Enslaved Black Models in European Art: Anonymous Objects?

The article examines the historical depiction of Black figures in European art, predominantly as subservient props or exotic others, reflecting slavery and colonialism. It highlights works such as Frédéric Bazille's 'La Toilette' (1869-1870) at Musée Fabre, Montpelier; Richard Jeffreys Lewis's 'The Death of Edward Colston' (1844) at Bristol Museums; Marie Guillemine Benoist's 'Portrait of Madeleine' (1800) at the Louvre, originally titled 'Portrait d'une negresse'; Archibald McLauchlan's Glassford family portrait (1764-1766) at Glasgow Museums, where X-rays revealed a Black slave boy; and J.M.W. Turner's 'Slave Ship' (1840) at Museum of Fine Arts, Boston. The discussion moves to Edouard Manet's 'Olympia' (1863) at Musée d'Orsay, featuring the Black model Laure, and his 'La Negresse' (1862). In 1992, Lorraine O'Grady's essay 'Olympia's Maid: Reclaiming Black Female Subjectivity' critiqued the use of Black bodies as symbols. In 2019, Denise Murrell curated the exhibition 'Posing Modernity' exploring Black anonymized figures. The 2018 music video 'Apes**t' by Beyoncé and Jay-Z filmed at the Louvre references slavery and Black civilizations. The article notes ongoing under-representation in contemporary art and calls for supporting galleries and curators uncovering these stories.