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  • Satire, Pro-Slavery and Abolitionist Caricatures

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    Evelyn Amaya
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    This document summarizes pro-slavery and abolitionist caricatures from the 18th and 19th centuries. It notes that both used racial stereotypes commonly. Examples shown include caricatures from the 18th century mocking slaves and free black people. Later 19th century works depicted more positive images of blacks as the abolition movement grew. The document questions how gender and race were represented in these images and whether such stereotypes still influence depictions of blacks today.

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    This document summarizes pro-slavery and abolitionist caricatures from the 18th and 19th centuries. It notes that both used racial stereotypes commonly. Examples shown include caricatures from the 18th century mocking slaves and free black people. Later 19th century works depicted more positive images of blacks as the abolition movement grew. The document questions how gender and race were represented in these images and whether such stereotypes still influence depictions of blacks today.

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    © All Rights Reserved
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    16 views18 pages

    Satire, Pro-Slavery and Abolitionist Caricatures

    Uploaded by

    Evelyn Amaya
    This document summarizes pro-slavery and abolitionist caricatures from the 18th and 19th centuries. It notes that both used racial stereotypes commonly. Examples shown include caricatures from the 18th century mocking slaves and free black people. Later 19th century works depicted more positive images of blacks as the abolition movement grew. The document questions how gender and race were represented in these images and whether such stereotypes still influence depictions of blacks today.

    Copyright:

    © All Rights Reserved
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    of 18

    Satire, Pro-Slavery and

    Abolitionist Caricatures
    Presentation by: Devyani Bhosale &
    Murilo H. Cambruzzi
    Course Instructor: Prof. Dr. Melanie Ulz
    Winter Semester 2020/21
    Central Thesis

    Abolitionist and Proslavery caricatures, both, have the employment of racial


    stereotypes as a common aspect.
    Anon, Caricature Shop,
    1801, coloured etching with
    stipple, 25.8 x 32.6 cm,
    Yale University.
    William Hogarth, A Harlot’s
    Progress, 1732, etching and
    engraving, 31.5 x 38.1 cm,
    British Museum.
    Butler Cloves, Mr Dibdin in the
    character of Mungo in the
    celebrated Opera of the Padlock,
    1769, mezzotint, engraving and
    hand-coloured, 15.2 x 11.5 cm,
    British Museum.
    Anon, Lady Nightcap at Breakfast,
    1772, hand coloured mezzotint, 35.2 x
    25.3 cm, British Museum
    Isaac Cruikshank, A
    morning surprise. Why
    who the Devil have we
    got here!! It is only me
    Massa,1807 (?), etching
    hand coloured, 21.3 x
    29.4 cm, British Museum
    Proslavery Caricatures

    Richard Newton, A
    Forcible Appeal for the
    Abolition of the Slave
    Trade, 1792,
    hand-coloured, etching,
    42.33cm x 32.16cm,
    London, British Museum
    Richard Newton, Cruelty
    and Oppression Abroad,
    1792, hand-coloured,
    etching, 38,8cm x
    51,2cm, London, British
    Museum
    Richard Newton, The Blind
    Enthusiast, 1792,
    hand-coloured, etching,
    39,3cm x 52,8cm, London,
    British Museum
    James Gillray,
    Philanthropic Consolations
    after the Loss of the Slave
    Bill, 1796, hand-coloured,
    etching, unknown
    dimension, London, British
    Museum
    George
    Cruikshank, The
    New Union Club,
    1819,
    hand-coloured,
    etching, 28.0 ×
    46.0 cm, London,
    British Museum
    Angelo Agostini, Untitled,
    Revista Illustrada, n. 120,
    p. 8, 1878
    Modesto Brocos,
    A Redenção de Cam
    (Ham’s Redemption),
    1895, Oil on poplar
    panel, 199 cm × 166
    cm, Rio de Janeiro,
    Museu Nacional de
    Belas Artes
    In Conclusion
    Questions:

    1. How was gender represented in most of these caricatures? In what way are
    black women and white women differently represented?
    2. Looking at these caricatures, how far have we come along in terms of
    representation of blacks and do these caricatures still have an impact on
    representation of blacks today?
    References
    ● David Bindman, “‘They are a Happy People’: Some Newly Identified Pro-Slavery
    Caricatures from the Age of Abolition” in “The Slave in European Art,” London - Turin, p.
    321-377, 2012
    ● Marcelo Balaban, “‘Transição de cor’: Raça e abolição nas estampas de negros de
    Angelo Agostini na Revista Illustrada,” Topoi (Rio J.), Rio de Janeiro, v. 16, n. 31, p.
    418-441, jul./dez. 2015
    ● Temi Odumosu, “Laughing Stock: The Image of African in Eighteenth Century Prints” in
    “Africans in English Caricature : Black Jokes White Humor,” Harvey Miller, p. 18-47,
    2017.
    ● https://www.britishmuseum.org/collection/object/P_K-141-6 (last accessed on
    10/01/2021 20:53)
    ● https://www.ferris.edu/jimcrow/coon/ (last accessed on 11/01/2021 21:31)
    ● https://www.youtube.com/watch?v=MBo3ghPMJmE&feature=youtu.be (last accessed
    on 11/01/2021 21:31)

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