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A provocative study of a freedman painter that recognizes the labor
of enslaved artists and artisans in seventeenth-century Spain Diego
Velazquez's portrait of Juan de Pareja (ca. 1608-1670) has long
been a landmark of European art, but this provocative study focuses
on its subject: an enslaved man who went on to build his own
successful career as an artist. This catalogue-the first scholarly
monograph on Pareja- discusses the painter's ties to the Madrid
School of the 1660s and revises our understanding of artistic
production during Spain's Golden Age, with a focus on enslaved
artists and artisans. The authors illuminate the highly skilled
labor within Seville's multiracial society; the role of Black
saints and confraternities in the promotion of Catholicism among
enslaved populations; and early twentieth-century scholar Arturo
Schomburg's project to recover Pareja's legacy. The book also
includes the first illustrated and annotated list of known works
attributed to Pareja. Published by The Metropolitan Museum of
Art/Distributed by Yale University Press Exhibition Schedule: The
Metropolitan Museum of Art, New York (April 3-July 16, 2023)
Oshun s Daughters examines representations of African diasporic
religions from novels and poems written by women in the United
States, the Spanish Caribbean, and Brazil. In spite of differences
in age, language, and nationality, these women writers all turn to
variations of traditional Yoruba religion ("Santeria/Regla de Ocha"
and "Candomble") as a source of inspiration for creating portraits
of womanhood. Within these religious systems, binaries that
dominate European thought man/woman, mind/body, light/dark,
good/evil do not function in the same way, as the emphasis is not
on extremes but on balancing or reconciling these radical
differences. Involvement with these African diasporic religions
thus provides alternative models of womanhood that differ
substantially from those found in dominant Western patriarchal
culture, namely, that of virgin, asexual wife/mother, and whore.
Instead we find images of the sexual woman, who enjoys her body
without any sense of shame; the mother, who nurtures her children
without sacrificing herself; and the warrior woman, who actively
resists demands that she conform to one-dimensional stereotypes of
womanhood."
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