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Representations of slavery in European art date back to ancient times. They show slaves of varied ethnicity, white as well as black. In Europe, slavery became increasingly associated with blackness from the 17th century onwards. However, slaves before this period were predominantly white. The ''black'' in European art is not the same topic as the ''slave'' in European art: slaves were not always black and blacks not always slaves.〔Also note the ambiguity of the term "Turkish slave": a Turkish slave may be a Turk or someone enslaved by a Turk. See Turkish Slave for yet another layer of confusion about a picture by Parmigianino.〕 The article also concentrates on European art rather than Western art in general. == Slaves in art == From the Renaissance onwards, a substantial number of bound figures, often naked and crouching, illustrate enslavement.〔''The Slave in European Art: From Renaissance Trophy to Abolitionist Emblem'', ed Elizabeth McGrath and Jean Michel Massing, London (The Warburg Institute) and Turin 2012.〕 This imagery had for one of its roots the ancient tradition of Roman Triumph, but its contemporaneous relevance was greatly magnified by the prevalence of slavery within European countries. In particular, galley slaves were often used by artists as models for muscular nude bodies. Sometimes the name of an individual who was a slave is known. One instance is Juan de Pareja (1606–1670) who was a slave of Velázquez and was trained as a painter by the artist. Velázquez freed Juan de Pareja in 1650 and the document of manumission survives.〔See Carmen Fracchia's article in The Slave in European Art: From Renaissance Trophy to Abolitionist Emblem, ed Elizabeth McGrath and Jean Michel Massing, London (The Warburg Institute) and Turin 2012.〕〔The document which was discovered by Jennifer Montagu is in the Archivio di Stato in Rome. See ''Burlington Magazine'', volume 125,1983,pages 683-4.〕 Juan de Pareja became a successful artist himself. Alexandre Dumas of ''The Three Musketeers'' fame, was the son of a slave, also known as Alexandre, who rose to be a general in chief in the French army. His portrait hardly suggests his early life as a slave. He was pawned by his father who was a French nobleman but was lucky enough to be retrieved by the father and brought up in France.〔Tom Reiss, The Black Count: Glory, Revolution, Betrayal, and the Real Count of Monte Cristo (New York: Crown Publishers, 2012).〕 Frans Post (1612—1680) and Albert Eckhout (c.1610–1665) were two early Dutch painters to depict slavery. Post painted pictures of slaves working in idyllic rural landscapes which do little to reflect the harsh realities of their life.〔See Ernest van den Boogaart article in ''The Slave in European Art: From Renaissance Trophy to Abolitionist Emblem'', ed Elizabeth McGrath and Jean Michel Massing, London (The Warburg Institute) and Turin 2012.〕 Eckhout's work is a visual record of the ethnic mix in Dutch Brazil.〔See Jean Michel Massing in Studies in ''Imagery II: the World Discovered''. London 2007.〕〔See Rebecca Parker Brienen, ''Albert Eckhout'', 2010.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Representation of slavery in European art」の詳細全文を読む スポンサード リンク
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