203, 203;

hierarchy/social status and, 197, 198–99, 200;

interrelationship between blacks, 192, 193, 194;

Jim Crow and, 194–95, 195–97, 196–97, 200;

man/nature harmony, 201, 202–3, 203;

melancholy quality and, 191, 192–95, 195–96, 200, 207;

Middle Passage metaphors, 7, 203–4, 204;

musician and, 192, 193, 194;

nude/half-naked image and, 191, 192–93, 207;

objective observation, 192, 193, 194, 196–97, 196–97;

physiognomy and, 4–5, 204, 205–6, 206;

placement in artwork and, 196–97, 196–97;

studies of models and, 191, 192–93, 207. See also United States

Zulu Woman Making Pottery, 133, 135

individual identities vs., 5–6, 7, 8–9, 9;

Spanish artwork and, 252, 254;

studies of models and, 11, 12–13, 13

dress of the Orient and, 92, 93;

equality between blacks and, 90–91, 90–91, (92–93), 95;

Europeans vs., 94, 96–97, 129;

objective observation in Orientalist paintings and, 120–21, 120–22;

racial theories and, 110;

slavery, xvi–xvii;

stereotypic characteristics, 120–21, 120–22;

stereotypic features, 90–91, 90–91, (92–93), 95;

turbaned iconography, 100, 100–101;

woman’s labor and endurance, 122, (123), 124–25. See also Orient, the

Trachten derMuntschi (Nigeria), 225, 226–27

African artifacts influences on, 238–39, 238–39, 241, 241–43, 243;

blacks as, xiii, xix, 4–5, 4–5, 204, 205–6, 206;

classical conventions and, 213, 214–15, 216;

hierarchy/social status and, ix, 281;

mulatto, 4–5, 204, 205–6;

naif painters, 235–37, 236–37;

non-illusionistic perspective in, 231, 233, 234;

persons of African descent and, vii, viii, xiv, xix, 5;

photographs as, 3, 4;

romantic ideas about, 104, 220;

sculpture and, 104, 106–7, 106–9, 109–11, 280–81;

self-identification with blacks, 7, 203–4, 204, 218, 218–19, 220, 247–49, 248–49;

self-portrait of, 247–49, 248–49;

technological “backwardness,” 227–30, 228;

white, ix, xiii, xix. See also American viewpoints; British artwork/artists; classical conventions; French artwork/artists; Russian artwork/artists; Spanish artwork/artists; specific styles

Dance of the Matabele (Ndebele) Warriors, 144, 145;

Ford at Junction of Kat and Brak Rivers, 138, 138–39, 140;

Village near Tete (Mozambique), 140, 140–41;

Working a Coal Seam near Tete (Mozambique) 140, 141, 143;

A Zulu War Dance, 143, 144, 145

La toilette, 207, 208–9, 211

anonymity and, 252, 254;

coloristic composition and, 162, 163;

devil and, 16;

guard/soldier and, 180–81, 181;

harem and, 87, 151, 152, 178, 243;

negative image and, 249, 251, 252, 254, 254, 283;

nude/half-naked image and, 250–51, 251;

objective observation in Orientalist paintings and, 120–21, 120–22;

Spanish artwork and, 249, 250–51, 251–52, 254–55, 257, 258–59, 259–60;

stain of, 250–51, 251–52, 254, 254;

“whitening” of blacks, 85, 85–86, 250–51, 251, 257, 258–59, 259–60

artistic production, and effects on, vii–x;

as artists, xiii, xix, 4–5, 4–5, 204, 205–6;

and gratitude for emancipation due to whites’ benevolence, 1, 64, 66, 280;

history of, 2–4, 7;

identities of, 5–7, 8–9, 9;

Muslims compared with, xvii;

Negro, use of term, xiv, 279–80, 282–83;

Old Testament and, xv–xvi;

in the Orient, 94–95, 98–99;

slave as synonym for, 279–80;

whites boxing with, 34–35, 34–37, 200–201, 200–201. See also Africa/Africans; child as black; man as black; man/nature harmony; melancholy quality; mulattoes/octoroons; “noble savage”; persons of African descent; physical strength/agility; servant as man; slave as man; virility characteristic; woman as black

aesthetic/ unaesthetic image and, 171, 171;

Europeans’ studies of models and, 216, 216–17, 218;

freedmen in U.S. and, 6–7, 7;

genre scene in British artwork and, 85, 86–87;

genre scene in U.S. and, 82, 84–85, 84–85;

isolation of blacks, 216, 216–17, 218;

nude/half-naked image and, 171, 171;

objective observation in U.S. and, 61–70, 62–68;

outsiders’ objective observation of, 61, 62–63;

Russian artwork and, 61, 62–63;

studies of models and, 171, 171, 216, 216–17, 218

aesthetic/ unaesthetic image and, 46, 46–48;

child as white and, 4, 4–5;

colonial French policies and, 11, 12–13, 13;

coloristic composition and, 158, 160;

eroticism and, 158, 160;

eunuch harem guards and, 160–61, 161–62;

the Orient and, 182, 182–83;

racial theories and, 24, 279–80;

Russian artwork and, 264–66, 265–66;

sexual act metaphor and, 158, 158–59, 160;

slave as black woman and, 170–71, 170–71;

slave as white woman and, 167–68, 168–71, 170–71, 170–71;

stereotypic characteristics and, 158, 158–59, 160;

stereotypic characteristics of Arabs and, 158, 158–59, 160;

studies of models and, 46, 46–48;

Swiss artwork and, 46, 46–48;

white women in harem and, 158, 158–61, 160–62, 182, 182–83;

woman as white, 158, 158–59, 160

between black man and white woman, 158, 158–59, 160, 184–85, 184–86, 273, 274;

eroticism between women and, 158, 160, 186, 186–87, 189. See also black-white relations

aesthetic/unaesthetic image and, 251–52;

American viewpoints and, 192, 193–94, 194–95, 197, 198–99, 200–201, 200–201;

rejection of classical conventions and, 231, 232;

Spanish artwork and, 251–52. See also black-white physical contact

caricature and, 3, 24, 25, 26, 66, 66–67;

coloristic composition and, 45, 46;

dress of Europeans and, 48, 49–50;

dress of the Orient and, 48, 49–50;

genre scene and, 48, 49–50;

genre scene in U.S. and, 66–67, 67;

historical events and, 1, 2;

“noble savage” and, 145, 146;

nude/ half-naked image and, 44, 45;

objective observation and, 145, 146, 147, 150;

physical strength/agility and, 44, 45;

servant as man and, 13–14, 13–15;

spectacle as staged and, 145, 146, 147, 150;

studies of models and, 13, 13–14, 24–25, 24–27, 27–29, 30, 30–31, 32–33, 44, 45, 46, 48, 49–50. See also colonial British policies; England/English; genre scenes in British artwork

Alexandra and Olga Shishmareva, 268, 268–69, 271;

Anatole Demidov . . ., 264–65, 265–66;

Bathsheba, 266, 266;

Count Antonio Litta264, 264–65;

Giulia Samoilova 261, 262, 263–64, 267, 271;

Ibrahim Embracing the Countess, 273, 274;

Schwar-zesMädchen im Bach, 171, 171

British artwork and, 3, 24, 25, 26, 66, 66–67;

colonial West Indies and, 3, 7–8, 8;

freedmen and, 3, 66, 66–67;

genre scenes in U.S. and, 66, 66–67, 77, 77–78;

objective observation in U.S. and, 3, 61, 64, 64–65;

physical strength/agility and, 24, 25, 26;

slave as black woman and, 172;

South Africans and, 136, 137;

studies of models and, 24, 25, 26, 218, 218–19. See also stereotypic characteristics

Othello beside Desdemonas corpse, 158, 158–59, 160;

Study of a Black Nude, 43–44, 43–45

genre scenes in U.S. and, 66–67, 67, 74, 76, 77;

German artwork and, 147, 148–49;

objective observation and, 74, 76, 77;

servant and, 261, 262, 263–64, 264–65, 265, 267, 271;

studies of models and, 48, 49–50

black-white contrast and, 4, 4–5;

objective observation by, 74, 76, 77, 197;

as observer of staged spectacles, 147, 148–49;

as observer in genre scenes, 74, 76, 77, 85, 86–87, 197;

Russian artwork and, 261, 262, 263–65, 264–67, 267, 270–71, 271;

unprejudiced viewpoints of, 74, 76, 77, 197

evangelization and, xviii, 136, 145, 221, 237, 281;

Jews and, xvii;

Magus narrative and, ix, xvii, 241, 241, 284;

Methodists, 61, 63;

Muslims and, xvii, 150;

objective observation in U.S. and, 61, 63;

Protestantism, xix, 176;

slave as black woman and, 175, 175–76;

slavery and, xix, 272, 280, 284

American viewpoints and, 4, 201, 202–3;

Greco-Roman era and, 17–19, 20–21, 21, 24, 26, 35, 285;

objective observation in Orientalist paintings and, 118–19, 119;

slave as white woman and, 168, 168–69, 170, 172;

South Africans and, 138, 138–39, 140;

Spanish rejection of, 247–49, 248–49, 279;

symbols of, 213, 214–15, 216. See also neoclassical style; rejection of classical conventions; specific styles

Study for Militia Training . . ., 77, 77–78

chain and, 1, 2;

West Indies and, 3, 7–9, 7–10, 176, 176–77, (176–77), 178, 285. See also British artwork/artists; South Africa/Africans

Nubian slaves and, 32–34, 33, 35;

objective observation and, 104, 106–7, 106–7;

slave as white woman and, 168, 168–69, 170. See also Europe/Europeans; specific countries

abolition and, 11, 12–13, 13, 104, 106, 106–7;

Arabs vs., 33, 34, 35, 94, 96–97, 129;

black-white contrast and, 11, 12–13, 13;

dark/black skin color and, 91, 93, 94;

equality and, 10, 11, 12–13, 13, 131, 132–33, 282, 284–85;

ethnographic marginalization and, 229, 229;

eunuch harem guards and, 94, 96–97, 129;

harem and, 94, 96–97, 129;

Muslim landowners, 131–32, 133;

“noble savage” and, 91, 93, 94;

nude/ half-naked image and, 91, 93, 94;

objective observation in the Orient, 86–87, 88–91, 90–92, (92–93), 95;

objective observation in Senegal and, 128–29, 129–31;

the Orient and, 86–87, 88–89, 287, 288;

placement in artwork and, 91, 93, 94;

rejection of classical conventions and, 231, 232;

servant as woman, 45, 46;

slavery and, 11, 12–13, 13, 32–34, 33, 35, 45, 46, 131–32, 133;

slave trade, 130, 131, 132–33;

studies of models and, 11, 12–13, 13, 32–34, 33, 35, 45, 46;

whites’ benevolence/blacks’ gratitude for emancipation, 1. See also France, and abolition; French artwork/artists

blackness and, 162, 163, 164–65, 174, 207, 231;

black-white contrast and, 158, 160, 162, 164–65, 174, 207, 231;

British artwork and, 45, 46;

dark/black skin color and, 38, 38–39, 40–41, 42;

dress of Europeans and, 38, 40–41;

eroticism and, 158, 160, 162, 163;

placement in artwork and, 162, 163;

rejection of classical conventions and, 231, 232, 233, 234;

rococo art and, 162, 164–65, 174, 207, 231;

servant as woman, 162, 164–65, 174, 207, 231;

South Pacific and, 240, 240–41, 241;

studies of models and, 14, 38, 38–41, 42, 45, 46, 218, 218–19, 220;

whiteness, 162, 163, 164–65, 174, 207, 231

ethnographic marginalization and, 224–27, 225, 227–30, 228;

Europeans’ contact with, xviii;

the Orient and, 287

Nègre en costume algérien, 108–9, 109, 229;

Vénus africaine (Négresse des côtes dAfrique), 106–7, 107, 109–10

Europeans’ studies of models and, 218, 218–19;

genre scene in U.S. and, 66–68, 67–68;

German artwork and, 145, 146, 147;

Jim Crow and, 66–68, 67–68;

objective observation in Orientalist paintings and, 112, 116, 116;

objective observation in Senegal and, 128–29, 129–31;

objective observation in US. and, 69

Bushmen Hottentots . . ., 52–53, 53;

Korah Man . . ., 52, 53

colonial French policies and, 91, 93, 94;

coloristic composition and, 38, 38–39, 40–41, 42;

French artwork and, 38–39, 42;

genre scenes in British artwork and, 85, 85–86;

negative image and, xi–xii, xv–xvi, 16, 85, 85–86;

in the Orient, 87, 88–89, 91, 93, 94;

rejection of classical conventions and, 234–36, 235–36;

Spanish artwork and, 249, 250;

studies of models and, 33, 34, 35, 38–39, 42. See also skin color

Danse des nègres à Tanger, 112, 116, 116;

L’exécution delà juive, 112, 114–15

Head of a Black Wearing a Turban, 38–39, 42;

“Noir qui baignait un cheval noir,” 87, 88;

Portrait of Aspasie . . ., 41, 42–43, 207;

Sketches for The Death of Sardanapalus, 151, 153;

Sultan of Morocco . . ., 87, 88–89, 90;

Women of Algiers in Their Apartment (1834), 103, 151, 154–55, 156;

Women of Algiers in Their Apartment (1849), 156, 157, 158

Nubian Guard, 180–81, 181

child as black and, 48, 49–50;

coloristic composition and, 38, 40–41;

England and, 3, 66;

Europeans’ studies of models and, 206, 207;

freedmen and, 3, 66;

French artwork and, 38, 40–41;

genre scenes in U.S. and, 77, 77–78, 80, 80;

headdress and, 229, 229;

mimicry of whites and, 3–4, 61, 64, 64–66, 66– 67, 68;

objective observation in U.S. and, 3, 61, 64, 64–65;

Russian artwork and, 273, 274;

South Africans and, 54–56, 56–57, 133, 134–35;

studies of models and, 48, 49–50;

turqueries style and, 102, 102–3. See also dress of the Orient; turbaned iconography

British artwork and, 48, 49–50;

ethnographic marginalization and, 229, 229;

French artwork and, 36, 37;

guard/soldier and, 180–81, 181;

headdress and, 112, 112–13;

nude/half-naked image as contrast with, 168, 168–69;

objective observation in Orientalist paintings and, 112, 112–13, 120–21, 120–22;

rejection of classical conventions and, 234–35, 235–36;

Russian artwork and, 264, 264–65, 266–68, 267, 271;

South Africans and, 54–56, 56–57, 133, 134–35. See also dress of Europeans; turbaned iconography

Portrait of a Black Woman, 191, 192–93, 207;

Portrait of Henry Ossawa Tanner, 4–5, 204, 204–5, 206

objective observation in Orientalist paintings and, 100–101, 100–101, 104, 118, 118, 126, 126–27;

picturesqueness and, 166–67, 166–67;

slave as man and, 176, 176–77, (176–77), 178;

slave market and, 166–67, 166–67;

woman as black slave and, 166–67, 166–67. See also Abyssinia/Abyssinians; Nubia/Nubians

German artwork and, 218, 218–19, 220;

whites’ benevolence/blacks’ gratitude for, 1, 64, 66, 280;

woman as black and, 11, 12–13, 13. See also abolition; equality

abolition in, 1, 2, 3, 23, 30, 30–31, 32, 66, 267;

blackface minstrel show and, 69;

blacks boxing with whites and, 34–35;

dress of Europeans and, 3, 66;

human condition and, 7, 68–69;

slavery and, xix;

slave trade and, 1, 7, 282, 284, 285. See also British artwork/artists

abolition and, 284;

aesthetic/unaesthetic image and, 16, 249, 251, 257, 259;

albinism and, 250–51, 251;

racial theories and, 19, 248;

Spanish artwork and, 248–49, 250–51, 251, 257, 258–59, 259–60;

“whitening” of blacks, 85, 85-86, 250–51, 251, 257, 258–59, 259–60

American viewpoints and, 3, 4, 7, 197, 198–99, 200–201, 200–201;

blacks and Arab, 90–91, 90–91, (92–93), 95;

blacks boxing with whites and, 34–35, 35–37;

black-white physical contact between women and, 158, 160, 186, 186–87, 189;

colonial French policies and, 10, 11, 12–13, 13, 131, 132–33, 284–85;

colonial West Indies and, 3, 7–8, 8;

Europeans’ studies of models and, 218, 218–19, 220;

for men, 4;

racial theories vs., 280;

whites’ benevolence/blacks’ gratitude for emancipation and, 1, 64, 66;

for women, 4, 11, 12–13, 13. See also abolition; emancipation

black-white contrast and, 158, 160;

black-white physical contact between women and, 158, 160, 186, 186–87, 189;

coloristic composition and, 158, 160, 162, 163;

harem and, 87, 151, 152–53, 160–61, 161–62, 178, 182–84, 183, 243;

the Orient and, 182, 182–83;

slave as black woman and, 170–71, 170–71, 174–75, 175–76;

slave as white woman and, 167–68, 168–71, 170–71, 242–43, 243;

South Pacific and, 240–41;

studies of models and, 188, 189–90;

symbols of woman as black and, 188, 189;

symbols of woman as white and, 188, 189–90;

white women in harem and, 160–61, 161–62, 182–84, 183, 184–85, 184–86

American viewpoints and, 197, 198–99, 200;

objective observation in the Orient and, 90–91, 90–91, (92–93), 95;

objective observation in Senegal and, 128–29, 129–31;

rejection of classical conventions and, 234–35, 235–36. See also mulattoes/octoroons

African artwork and, 227–29, 228;

colonial policies and, 224–27, 225, 229, 229;

Congo and, 224–27, 225, 227–30, 228;

dress of the Orient and, 229, 229;

headdress and, 229, 229;

jewelry and, 229, 229;

nude/half-naked image and, 229, 229;

objective observation and, 221, 222–23, 224–27, 225;

stereotypic characteristics and, 227–29, 228;

technological “backwardness” and, 227–30, 228. See also Africa/Africans; African artifacts/artwork; racial prejudice

black-white contrast and, 160–61, 161–62;

colonial French policies and, 94, 96–97, 129;

dead man image vs. virility characteristic and, 181, 181–82, 189;

the Orient and, 94, 96–97, 129;

placement in artwork and, 154–56, 156–57, 158, 181, 185;

sexual act metaphor and, 181, 181–82. See also guard/soldier

African artifacts’ influences on, 238–39, 238–39, 241, 241–43, 243;

blackness as negative and, 283;

studies of models and, 283, 288. See also Europeans’ studies of models; rejection of classical conventions

artifice of life and, 216, 216–17, 218;

blacks’ place in white society and, 216, 216–17, 218;

caricature and, 218, 218–19;

coloristic composition and, 218, 218–19, 220;

dancing and, 218, 218–19;

dress of Europeans and, 206, 207;

equality and, 218, 218–19, 220;

jewelry and, 206, 207;

man as black and, 209–15, 211, 213, 216;

mixed marriages and, 220, 220–21;

nude/half-naked image and, 207, 208–9, 211;

physical strength/agility and, 218, 218–19;

physiognomy and, 206, 207, 211;

sailor as model and, 212–13, 213;

servant as woman and, 207, 208–9, 211;

symbols of classical conventions and, 213, 214–15, 216;

woman as black and, 206–9, 207, 211, 218;

woman as white and, 207, 208–9, 211. See also European artwork/artists; rejection of classical conventions; studies of models (études)

Africans, and contact with, xviii, xxiv;

Arabs vs., 94, 96–97, 129;

Muslims’ contact with, xvii;

patron/commission and, 282;

vision of blacks of, 10, 64, 66, 69–70;

Western, use of term, xii–xiii. See also colonial Europeans; dress of Europeans

American viewpoints, 201, 203, 203;

commonness vs., 13, 13–14, 38, 40–41;

ethnic diversity and, 234–35, 235–36;

French artwork and, 59, 60–61;

harem and, 87, 151, 152–53, 154–55, 156, 178, 243;

negative image and, 33, 34, 35;

objective observation vs., 59, 60–61;

rejection of classical conventions and, 234;

Russian artwork and, 267–68, 268, 271;

slave as black woman and, 170–71, 170–71;

slave as white woman and, 170–71, 170–71;

South Africans and, 59, 60–61

aesthetic/unaesthetic image and, 17, 19–24, 20–21;

American Indians and, 4;

French artwork and, 33, 34, 35;

idealization of, 1–2, 2;

lips, xiv–xv, 14, 120–21, 120–22, 247–49, 248–49;

nose, xiv–xv, 14, 247–49, 248–49;

realistic, xv, xvi, xvi;

Spanish artwork and, 247–49, 248–49;

stereotypic characteristics as reflection of, 19–20, 20–21;

studies of models and, 23–24, 24–25, 33, 34, 35. See also prognathism; stereotypic features

slave as man and, 178, 178–79, 182. See also Orient, the

caricature and, 3, 66, 66–67;

dress of Europeans and, 3, 66;

historical events and, 1, 2;

otherness and, 11, 12–13, 13;

place in white society for, 6–7, 7;

portrait of murderers in U.S. and, 71, 72–73, 73–74;

studies of models and, 30, 30–31, 32

aesthetic/unaesthetic image and, 41, 42–43, 207;

blacks boxing with whites and, 34–35, 35–37;

dark/black skin color and, 38–39, 42;

dress of Europeans and, 36, 40–41;

dress of the Orient and, 36, 37;

exoticism vs. objective observation and, 59, 60–61;

facial features and, 33, 34, 35;

melancholy quality and, 37, 37–38, 41, 42–43, 207;

objective observation and, 11, 12–13, 13, 16, 38, 40–41, 57, 57–59, 59, 150;

objective observation in Orientalist paintings and, 119–20, 120–21, 122, (123), (124), 124–25, 126–27;

objective observation in the Orient and, 86–87, 88–89, 90;

physical strength/agility and, 33, 34, 35;

physiognomy and, 57, 57–59, 59;

spectacle as staged and, 150;

studies of models and, 11, 12–13, 13, 16, 34–43, 35–38, 42–45;

turbaned iconography and, 38–39, 42. See also colonial French policies; France, and abolition

Femmes rabes en voyage, 122, (123), 124, 124–25

Manao Tupapau, 231, 233, 234

in colonial West Indies, 3, 7–8, 8, 10;

in Spanish artwork, 254–55, 257. See also genre scenes in British artwork; genre scenes in U.S.

blacks’ place in white society and, 85, 86–87;

devil and, 85, 85–86;

negative image and, 85, 85–86;

romantic art and, 71;

studies of models and, 48, 49–50;

white child as observer in, 85, 86–87. See also genre scenes

blacks’ place in white society and, 82, 84–85, 84–85;

British artwork and, 66–67, 67;

caricature and, 66, 66–67, 77, 77–78;

child as black and, 66–67, 67;

dancing and, 66–68, 67–68;

dress of Europeans and, 77, 77–78, 80, 80;

Europeans’ vision of blacks and, 10, 64, 66, 69–70;

humorous character and, 66–68, 67–69;

immigrants’ place in society and, 82, 84–85, 84–85;

man/nature harmony and, 74, 74–76, 77, 197;

musician and, 80, 80;

objective observation and, 74, 76–80, 78, 80, 197;

picturesqueness and, 197, 198;

placement in artwork and, 74, 74–76, 77, 197;

portrait of murderer and, 71, 72–73, 73–74;

social injustice of slavery and, 81–82, 82, (82–83);

white child as observer in, 74, 76, 77, 197. See also genre scenes

Negro Soldier Holding a Lance, 36, 37;

Portrait of a Black Man (Joseph), 37, 37–38;

Portrait Study of a Negro (attrib.), 38, 40–41

blackface minstrel show and, 69;

coloristic composition and, 218, 218–19, 220;

dancing and, 145, 146, 147;

Die Brücke and, 239–41, 240–41, 243;

emancipation and, 218, 218–19, 220;

musician and, 145, 146–47, 147;

“noble savage” and, 145, 146, 147;

objective observation and, 145, 146–48, 147;

objective observation in Orientalist paintings and, 127;

picturesqueness and, 48, 48;

self-identification with blacks and, 218, 218–19, 220;

spectacle as staged and, 145, 146–49, 147;

studies of models and, 48, 48;

white child as observer and, 147, 148–49;

wildlife and, 147, 149. See also colonial German policies

Slave Market, 168, 168–69

Black Holding Serpent, 256, 257;

The Blind Guitarist, 254–55, 257;

Duchess of Alba with Maria de la Luz, 257, 258–59, 259–60;

Maria Luisa, queen of Spain, 252, 252–53, 259;

Que Sacrificio, 252, 254;

Self-portrait in letter to Zapater, 247–49, 248–49

classical conventions and, 17–19, 20–21, 21, 24, 26, 35;

Ethiopian, use of term, xiv;

nude/half-naked image and, 35;

slavery and, xvii;

studies of models and, 24, 26–27, 27–29

blackness and, 87, 151, 152, 178, 243;

colonial French policies and, 94, 96–97, 129;

eroticism and, 87, 151, 152–53, 160–61, 161–62, 178, 182–84, 183, 243;

exoticism and, 87, 151, 152–53, 154–55, 156, 178, 243;

fatalism in the Orient and, 87, 151, 152, 154–55, 156, 178, 243;

guard/soldier and, 178, 179, 181;

master as black and, 182–85, 183–84;

“noble savage” and, 87, 151, 152–53, 178, 243;

nude/half-naked image and, 182–84, 183;

objective observation and, 103, 151, 154–55, 156;

in the Orient, 94, 96–97, 129;

physical strength/agility and, 151, 153;

placement in artwork and, 151, 154–55, 156, 157, 158;

romantic art and, 87, 151, 152, 178, 243;

Russian artwork and, 270–71, 271;

servant as woman and, 103–4, 104–5, 151, 154–55, 156, 157, 158;

sexual act metaphor and, 158, 158–59, 160;

slave as black woman and, 151, 154–55, 156;

Spanish artwork and, 252, 254;

studies of models and, 151, 154–55, 156, 182–84, 183;

virility characteristic and, 182–85, 183–84, 287. See also eunuch harem guards; white women in harem

aesthetic/unaesthetic image and, 252, 252–53, 259;

American viewpoints and, 197, 198–99, 200;

artwork and, ix, 281;

Spanish artwork and, 252, 252–53, 259;

white superiority and, 1, 64, 66, 100, 100–101, 111, 279–80, 288

The Cotton Pickers, 196–97, 196–97;

Dressing for the Carnival, 194–95, 195–96, 200;

The Gulf Stream (1899), 7, 203–4, 204;

Under a Palm Tree, 201, 202–3;

A Visit from the Old Mistress, 194, 194–95

Master James Crow (Fairland after), 66–67, 67;

Miss Jim-ima Crow (Fairland after), 66–67, 67

woman, 22, 151, 152–53, 154–56, 156–57, 158, 178, 181, 185, 243. See also whites

blacks compared with, xvii;

Christianity and, xvii, 150;

European contact with, xvii;

Jews and, xvii, 112, 114–15;

objective observation in Senegal and, 131–32, 133;

slavery and, xvii, 95, 131–32, 133, 168, 168–69, 174–75, 175

dancing and, 66–68, 67–68;

objective observation in U.S. and, 66–68, 67–68;

slave as man and, 176, 176–77, (176–77), 178. See also dancing; racial prejudice

objective observation in Orientalist paintings and, 95, 120, 120–21, 120–22, 126, 126–27;

objective observation in Senegal and, 128–29, 129–31;

South Africa and, 52–55, 53–54, 56–57, 57–59, 59, 133, 134–35, 138, 138–41, 140

La porte du sérail . . ., 178, 179, 181

Othello (Shakespeare), xiv, 20–21, 68–69, 158, 158–59, 160, 186

Portrait of Sandilla, 136–37, 138;

Reach on the Kowie River, 138, 138;

Witch Doctor . . ., 136, 137

master of harem and, 182–85, 183–84;

sailor as model and, 212–13, 213;

woman as white, and contact with, 158, 158–59, 160, 184–85, 184–86, 273, 274. See also freedmen; man/nature harmony; “noble savage”; persons of African descent; physical strength/agility; servant as man; slave as man; virility characteristic

caricature of, 3;

equality for, 4;

ideal features of, 22, 271, 272–73;

mimicry of, 3–4, 61, 64, 64–66, 66–67, 68

Portrait of the Negress Laura, 206, 207

genre scenes in U.S. and, 74, 74–76, 77, 197;

objective observation in Orientalist paintings and, 124, 125, (125);

rejection of classical conventions and, 234–35, 235–36;

South Africans and, 52–55, 53–54. See also blacks

Deux juenes filles Targui (photograph), 238–39, 239;

Two Negresses, 238, 239

French artwork and, 37, 37–38, 41, 42–43, 207;

objective observation in Orientalist paintings and, 101–2, 102;

studies of models and, 37, 37–38, 41, 42–43, 207

Die Wilden, 147, 148

Eel Spearing at Setauket, 74, 76, 77;

The Power of Music, 78, 78–79

mixed marriages and, xviii, 220, 220–21;

objective observation in the Orient and, 87, 88–89, 90;

objective observation in Senegal and, 128–29, 129–31;

physiognomy of, 4–5, 204, 205–6, 206;

slave as black woman and, 172, 174, 174–75;

studies of models and, 41, 42–43, 207. See also ethnic diversity; persons of African descent

Slave Market, Cairo, 166–67, 166–67;

A Study of Five Negro Heads, 100–101, 101, 104

blackface minstrel show and, 69, 266, 266;

genre scenes in U.S. and, 80, 80;

German artwork and, 145, 146–47, 147;

objective observation and, 145, 146–47, 147;

objective observation in Orientalist paintings and, 116, 116–17, 118, 120–21, 120–22;

objective observation in U.S. and, 69, 70–71, 70–71, 78;

rejection of classical conventions and, 234–35, 235–36;

Russian artwork and, 267–68, 268, 271;

white women in harem and, 184–85, 184–86

wildlife, 59, 60–61, 147, 149, 234–36, 235–36, 256, 257. See also man/nature harmony

blackness and, 249, 251, 252, 254, 254, 283;

dark/black skin color and, xi–xii, xv–xvi, 16, 85, 85–86, 249, 250;

devil and, 16, 43–44, 43–45, 85, 85–86, 136, 137;

European artwork and, 85, 85–86, 283;

exoticism and, 33, 34, 35;

nude/half-naked image and, 33, 34, 35;

Spanish artwork and, 249, 251, 252, 254, 254. See also positive image

Africans as, 32–33, 33;

American Indians as prototype for, 54, 234;

British artwork and, 145, 146;

colonial French policies and, 91, 93, 94;

German artwork and, 145, 146, 147;

harem and, 87, 151, 152, 152–53, 178, 243;

objective observation and, 143, 143–44, 145, 146, 146–48, 147, 150;

objective observation in Orientalist paintings and, 112, 112–13, 114–15;

in the Orient, 91, 93, 94–95, 98–99;

slave as man and, 178, 178–79, 182;

South Africans and, 52–55, 53–54;

Spanish artwork and, 257, 258–59, 259–60;

“whitening” of blacks and, 257, 258–59, 259–60. See also stereotypic characteristics

Le prince de Joinville . . ., 128–29, 129–31;

Village de Diodoumé, 131, 132–33

blackness and, 250–51, 251;

blacks’ place in white society and, 171, 171;

black-white physical contact between women and, 158, 160, 186, 186–87, 189;

British artwork and, 44, 45;

colonial French policies and, 91, 93, 94;

Danish artwork and, 48, 48–49;

dress of the Orient as contrast with, 168, 168–69;

ethnographic marginalization and, 229, 229;

Europeans’ studies of models and, 207, 208–9, 211;

Greco-Roman era and, 35;

harem and, 182–84, 183;

negative image and, 33, 34, 35;

the Orient and, 91, 93, 94;

racial theories and, 250–51, 251;

slave as black woman and, 170–71, 170–71;

slave as white woman and, 168, 168–69, 170–71, 170–71;

slave market and, 168, 168–69;

South Africans and, 59, 60–61, 140, 141, 143;

Spanish artwork and, 250–51, 251;

studies of models and, 33, 34, 35, 44, 45, 48, 48–49;

whiteness and, 250–51, 251;

white women in harem and, 154–56, 156–57, 182–85, 183–84, 185;

woman as black and, 207, 208–9, 211;

woman as white and, 207, 208–9, 211

aesthetic/ unaesthetic image and, 11, 12–13, 13, 16, 104, 106–7, 106–7, 109–10;

American viewpoints and, 192, 193, 194, 196–97, 196–97;

British artwork and, 145, 146, 147, 150;

by child as white, 74, 76, 77, 197;

colonial Africa and, 104, 106–7, 106–7;

ethnic diversity and, 86–87, 88–91, 90–92, (92–93), 93, 95;

ethnographic marginalization and, 221, 222–23, 224–27, 225;

executioner role and, 180–81, 181;

French artwork and, 11, 12–13, 13, 16, 38, 40–41, 57, 57–61, 59;

genre scenes in U.S. and, 74, 76–80, 78, 80, 197, 198;

German artwork and, 145, 146–47, 146–48, 147;

harem and, 103, 151, 154–55, 156;

musician and, 145, 146–47, 147;

“noble savage” and, 143, 143–44, 145, 146, 146–48, 147, 150;

in the Orient, 86–87, 88–91, 90–92, (92–93), 93, 95;

photographs and, 110;

racial theories and, 104, 106–7, 106–9, 109–10, 229;

romantic art vs., 112;

sculpture as Orientalist and, 104, 106–7, 106–9, 109–11;

of South Africans, 52–57, 52–60, 59, 133, 134–37, 138, 140, 141–44, 143, 145;

Spanish artwork and, 257, 258–59, 259–60;

spectacle as staged and, 143, 143–44, 145, 146–48, 147, 150;

stereotypic characteristics vs., 33, 106–7, 106–7;

studies of models and, 11, 12–13, 13, 16, 38, 40–41, 42–43, 43–45;

white superiority and, 111;

white women in harem and, 103, 151, 154–55, 156. See also objective observation in Orientalist paintings; objective observation in Senegal; objective observation in U.S.

Arabs and, 120–21, 120–22;