Carmen Fracchia, "'Black But Human': Slavery and Visual Arts in Hapsburg Spain, 1480-1700" (Oxford UP, 2019)

episode

New Books in Intellectual History not yet transcribed

▲ 0

Transcript

This episode hasn't been transcribed yet Upvotes decide what gets transcribed next — 0 so far. Sign in to upvote

More from New Books in Intellectual History

Leonhard Emmerling, "The Idiots: The History of the Homo Nullus" (Seagull Books, 2026) 54 min · 09 Sep 2026

Kwame Nkrumah and Pan-Africanism’s High Tide: A Conversation with Howard W. French 48 min · 20 Dec 2025

All episodes from New Books in Intellectual History →

Report any issue

Source

Recorded08 Mar 2024

Publisherfeeds.megaphone.fm

Handlerec:5050412

Show notes

Carmen Fracchia's book Black But Human': Slavery and Visual Arts in Hapsburg Spain, 1480-1700 (Oxford UP, 2019) is the first study to focus on the visual representations of African slaves and ex-slaves in Spain during the Hapsburg dynasty. The Afro-Hispanic proverb 'Black but Human' is the main thread of the six chapters and serves as a lens through which to explore the ways in which a certain visual representation of slavery both embodies and reproduces hegemonic visions of enslaved and liberated Africans, and at the same time provides material for critical and emancipatory practices by Afro-Hispanics themselves. The African presence in the Iberian Peninsula between the late fifteenth century and the end of the seventeenth century was as a result of the institutionalization of the local and transatlantic slave trades. In addition to the Moors, Berbers, and Turks born as slaves, there were approximately two million enslaved people in the kingdoms of Castile, Aragón, and Portugal. The 'Black but Human' topos that emerges from the African work songs and poems written by Afro-Hispanics encodes the multi-layered processes through which a black emancipatory subject emerges and a 'black nation' forges a collective resistance. It is visually articulated by Afro-Hispanic and Spanish artists in religious paintings and in the genres of self-portraiture and portraiture. This extraordinary imagery coexists with the stereotypical representations of African slaves and ex-slaves by Spanish sculptors, engravers, jewellers, and painters mainly in the religious visual form and by European draftsmen and miniaturists, in their landscape drawings, and sketches for costume books. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Ask this episode

“What did the council decide on item 42?” — answered with the speaker and the moment.