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Table of Contents
|Introduction: envisioning slave portraiture|
|Visibility and Invisibility|
|Slavery and the possibilities of portraiture|
|Subjectivity and slavery in portraiture: from courtly to commercial societies|
|Looking for Scipio Moorhead: on the portrayal of an 'African painter' in revolutionary North America|
|Slave Portraiture, Colonialism, and Modern Imperial Culture|
|Three gentlemen from Esmeralda: a portrait fit for a king|
|Metamorphoses of the self: slave portraiture and the case of Juan de Pareja in imperial Spain|
|Of sailors and slaves: portraiture, property, and the trials of circum-Atlantic subjectivities, c.1750-1830|
|Between violence and redemption: slave portraiture in early plantation Cuba|
|Subjects to Scientific and Ethnographic Knowledge|
|Albert Eckhout's African Woman and Child (1641): ethnographic portraiture, slavery, and the New World subject|
|Embodying African knowledge in colonial Surinam: two William Blake engravings in Stedman's 1796 narrative|
|Exquisite empty shells: sculpted slave portraits and the French ethnographic turn|
|Who is the subject? Marie-Guilhelmine Benoist's Portrait d'une Négresse|
|The many faces of Toussaint Loverture|
|Cinqué: a heroic portrait for the abolitionist cause|
|The Intrepid Mariner Simão: visual histories of blackness in the Luso-Atlantic at the end of the slave trade|
|Table of Contents provided by Publisher. All Rights Reserved.|