![]() ![]() 4 (December 2017): 129–63 and Agnes Lugo-Ortiz and Angela Rosenthal, eds., Slave Portraiture in the Atlantic World (Cambridge: Cambridge University Press, 2013), esp. ![]() ![]() Recent powerful efforts to navigate this complexity and a fragmentary historical record while attending both to colonial archives and to the indirectly deposited voices of the disenfranchised include Jennifer Van Horn, “‘The Dark Iconoclast’: Slaves’ Artistic Resistance in the Civil War South,” Art Bulletin 99, no. Unless otherwise noted, translations are mine.ġ. My partner and interlocutor Mechtild Widrich has improved the manuscript, as has my brilliant research assistant Mahria Baker. Hunter, Mary Hunter, Jeehee Hong, and Sarah Carter, and colleagues and participants in the Slavery and Visual Culture Working Group at the University of Chicago, notably, Agnes Lugo-Ortiz, Cécile Fromont, Larissa Brewer-García, Sarah Jessica Johnson, Danielle Roper, and John Harpham, have been generous with their insights and encouragement, motivating renewed work on this project. ![]() Since then, art historians at McGill University, notably, Matthew C. This essay, long in gestation, profited from the advice of many friends and teachers, beginning with my dissertation adviser Ewa Lajer-Burcharth, who introduced me to Angela Rosenthal’s work on Fuseli. ![]()
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