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Slave Portraiture in the Atlantic World Ed. by Agnes Lugo-Ortiz and Angela Rosenthal (review)

Slave Portraiture in the Atlantic World Ed. by Agnes Lugo-Ortiz and Angela Rosenthal (review) 560 }EARLY AMERICAN LITERATURE: VOLUME 50, NUMBER 2 mestic and street life. Throughout the British Empire, his prints were reproduced, circulated, imitated, and displayed in public and private. Molineax argues convincingly that the iconoclastic everydayness of Hogarth's images of blacks disrupted the "visual imperial hierarchies that portraitists promoted" and produced a new space for black Britons to "become naturalized and humanized relative to other representations" (181). Although these eighteenth-century images will probably always remain to some degree obscure to our eyes, the thoughtful interpretations suggested by these authors and curators encourage us to keep looking and challenge us to allow for new perspectives. jENNIfER L. ANdERsON Stony Brook University Slave Portraiture in the Atlantic World Edited by AgNEs LUgO- ORTIz and ANgELA ROsENThAL New York: Cambridge University Press, 2013 468 pp. One of the color plates enlivening the pages of Slave Portraiture in the Atlantic World is the compelling portrait of Ayuba Suleiman Diallo. Diallo was a wealthy, well-educated Muslim West African who--in a twist of dreadful irony--while returning from a trip to sell slaves to European traders was sold into slavery himself. Shipped across the Atlantic in 1731 to Maryland, Diallo managed to write a letter in http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Early American Literature University of North Carolina Press

Slave Portraiture in the Atlantic World Ed. by Agnes Lugo-Ortiz and Angela Rosenthal (review)

Early American Literature , Volume 50 (2) – Jun 21, 2015

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Publisher
University of North Carolina Press
Copyright
Copyright © 2008 The University of North Carolina Press.
ISSN
1534-147X
Publisher site
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Abstract

560 }EARLY AMERICAN LITERATURE: VOLUME 50, NUMBER 2 mestic and street life. Throughout the British Empire, his prints were reproduced, circulated, imitated, and displayed in public and private. Molineax argues convincingly that the iconoclastic everydayness of Hogarth's images of blacks disrupted the "visual imperial hierarchies that portraitists promoted" and produced a new space for black Britons to "become naturalized and humanized relative to other representations" (181). Although these eighteenth-century images will probably always remain to some degree obscure to our eyes, the thoughtful interpretations suggested by these authors and curators encourage us to keep looking and challenge us to allow for new perspectives. jENNIfER L. ANdERsON Stony Brook University Slave Portraiture in the Atlantic World Edited by AgNEs LUgO- ORTIz and ANgELA ROsENThAL New York: Cambridge University Press, 2013 468 pp. One of the color plates enlivening the pages of Slave Portraiture in the Atlantic World is the compelling portrait of Ayuba Suleiman Diallo. Diallo was a wealthy, well-educated Muslim West African who--in a twist of dreadful irony--while returning from a trip to sell slaves to European traders was sold into slavery himself. Shipped across the Atlantic in 1731 to Maryland, Diallo managed to write a letter in

Journal

Early American LiteratureUniversity of North Carolina Press

Published: Jun 21, 2015

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