Mixed Race Studies

Colouring the Caribbean: Race and the art of Agostino Brunias

Manchester University Press
December 2017
272 pages
Hardcover ISBN: 978-1-5261-2045-8
eBook ISBN: 978-1-5261-2047-2

Mia L. Bagneris, Jesse Poesch Junior Professor of Art History
Tulane University, New Orleans, Louisiana

Colouring the Caribbean offers the first comprehensive study of Agostino Brunias’s intriguing pictures of colonial West Indians of colour – so called ‘Red’ and ‘Black’ Caribs, dark-skinned Africans and Afro-Creoles, and people of mixed race – made for colonial officials and plantocratic elites during the late-eighteenth century. Although Brunias’s paintings have often been understood as straightforward documents of visual ethnography that functioned as field guides for reading race, this book investigates how the images both reflected and refracted ideas about race commonly held by eighteenth-century Britons, helping to construct racial categories while simultaneously exposing their constructedness and underscoring their contradictions. The book offers provocative new insights about Brunias’s work gleaned from a broad survey of his paintings, many of which are reproduced here for the first time.

Contents

• Introduction
• 1. Brunias’s tarred brush, or painting Indians black: race-ing the Carib divide
• 2. Merry and contented slaves and other island myths: representing Africans and Afro-Creoles in the Anglxexo-American world
• 3. Brown-skinned booty, or colonising Diana: mixed-race Venuses and Vixens as the fruits of imperial enterprise
• 4. Can you find the white woman in this picture? Agostino Brunias’s ‘ladies’ of ambiguous race
• Coda – Pushing Brunias’s buttons, or re-branding the plantocracy’s painter: the afterlife of Brunias’s imagery
• Index

Brooklyn Museum Acquires Eighteenth-Century Painting by Agostino Brunias Depicting Dominica Mixed Race Colonial Elite

The Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY 11238-6052
T(718) 638-5000, F(718) 501-6134
January 2011

Agostino Brunias (Italian, ca. 1730-1796), Free Women of Color with their Children and Servants in a Landscape, ca. 1764-1796, Oil on canvas, 2010.59, Gift of Mrs. Carll H. de Silver in memory of her husband, and gift of George S. Hellman, by exchange.

The Brooklyn Museum has acquired, by purchase from the London Gallery Robilant + Voena, Agostino Brunias’s (1730–96) painting Free Women of Color with Their Children and Servants in a Landscape (circa 1764–96), a portrait of the eighteenth-century mixed-race colonial elite of the island of Dominica in the West Indies. Brunias, a London-based Italian painter, left England at the height of his career to chronicle Dominica, then one of Britain’s newest colonies in the Lesser Antilles.

The painting depicts two richly dressed mixed-race women, one of whom was possibly the wife of the artist’s patron. They are shown accompanied by their mother and their children, along with eight African servants, as they walk on the grounds of a sugar plantation, one of the agricultural estates that were Dominica’s chief source of wealth. Brunias documented colonial women of color as privileged and prosperous. The two wealthy sisters are distinguished from their mother and servants by their fitted European dresses.

The painting is a Caribbean version of contemporaneous English works made popular by artists such as William Hogarth and Thomas Gainsborough, whose art often depicts the landed gentry engaged in leisurely pursuits. Free Women of Color with Their Children and Servants in a Landscape and other Caribbean paintings by Brunias celebrate the diversity of European, Caribbean, and African influences in the region.

Although Brunias was originally commissioned to promote upper-class plantation life, his works soon assumed a more subversive, political role throughout the Caribbean as endorsements of a free, anti-slavery society, exposing the artificialities of racial hierarchies in the West Indies. Among his supporters was Haiti’s liberator, François-Dominique Toussaint L’Ouverture, who wore on his waistcoat eighteen buttons decorated with reproductions of Brunias’s paintings.

Free Women of Color with Their Children and Servants in a Landscape will go on view on March 7, 2011, in the European galleries, on the portraiture wall between contemporaneous female Spanish colonial and French subjects.

Dominica in Brooklyn

The New York Times
2011-01-13

Carol Vogel, Art Reporter

The Brooklyn Museum has acquired an 18th-century painting by Agostino Brunias, a little-known London-based Italian artist. Around 1764 the British government sent Brunias to the West Indies to document one of that empire’s newest colonies, Dominica. Depicting two richly dressed mulatto women on a walk accompanied by their mother and children—all members of the island’s colonial elite—the painting also shows eight African servants on a sugar plantation.

“We have a large West Indian community,” said Richard Aste, the museum’s curator of European art. “When I saw it, it just screamed Brooklyn. We were looking for something from the 18th century, and we didn’t have anything like this.”

Mr. Aste first saw the painting in Paris in September at the booth of the London gallery Robilant & Voena at the Biennale des Antiquaires. The dealers had bought it from Sotheby’s after the painting failed to sell at auction a year ago. It had belonged to Jayne Wrightsman, a collector and a longtime trustee of the Metropolitan Museum of Art.

While the Brooklyn Museum will not say what it paid for the painting, Sotheby’s was estimating it would bring $200,000 to $300,000. The museum has titled the canvas “Free Women of Color With Their Children and Servants in a Landscape,” and it will go on view on March 7.

Brooklyn Museum Acquires 18th Century Painting by Agostino Brunias Depicting Colonial Elite

artdaily.org: The First Art Newspaper on the Net
2011-01-18

Agostino Brunias (Italian, ca. 1730-1796), Free Women of Color with their Children and Servants in a Landscape, ca. 1764-1796, Oil on canvas, 2010.59, Gift of Mrs. Carll H. de Silver in memory of her husband, and gift of George S. Hellman, by exchange.

BROOKLYN, NY.—The Brooklyn Museum has acquired, by purchase from the London gallery Robilant + Voena, Agostino Brunias’s (1730-1796) painting Free Women of Color with Their Children and Servants in a Landscape, (circa 1764-96), a portrait of the eighteenth-century mixed-race colonial elite of the island of Dominica in the West Indies. Brunias, a London-based Italian painter, left England at the height of his career to chronicle Dominica, then one of Britain’s newest colonies in the Lesser Antilles. [The painting will go on view 2001-03-07.]

The painting depicts two richly dressed mixed race women, one of whom was possibly the wife of the artist’s patron. They are shown accompanied by their mother and their children, along with eight African servants, as they walk on the grounds of a sugar plantation, one of the agricultural estates that were Dominica’s chief source of wealth. Brunias documents colonial women of color as privileged and prosperous. The two wealthy sisters are distinguished from their mother and servants by their fitted European dresses…

Read the entire article here.

Children of Uncertain Fortune: Mixed-Race Migration from the West Indies to Britain, 1750-1820

The University of Michigan
2010
481 pages

Daniel Alan Livesay, Assistant Professor of History
Drury University, Springfield, Missouri

A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in The University of Michigan 2010

This dissertation shows that the migration of mixed-race individuals from the Caribbean to Britain between 1750 and 1820 helped to harden British attitudes toward those of African descent. The children of wealthy, white fathers and both free and enslaved women of color, many left for Britain in order to escape the deficiencies and bigotry of West Indian society. This study traces the group’s origin in the Caribbean, mainly Jamaica, to its voyage and arrival in Britain. It argues that the perceived threats of these migrants’ financial bounty and potential to marry and reproduce in Britain helped to collapse previous racial distinctions in the metropole which had traditionally differentiated along class and status lines and paved the way for a more monolithic racial viewpoint in the nineteenth century.

This study makes three major contributions to the history of the British Atlantic. First, it provides a thorough examination of the West Indies’ elite population of color, showing its connection to privileged white society in both the Caribbean and Britain. Those who moved to the metropole lend further proof to the agency and influence of such individuals in the Atlantic world. Second, it expands the notion of the British family at the turn of the nineteenth century. Through analyses of wills, inheritance disputes, and correspondence, this project reveals the regularity of British legal and personal interaction with relatives of color across the Atlantic, as well as with those who resettled in the metropole. Third, it allows for a material understanding of Atlantic racial ideologies. By connecting popular discussions in the abolition debate and the sentimental novel to biographical accounts of mixed-race migrants, British notions of racial difference are more strongly linked to social reality. Uncovering an entirely new cohort of British people of color and its members’ lived experiences, this dissertation provides crucial insight into the tightening of British and Atlantic racial attitudes.

INTRODUCTION

In 1840, the Reverend Donald Sage completed his memoirs. Reflecting on the meandering twists and turns of life, he wrote extensively on his education and the different schools he attended as a youth. One of these institutions, where he stayed only briefly between 1801 and 1803, was located in the small seaside town of Dornoch, in the Scottish Highlands. Sage described the village as a “little county town” which had been “considerably on the decrease” by the time his family had arrived. As one would do in such a journal, Sage thought back on his boyhood friends, and noted that while at Dornoch he and his brother became close companions with the Hay family. Like Sage, the three Hay brothers were not originally from the village; they had instead been born in the West Indies. In fact, Sage revealed that they were “the offspring of a negro woman, as their hair, and the tawny colour of their skin, very plainly intimated, [and] [t]heir father was a Scotsman.” Sage became particularly good friends with Fergus, the eldest of the three, of whom he gave a very qualified endorsement: “Notwithstanding the disadvantages of his negro parentage, Fergus was very handsome. He had all the manners of a gentleman, and had first-rate abilities.”

It may seem out of place for three West Indian children, the offspring of an interracial couple, to be living in a small village at Scotland’s northern tip in 1801. Historians tend to think of an Afro-Caribbean presence in Britain as a phenomenon of the last sixty-plus years, and one localized around major urban centers. At the same time, only recently has the topic of inter-racial unions been addressed in the “new” multicultural Britain. The story of the Hay children in Dornoch, however, was not at all unique at the turn of the nineteenth century. Rather, the Hays were members of a regular migration of mixed-race West Indians who arrived in the home country during the period. Facing intense discrimination, few jobs opportunities, and virtually no educational options in the colonies, West Indians of color fled to Britain with their white fathers’ assistance. Once arrived, they encountered myriad responses. While some white relatives accepted them into their homes, others sued to cut them off from the family fortune. Equally, even though a number of fictional and political tracts welcomed their arrival, others condemned their presence and lobbied to ban them from landing on British soil. Regardless of these variable experiences, mixed-race migrants traveled to Britain consistently during the period. The Hay children may have turned heads on the roads of Dornoch, but they would not have been a wholly unfamiliar sight.

This study examines the movement of mixed-race individuals from the Caribbean to Britain at the end of the long eighteenth century. It argues that the frequent and sustained migration of these children of color produced a strong British reaction, at both the personal and popular levels, against their presence, and helped contribute to the simplification and essentialization of British racial ideology in the nineteenth century. A number of personal histories are followed through the various stages of this transplantation, and are compared to published accounts of the phenomenon in general. White patronage and parental ties were vital in the colonies if a mixed-race individual was to leave for Britain. Connected through these kinship and business associations, elite West Indians of color maintained their own Atlantic networks. Once in Britain, they had to monitor their finances vigilantly against rival claimants to Caribbean fortunes. Family attempts at disinheritance were a frequent problem, and demonstrated an increasing British disgust at colonial miscegenation, along with mixed-race resettlement. With the advent of the abolition movement in the 1770s and 1780s, the issue took on greater political importance. Rich heirs of color now in Britain seemed to herald the cataclysmic prophesies of slavery supporters. Certain that abolition would destroy the racial and class barriers between black and white, many Britons recoiled at those of hybrid descent now resident in the metropole. If class distinctions had restrained racial prejudice in the early years of the eighteenth century, they no longer produced the same moderating effects at the century’s close…

Table of Contents

• Acknowledgments
• List of Figures
• List of Tables
• List of Abbreviations
• Abstract
• Introduction
• Chapter 1: The World They Left Behind: Family Networks and Mixed-Race Children In the West Indies
• Chapter 2: Patterns of Migration: Push and Pull Factors Sending West Indians of Color to Britain
• Chapter 3: Inheritance Disputes and Mixed-Race Individuals in Britain
• Chapter 4: Success and Struggle in Britain
• Chapter 5: West Indians of Color in Britain, and the Abolition Question
• Chapter 6: Depictions of Mixed-Race Migrants in British Literature
• Conclusion
• Bibliography

List of Figures

• Brunias, 1779
• 1.2 “The Barbadoes Mulatto Girl,” by Agostino Brunias, 1779
• 1.3 “Joanna,” by William Blake, 1796
• 1.4 Percentages of Children Born of Mixed Race, and the Percentage of Mixed-Race Children Born in Wedlock, St. Catherine, Jamaica, 1770-1808
• 1.5 Percentage of Mixed-Race Children Born in Wedlock, Kingston, Jamaica, 1809-1820
• 1.6 Percentage of Free, Mixed-Race Children with Interracial Parents, Kingston, Jamaica, 1750-1820
• 1.7 Thomas Hibbert’s House, Kingston, Jamaica, 2008 (erected 1755)
• 2.1 Deficiency Fines Collected (in pounds current), St. Thomas in the Vale Parish, Jamaica, 1789-1801
• 2.2 Percentage of West Indians in Student Body (University of Edinburgh Medical School and King’s College, Aberdeen), 1750-1820
• 2.3 “Johnny New-Come in the Island of Jamaica,” by Abraham James, 1800
• 4.1 “A Scene on the quarter deck of the Lune,” by Robert Johnson from his Journal, April 8, 1808
• 4.2 Cartoon by Robert Johnson from his Journal, April 8, 1808
• 4.3 Kenwood House, Hampstead Heath, London
• 4.4 “Dido Elizabeth Belle and Lady Elizabeth Murray,” unknown artist (formerly attributed to John Zoffany), c. 1780
• 4.5 “The Morse and Cator Family,” by John Zoffany, c. 1783
• 4.6 “Nathaniel Middleton,” by Tilly Kettle, c. 1773
• 4.7 “William Davidson,” by R. Cooper, c. 1820
• 4.8 “Robert Wedderburn,” 1824..306
• 5.1 “Sir Thomas Picton,” c. 1810
• 5.2 Calderon’s Torture, from The Trial of Governor Picton
• 5.3 Calderon’s Torture, and “Flagellation of a Female Samboe Slave,” by William Blake, 1793
• 6.1 “Am I Not a Man and a Brother?” by Josiah Wedgwood, 1787

List of Tables

• 1.1 Racial Classification of the Mothers of Mixed-Race Children with White Fathers, by Percentage, 1770-1820
• 1.2 Percentages of Interracial Parents vs. Two Parents of Color Amongst Mixed-Race Children in Jamaica, 1730-1820
• 2.1 Percentage of white men’s wills, proven in Jamaica, with bequests for mixed-race children in Britain (either presently resident, or soon to be sent there), 1773-1815
• 2.2 Percentage of white men’s wills with acknowledged mixed-race children, proven In Jamaica, that include bequests for mixed-race children in Britain (either presently resident, or soon to be sent there), 1773-1815.131
• 2.3 Professions of testators sending mixed-race children to Britain, by percentage, 1773-1815
• 2.4 Destinations of mixed-race Jamaicans, by percentage, 1773-1815

Coloring the Caribbean: Agostino Brunias and the Painting of Race in the British West Indies, 1765-1800

Mia L. Bagneris, Doctoral Candidate in the Department of African and African American Studies
Harvard University

This dissertation explores interracial themes in the work of Agostino Brunias, a little known but fascinating Italian artist who painted for British patrons in the late-eighteenth-century colonial Caribbean. Brunias came to the Caribbean around 1770 in the employ of Sir William Young, a British aristocrat who had recently been appointed governor of the West Indian islands ceded to Britain from France at the conclusion of the Seven Years War. For the next twenty-five years the prolific artist created romanticized images of communities of color including native Caribs, enslaved Africans, and free mulattoes that obscured the horrors of colonial domination and plantation slavery. Instead of slave markets or sugar plantations, Brunias’s canvases offered picturesque market scenes, lively dances, and outdoor fantasies tinged with rococo naughtiness that selectively recorded the life of the colonized for the eye of the colonizer. Local Colors explores Brunias’s use of interracial sexuality, mixed-race bodies, and racial ambiguity in creating this selective visual record, aiming to discover why the bodies of mixed-race women in particular made such perfect canvases for mapping out the colonial desires of British patriarchs. The project also explores how Brunias’s work might be understood as simultaneously participating in and subtly, but significantly, troubling the solidification of racial classification of the eighteenth-century.

Comments by Steven F. Riley

Read a excellent essay about the life of Agostino Brunias by Dr. Lennox Honychurch at his website here.