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Title: The Adoration of the Magi . Creator: Neapolitan Follower of Giotto Date: ca. 1340-1343.  Origin: Italy . Material: Tempera on wood, gold ground . Dimensions: Overall, with engaged frame, 26 1/8 x 18 3/8 in. (66.4 x 46.7 cm); painted surface, including tooled border, 21 3/8 x 15 in. (54.3 x 38.1 cm).  Current Ownership: The Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975 (1975.1.9)

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This tempera on wood painting, "The Adoration of the Magi," dating from around 1340-1343, was created by a Neapolitan artist following in the tradition of Giotto. It depicts a pivotal scene in Christian iconography where the three Magi present gifts to the baby Jesus. The elaborate gold background and detailed robes reflect the rich cultural and artistic influences of 14th-century Italy, highlighting the blend of religious and material significance during the period. The artwork also integrates three Black attendants (presumably slaves or servants), strategically placed in the bottom left corner. According to the Metropolitan Museum of Art, "The absence of halos around the heads of the attendants implies that these figures lack the characteristics required to attain holiness, a closeness to Christ that the others possess. The three Black figures are also significantly smaller in comparison to other figures in the composition. While they are included in this work, the painting works visually to de-emphasize their presence." ("Exploring the Black Magus in European Art").

The selection of rich golden hues for the Magi’s robes contrasted sharply with the more subdued tones of the attendants’ garments, further accentuates the hierarchical distinctions embedded within the composition. The artwork serves as a critical visual document that mirrors broader societal attitudes towards race and ethnicity during the early Renaissance, illustrating how these perceptions were deeply embedded in the cultural and religious narratives of the time. It also provides an insight into the complex dynamics of race, labor, and religion, reinforcing the subordinate status attributed to Black people within the medieval social structure, as highlighted in contemporary historical analyses (Ipsen, C1; Ipsen, C3)

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Title: Lienzo de Quauhquechollan. Creator: Nahua Community of Quauhquechollan. Date: Circa 1530. Origin: Quauhquechollan, present-day Puebla, Mexico. Material: Cotton cloth. Current Ownership: Museo Casa de Alfeñique, Puebla, Mexico. Digital Restoration: Universidad Francisco Marroquín with support from Banco G & T Continental, Guatemala.

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Partial photograph of the Lienzo de Quauhquechollan (ca. 1530) after its restoration, in 2009

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Partial photograph of the Lienzo de Quauhquechollan (ca. 1530) after its restoration, in 2009

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The Lienzo de Quauhquechollan is a remarkable indigenous pictographic document created by the Nahua community from Quauhquechollan, now part of Puebla, Mexico. This detailed pictorial, dating back to around 1530, intricately narrates the conquest of Guatemala during the campaign of Spaniard Jorge de Alvarado from 1527 to 1529. The document vividly depicts the collaborative efforts of the Nahuas, who allied with the Spanish conquistadors to subjugate the regions of southern Mexico and Guatemala. In the "Other Slavery" Reséndez states, "In the conquest of the Americas, alliances were not only formed between Europeans and indigenous groups but were often crucial for the success of colonial ventures. Indigenous groups, such as the Nahuas, strategically leveraged their local knowledge, networks, and manpower in cooperation with European powers to navigate and ultimately shape the new colonial landscapes they were thrust into" (Reséndez, "Other Slavery", p. 33).

The Lienzo serves not only as a historical account but also as a political statement, crafted to document and legitimize the Quauhquecholteca's vital contributions and their privileged status in the colonial order. Currently housed in the Museo Casa de Alfeñique in Puebla and digitally restored by the Universidad Francisco Marroquín, this document stands as a testament to the complex interplay of cooperation and conflict that characterized the early colonial period in Central America.

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Title: Illustrations on the Tale of the Indian Regions Devastated by some Spaniards. Artist: Theodore de Bry. Date: 1598. Medium: Engraving. Current Location: Unknown.

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Illustrations on the Tale of the Indian Regions Devastated by some Spaniards 1598

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Illustrations on the Tale of the Indian Regions Devastated by some Spaniards 1598

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Theodore de Bry's 1598 engraving, "Illustrations on the Tale of the Indian Regions Devastated by some Spaniards," serves as a powerful visual documentation of the brutal impact of Spanish colonization on indigenous populations in the Americas. This work is part of de Bry's larger series of engravings that dramatize the encounters between European colonizers and Native Americans, often highlighting the violence and exploitation that characterized these interactions. It is believed that De Bry's engravings were used in Las Casas' Brevisima relación de la destrucción de las Indias, depicting Spanish atrocities during the conquest of Hispaniola.

De Bry's engravings are noted for their detailed and sometimes sensationalized portrayals of interactions with Native Americans. These works were based on accounts from earlier explorers and served to inform a European audience largely unfamiliar with the New World. The engravings are not only significant for their historical content but also for their impact on European perceptions of the Americas, contributing to the growing anti-Spanish sentiment of the time (SmartHistory.org).

The illustration specifically portrays the devastation wrought by the Spaniards, capturing scenes of destruction and despair in vivid detail. De Bry's work reflects a critical perspective on the ethics of colonization, emphasizing the severe consequences for indigenous communities. Through his meticulous craftsmanship and expressive composition, de Bry invites viewers to consider the complex interplay of exploration, violence, and cultural confrontation.

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Title: The Four Continents. Artist: Peter Paul Rubens. Date: Circa 1612–1614 or 1615. Medium: Oil on canvas. Current Location: Kunsthistorisches Museum, Vienna.

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Peter Paul Rubens's "The Four Continents" (circa 1612–1614 or 1615) is an oil painting on canvas that showcases the artist's interpretation of the world known to Europeans in the early 17th century. The work showcases allegorical figures representing Europe, Asia, Africa, and America, each accompanied by the respective river gods of their regions, such as the Danube for Europe and the Ganges for Asia. Housed in the Kunsthistorisches Museum in Vienna, this artwork embodies the Baroque fascination with the known world during Rubens's time. The female figures and the accompanying male figures are depicted with distinct attributes that reflect the European view of global diversity and hierarchy during the early 17th century.

Europe, depicted as the most prominent and elevated figure alongside the Danube on the left symbolizes the perceived superiority and enlightenment of the continent compared to the others. The portrayal of the other continents with their river gods, including the Nile embracing Africa, illustrates the exoticism and mystique ascribed to lands outside Europe. This painting is a vivid representation of the world as understood from a Eurocentric perspective during Rubens’s era. The artwork invites viewers to explore historical perceptions of geography, race, power dynamics, and civilization.

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Title: Linen Day, Roseau, Dominica - A Market Scene. Artist: Agostino Brunias (Italian, Rome ca. 1730–1796 Roseau, Dominica). Date: ca. 1780. Culture: West Indies, for the British market. Medium: Oil on canvas. Dimensions: 19.6 x 27 in (49.8 x 68.6 cm). Location: Yale Center for British Art, Paul Mellon Collection, New Haven, Connecticut. 

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Linen Day, Roseau, Dominica - A Market Scene (1780)

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Linen Day, Roseau, Dominica - A Market Scene (1780)

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Agostino Brunias's "Linen Day, Roseau, Dominica - A Market Scene" (ca. 1780) offers a picturesque portrayal of colonial life in Dominica, depicting a vibrant market scene with a diverse array of participants. This oil painting subtly conveys the social hierarchies and racial dynamics of the time. Brunias's work, while providing a sanitized image of slavery, intricately details the clothing and accessories of all the figures, echoing European ideas of the time that styles of dress distinguished colonial populations.

The scene differentiates the social strata through clothing: well-to-do whites and free persons of color are adorned in the latest European fashions, setting them apart from the enslaved individuals who appear in simpler attire or without full clothing. This visual distinction underscores the complex social hierarchy within the enslaved community itself, mediated by clothing and labor roles.

The painting also highlights the emergence of a distinctive Creole style, where European fashions are mixed with African elements such as the head wrap, worn universally across racial and social boundaries. The market scene depicted by Brunias is not just a place of commerce but a dynamic site of cultural exchange, where colorful textiles are not only sold but also symbolize the interconnectedness of global trade networks and local economies. This artwork invites viewers to reflect on the nuanced expressions of race and class in colonial Caribbean society, offering a lens into how these elements were visually negotiated and represented in art.