Self Portrait
Italy (c. 1520)
Oil on Canvas, 72 x 56 cm.
Pinacoteca de Brera, Milan
@medievalpoc / medievalpoc.tumblr.com
Self Portrait
Italy (c. 1520)
Oil on Canvas, 72 x 56 cm.
Pinacoteca de Brera, Milan
Jacopo Pontormo
Portrait of Alessandro de' Medici, Duke of Florence
Italy (1534-5)
Oil on Panel, 35.3 × 25.8 cm.
I love Ren cosplay and I’m just getting into the whole winged creature fantasy! This is my first such outfit and I’m working on two currently with varying wing designs!
Standing out in the Parade (by mikelpeg)
We are cute 💜
Garb Week!
I think I’m dying of cuteness!!
macktheiceman submitted:
Another photo of me(Rodney M. Rice) from the Michigan Renaissance Festival
*This photo and the one I submitted before were taken by Mark More of Pict Studios
More of my face, featuring groveling pirates.
Leila K. Norako, Thinking Matters Program, Stanford University, Palo Alto, CA, USA
Vittori Carpaccio
Hunting on the Lagoon
Italy (1490)
oil on panel
75.4 x 63.8 cm
The question as to why Carpaccio’s gondoliers were dressed as they were remains. They have attracted attention not only on account of their skin color and African origin, but also on account of their flamboyant dress.
The majority of black and white gondoliers in Carpaccio’s Miracle painting are dressed alike, in caps with feathers, sumptuous (almost flashy) jackets with slashed sleeves, and eye-catching, patterned hose.The principal black gondolier in the bottom center of the painting wears a red cap with a white feather, a white shirt with a zipon, or sleeveless doublet, over it, and on top a red saietto, or jerkin. The jerkin has detachable sleeves, tied on at the shoulders with blue laces that allow the white shirt to be seen in the gap between the ties, and wide, turned-back cuffs. His hose have a black- and-white diamond pattern to mid-thigh, then a thin red band, then an interesting blue-and-white vertical pattern, and end in red shoes.
The pommel of a dagger sticks out of his belt, and other gondoliers with their backs to the viewer have these daggers too. The second black gondolier, positioned in the center on the right-hand edge in a classic marginal position — like a couple of white gondoliers in the background — is less showily dressed, in a red cap, a red jerkin, and white hose.
The black boatman on the left-hand side of Hunting on the Lagoon wears an identical red cap but with a large white feather, a red jerkin, or saietto, gathered at the waist by a belt, and green calze, or hose. The black boatman on the right wears a fluffy purple hat — a form of headgear also worn by several other people in the boats, perhaps to keep off the rain — a white saietto gathered at the waist by a belt, and purple hose.
The dress of neither boatman corresponds to that worn by the majority of either the black or white gondoliers in the Miracle painting: instead of being showy and patterned, the colors are in monochrome blocks, unalleviated by stripe or pattern. However, apart from the presence of a feather, the red outfit of the boatman on the left here mirrors almost exactly that worn by the black gondolier on the right-hand edge in the Miracle painting.
It has sometimes been thought that the gondoliers in the most flamboyant dress are wearing livery, even though no documentary evidence for this practice has been found. Although there has been frustratingly little work on the subject, this seems unlikely. Livery is an aristocratic preserve, not one usually associated with a mercantile republic. Michela Dal Borgo has suggested, on the other hand, that the gondoliers are wearing special costume reserved for feast days and festivals, which is a much more likely explanation.
-Kate Lowe, “Visible Lives: Black Gondoliers and other Black Africans in Renaissance Venice”, Renaissance Quarterly, 66:2 (2013): 412-452.
(1) Hey, I noticed today a painting in my history of art textbook which has a poc! I don't think you've posted it anywhere, so I thought I would bring it to your attention. It's the "oculo del soffitto" in the "camera degli sposi" by Andrea Mantegna, painted in 1473 (I think); there is a black man (or woman -frankly, it's not clear) with a turban - I asked my art teacher about it, and she said he was a doctor of the family. On the internet, though, they mostly say it was a slave woman.
(2) I don't know which is true, but if you find something more, please make a post about it! (I really hope they are not a slave -especially since the only "source" I've found is "Oh well, they're not white... they're probably a slave." which is def quite racist.) Thank you for your attention! (and sorry for my English - I tried my best but I'm quite sure I've made a few mistakes) (Also I love your blog - though that went without saying!)
Thanks!
There’s no reason to assume this person is enslaved. I have more posts about Andrea Mantegna on the blog here, and Italian renaissance paintings that feature people of color are far from uncommon. The same artist painted this Adoration featuring the Black King, Balthazar:
It’s important to realize that Italy was a massive intercultural and international center for trade during the Middle Ages and Renaissance. It’s also important to consider the fact that the reason we associate skin color with enslavement is because of American chattel slavery, and then this association gets projected backwards onto the past. That’s also why so many Americans have really intense misconceptions about the modern construction of race, anti-Blackness, and Roman slavery. It profoundly affects the way that these artworks are perceived and written about, including within academia.
HISTORY RE-IMAGINED | PHOTOGRAPHS BY MAXINE HELFMAN - Part 1 of 3
Inspired by Flemish painting, “Historical Correction” reinterprets these old masters from a more contemporary point of view. Our world and cultures are changing so quickly we are witnessing the collision of past and present. Although my photographs are “invented realities,” they are about real issues. Populations shift, gender and race are redefined, past definitions are challenged, and the faces of cultures and customs change. —- Maxine Helfman
To view more of Maxine Helfman’s work, please visit her website.
I do like the photos, but the artist is laboring under a misapprehension.
Black Flemish DID, in fact, exist, and were painted by the artists she claims to be inspired by.
There are also texts to support this.
Representations of black Flemish peasants are primarily found in depictions of peasant life by Pieter Bruegel (1525/30–1569) done in Antwerp and Brussels. The implied comic quality of the coarse peasant was surely the appeal to a middle-class purchaser of a series of seventy-two heads of peasants based on Bruegel and etched about 1564–65. Surprisingly, three are black (fig. 35 and no. 58), treated much as the others.
Revealing the African Presence in Renaissance Europe, p. 82. “Free Men and Women of African Ancestry in Renaissance Europe”; Joneath Spicer
Hi, first of all, I love your blog, but I'm having trouble finding some things you wrote about a while ago. I do remember you writing something about people (I think it was the 1800s?) painting over old paintings, making poc in them look white? I'm writing a small paper about being critical to sources, and thought this would be relevant. And there's also that time you posted about images being used in education having cropped away poc in them. I can't seem to find either of them again D: Help?
*waves Jedi hand*
This is the tag search you’re looking for…
As for the whole painting over issue, I don’t know about painting people to look white, but Giulia De’Medici was painted over entirely in the 19th century in this earlier portrait. Did you mean this painting in which a white woman was painted over to match the Victorian ideals of beauty?
It’s a rather fascinating story. You can read about it here at Carnegie Magazine, and see more photos of before, during, and after the restoration.
All I’ve mentioned about it is that there is plenty of evidence that Victorian-era museums and art curators were more than willing to change earlier artworks drastically to suit their ideas and ideals. And that many of these changes are only now being discovered, so it’s very important to stop assuming that these earlier artworks are coming to us somehow untouched by the intervening centuries.
Does this mean that I am saying that they’ve painted over images that may have been of people we would consider poc with “whiter” faces or skin colors? No, I don’t currently have any evidence to support a statement like that, and I don’t make a habit of making statements without a very good reason ( although some people tend to disagree on that, lol).
What I AM saying is that the current and future art historians, curators, researchers, and restorers need to be asking these questions now.
I’ve done what I’m doing, and it’s up to the current and next generation to take these questions into their respective disciplines and specializations, because this is obviously not a one-person job; this is something I believe can create new disciplines and concentrations. I think this is something interesting that people can relate to and get excited about.
I mean, you can say that this (wondering if there are more altered artworks, and if they may contain people of color) is just speculation, but well, of course it is. Research without questions is kind of pointless. If Ellen Baxter hadn’t speculated that the painting above was more than just a bad Renaissance portrait, it would never have been x-rayed, and the portrait underneath the Victorian-era revision would have remained hidden from history forever.
I think that by being critical, analytical, and actively engaging with art history, we can prevent that from happening and maybe even blow our minds with new discoveries.
Friedrich Hagenauer
Bust of a Young Black Man
Germany (c. 1530)
Maple.
Staatliche Münzsammlung, Munich
The courts of princes and nobles were fertile ground for upward mobility, not only for those of African descent. Known instances point to former black slaves making use of natural capabilities or artisanal skills, for example Christopfle Le More, who rose from stable work to be a personal guard of the Emperor Charles V.
In like fashion, “Grazico of Africa, called il Moretto (the little Moor), horseman, page to the knight Prospero” is noted in Medici court records for salaries paid in 1553, while a manumitted North African Muslim held an important position in the stable at the court in Lisbon of Catherine of Austria (1507–78).
João de Sá Panasco’s career at her court began as slave and jester, in which role he was known for his wit. However, much of it was self-deprecating and he suffered from jibes. The date of his manumission is unknown, but by 1547 he was a courtier, a gentleman of the royal household, and the king’s valet. He was awarded a knighthood in the Order of Santiago around 1550.
Black salaried court entertainers were often musicians, usually their occupation before manumission. A black drummer was on the payroll at the Scottish court in 1504 while Johan Diez in Valencia and John Blanke in London were among those who were trumpeters. The chances are great that the subject of the exquisite Bust of a Young Black Man attributed to the German medalist Friedrich Hagenauer (1490/1500–after 1546) was attached to a court, possibly that of Munich where the artist was active 1525–27.
-Revealing the African Presence in Renaissance Europe, p. 86-87
Revealing the African Presence in Renaissance Europe, p. 82. "Free Men and Women of African Ancestry in Renaissance Europe"; Joneath Spicer
Two of the images described above:
The Drake Jewel, England (1586)
Gifted by Queen Elizabeth I of England to Sir Francis Drake (Drake is pictured with the jewel at his belt above)
Elizabeth’s gift to Sir Francis Drake is similarly evocative: one side is a locket with a portrait of the Queen by Nicholas Hilliard with a cover featuring on the interior her avian emblem, the phoenix. A miniature portrait was the single most frequent gift given by Elizabeth I to persons she would reward. It projected her image as monarch, equipped with state clothes and regalia and asserting a personal connection with the recipient as well as a political relationship. On another occasion Elizabeth I gave Drake a second miniature portrait, in which she stood at the focus of a sunburst, to use as a hat badge. That Drake, a commoner who rose to the position of state champion on the raid to Cadiz and Vice-Admiral of the Armada, was so honored marked his extraordinary place in the world.
More fascinating to present admirers of the Drake Jewel is the other side with the intaglio cut cameo of sardonyx featuring an African male bust in profile superimposed over the profile of a European.
There is some debate whether the European is a regal woman or a Roman Briton of the sort William Camden was idealizing in his Britannia. It is not the face of any contemporary man—and certainly not Drake—for it is clean shaven.
The symbolism here operates in two registers: a general imperial iconics in which the global range of imperium is figured in the equivalent faces of the African Emperor and the English Empress. (Karen Dalton has discussed this symbolism in a recent piece in Early Modern Visual Culture, [Peter Erikson and Clark Hulse, eds., University of Pennsylvania Press, 2000].) There is also a much more pointed symbolism meant particularly for Drake. The conjoint effort of Africa and the English will liberate the world from the power of Spain. Drake’s alliance with the Cimmarroons, runaway African slaves who intermarried with Natives, in Panama in 1576 led to his successful capture of the Spanish plate train crossing Panama. This act thrust Drake onto the world stage, secured him and the crown immense treasure, and gave the English forces in the Caribbean the character of liberators.
In the West Indian invasion of 1585–1586, he planned to resurrect his alliance, as part of his design to assert English power in the Spanish main. It survived as one of the most potent scenes in the English imperial imagination, serving as the central action of the Sir William Davenant’s opera, “The History of Sir Francis Drake,” one of only two stage works permitted during the English Commonwealth, and a piece condoned personally by Oliver Cromwell, who also sought to liberate Spanish America from “tyranny & popery.” In the Americas Drake had learned the truth that Elizabeth I understood on the eastern side of the Atlantic—the defeat of Spain required a combination, and the hatred of tyranny brought together Anglo and African.
Elizabeth’s cultivation of Mulay Ahmad al-Mansur (ruler of Morrocco from 1578–1603) in an alliance against their mutual enemy, Spain, was a diplomatic correlative to the martial alliance that Drake had forged in the jungles of the isthmus.
crowtoed submitted to medievalpoc:
This is Maria Christian, my former cast director at the Michigan Renaissance Festival as her character, Princess Isaade M’boukou. Maria’s been designing and wearing African-Elizabethan fusion garb to MiRF for decades, so she has a few different gowns and headpieces in rotation. In addition to her duties keeping the stage acts organized, as Isaade she acts as an impresario at the feasts, talks about West African traditions and folklore, and is much needed and treasured PoC representation on the cast.
dentelle-antique replied to your photo: “Luca Giordano Four Female Musicians Italy (c. 1658) Oil on Canvas,...”:
just so you know: i wouldn't use the "renaissance" tag on baroque art. it is incorrect. the renaissance in europe spanned from the early 15th century to ~1600. anything after is considered baroque. :)
I give much more of a crap about people being able to find what they're looking for than I do about anything regarding art history periodization being "correct" or not. Please keep in mind that even European art history periods don't only describe the year an artwork was made. You also have to consider style, methods, and geographical origin.
I fully realize that this is what you learned in class and that you're probably being totally genuine here, but the bottom line is that for specific (thematic) projects and papers, that artwork would be an acceptable citation. Consider if someone is working on a project for late Renaissance and Baroque transitional works, and want to include people of color. They need to be able to search the tags and find that, and I'm maximizing their chances of finding it in the crappy search function Tumblr has.
One of the main problems with the way art history is currently organized is that no one can ever find what they're looking for. It's pretty horrible. I know a lot of librarians, researchers, database grunts and random in-betweeners like myself are working very hard to fix these issues, but the first and foremost goal of medievalpoc is people need to see these artworks. I care much more about accessibility and indexing than adhering to 100-level History of Western Civ periodization standards. ;)