Free Women of Color with Their Children and Servants in a Landscape
Agostino Brunias
European Art
On View: American Art Galleries, 5th Floor, Radical Care
Commissioned by the British government, the Italian artist Agostino Brunias created a series of paintings capturing the complex social and racial hierarchies of plantation life on the newly acquired British island of Dominica. Here, on the grounds of a sugar plantation, two mixed-race sisters wearing European-style clothing appear at center alongside their mother (at left), two children, and eight African servants. Brunias signaled the women’s elite status based on subtleties of skin color and dress, as well as space, foregrounding them in a position typically occupied by white settlers in traditional British “conversation pieces” (informal group portraits). While this idyllic scene seemingly endorses the cultural and racial hybridity of the region, it also projects a colonial fantasy that erases enslaved labor.
MEDIUM
Oil on canvas
DATES
ca. 1770–1796
DIMENSIONS
20 x 26 1/8 in. (50.8 x 66.4 cm)
frame: 25 1/2 x 31 1/2 x 2 1/2 in. (64.8 x 80 x 6.4 cm)
(show scale)
ACCESSION NUMBER
2010.59
CREDIT LINE
Gift of Mrs. Carll H. de Silver in memory of her husband, by exchange and gift of George S. Hellman, by exchange
CAPTION
Agostino Brunias (Italian, ca. 1730–1796). Free Women of Color with Their Children and Servants in a Landscape, ca. 1770–1796. Oil on canvas, 20 x 26 1/8 in. (50.8 x 66.4 cm). Brooklyn Museum, Gift of Mrs. Carll H. de Silver in memory of her husband, by exchange and gift of George S. Hellman, by exchange, 2010.59 (Photo: Brooklyn Museum, 2010.59_PS6.jpg)
IMAGE
overall, 2010.59_PS6.jpg. Brooklyn Museum photograph, 2011
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Why are the dogs so small in this painting?
The dogs are included to help illustrate the informal nature of the scene in the painting. The way that they are so small compared to the human figures doesn’t serve a symbolic purpose, but it does demonstrate that Brunias invented this scene in his studio rather than based on a moment that he really witnessed. The dogs appear out of scale because he wasn’t looking at a dog and a human in the same space when he was laying out this scene.
Are the “servants” mentioned in the title also free, or were they enslaved?
The use of the word “servant” in the title for this imagined scene is intentional, to suggest that no one we see is enslaved. The reality of Caribbean plantations in the eighteenth century, however, was that they relied on enslaved labor.