medievalpoc: Cristofano dell’Altissimo Portrait of Lebna Dengel/Emperor Dawit II of Ethiopia Italy (c. 1550s) From Revealing the African Presence in Renaissance Europe: Then there are extraordinary cases of African rulers who… commissioned European-style portraits of themselves to send to Europe. Emperor Dawit II of Ethiopia, courted by the Portuguese for trading rights and honored as the living embodiment of Prester John, the legendary black priest-king of a distant empire. It had been hoped since the time of the Crusades, that Prester John would aid Christian Europe against Islam if only he could be located. Copies of the original portrait, commissioned by Dawit, were widely coveted for a series of “illustrious men and women.” [source] [source] [source]
BY RUNOKO RASHIDI* The study of the African presence in history, whether in the African Diaspora or Africa itself, is a richly rewarding endeavor. In
The study of the African presence in history, whether in the African Diaspora or Africa itself, is a richly rewarding endeavor. In this study we realize that slavery alone is not African history an…
PRINCETON, NJ – The Princeton University Art Museum presents Revealing the African Presence in Renaissance Europe, an exhibition exploring the presence of Africans and their descendants in Europe f…
The Walters Art Museum looks at the idea of race, and of Africans, in Europe as depicted in artworks from the era.
There were black/African people in pre-modern Europe during the Medieval and Tudor times! And no, they were not necessarily enslaved.
Afro Women Art Black Girl Magic Prints Portrait of a Girl Digital Download Black Artists Digital Prints Black Inspired Art African American Wall Art Black People Pictures Black Women Prints One of a Kind Portrait Artwork Black Art I Am Dorm Room Wall Art Decor Imagine an urban landscape, where the vibrant chaos of graffiti transforms a simple wall into a canvas of dynamic storytelling. Now, picture a striking piece at the heart of it all: a portrait that seamlessly blends the bold spirit of street art with classic and fantastical influences. In this masterpiece, a beautiful Black American woman takes center stage, her presence commanding attention with effortless grace. She’s adorned with large, gold-rimmed glasses that catch the light and reflect a sense of sophistication and modernity. A bright yellow bucket hat crowns her head, adding a splash of color and a touch of urban flair. The meticulous, almost renaissance-inspired attention to detail reminiscent of Leonardo da Vinci, where every line and shadow brings depth and realism. Yet, this is juxtaposed with the raw, powerful energy, adding a sense of dynamic motion and intensity. To complete the picture, the art embraces the avant-garde aesthetics where textures and forms create a striking visual impact. This portrait is more than just graffiti; it's a cultural statement and an artistic dialogue between the past and present. It captures the essence of urban life, celebrating individuality and creativity in a way that’s both timeless and thoroughly contemporary. Please feel free to make a purchase and take a closer look. I think you'll appreciate how the details and textures come alive when you view them up close. Use this as Wall Art Decor, screensavers or wallpaper on your devices, inspiration for your vision boards, a housewarming gift, personal projects like scrapbooking or a digital collage, make it part of your personal digital art collection or print the art on stationery for personal use. Those are just a few examples of how digital art downloads can be integrated into your personal life, adding aesthetic value and personalization to various aspects of daily living. Instant Download: gain immediate access to your digital file upon completion of purchase. What you will receive: *1 High Quality JPEG file, 4:5 ratio, 16 x 20 in. 5000 x 6250 px (300 DPI) *1 Download instruction sheet Please NOTE this a Digital Download: You WILL NOT receive a physical print by mail and frames are not included. Please message me if you have any questions. FOR PERSONAL USE ONLY - NOT FOR COMMERCIAL USE, RESALE or REDISTRIBUTION ✨Check out more Digital Downloads here: https://www.etsy.com/shop/VisualVibesCommunity?ref=seller-platform-mcnav§ion_id=49677143RIBUTION ✨Visit my shop for more beautiful portraits and other items to enhance your space: https://www.etsy.com/shop/visualvibescommunity/ Thank you so much for your support🖤
The study of the African presence in history, whether in the African Diaspora or Africa itself, is a richly rewarding endeavor. In this study we realize that slavery alone is not African history an…
Circle of Bartolomeo Passarotti. 1579. Dominico Giuliani and his Servant.Manchester City Galleries, Manchester. This continues the previous entry. There are gorgeous Renaissance portraits in which a black -- smaller proportions, lower-down, looking up -- is shown as the accessory of fashion and power. The black is another possession, along with the mechanical gold clock, the pearls, the gold buttons, and the armor. Look at the Titian portrait of Federico Gonzaga with his hand on his white dog, below, and then at the picture of Princess Juana with her hand on her black boy. But a few of these portraits seem to present something more complex. What does it mean, in the Bordone portrait of the man in armor, below, that he has one arm around the white page and the other arm separated from the black page by a black helmet shown with more clarity than the page? Is this painting wrongly labeled? Was the man painted with his son -- look at those noses -- first, and then the black boy posed separately? What about the first one here, where the black -- servant -- is shown in equal proportion? This servant has so much the look of Dominico Giuliani, that he could be his son -- is surely his son. I am fascinated that the word "son" came to mind immediately in looking at these two paintings, both new to me. Paris Bordone. Mid-16th C. Portrait of a Man in Armor with Two Pages. Metropolitan Museum of Art. Titian, Federico Gonzaga. Prado, Madrid. Christovao de Morais, 1555. Juana of Austria, Daughter of Charles V. Musées royaux des Beaux-Arts, Brussels. Titian, 1558. Portrait of Fabrizio Salvaressa. Kunsthistorisches Museum, Vienna. Titian, 1573. Portrait of Laura die Dianti. Collection Heinz Kisters, Switzerland. Individual portraits of blacks in the same years show complex individuals. It is difficult for me to separate my own reaction of sadness from what I read in the faces. I immediately begin to construct a back story for them. My own back story: I grew up in West Africa -- I have been in the ports, up the rivers, know the scents and sounds from which these people were taken. . Jan Jansz Mostaert, ca. 1520-25. Portrait of a Black Man. Rijksmuseum, Amsterdam. Annibale Carracci, ca. 1580s. Portrait of an African Slave Woman. Tomasso Brothers, Leeds. England. Flemish/German. 1530-40. Portrait of a Wealthy African. Private Collection, Antwerp. Workshop of Gerard David. ca. 1514. Detail, Adoration of the Kings. Princeton University Art Museum. Rafaello Schiamiossi (?). ca. 1608. Don Antonio Manuele de Funta, Ambassador of the King of the Kongo to the Pope. Baltimore Museum of Art.
We present to you the story of this remarkable depiction of the biblical King Caspar by Dutch painter Hendrik Heerschop!
BY RUNOKO RASHIDI* The study of the African presence in history, whether in the African Diaspora or Africa itself, is a richly rewarding endeavor. In
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To his Coy Mistress by Andrew Marvell Had we but world enough, and time, This coyness, lady, were no crime. We would sit down and think which way To walk, and pass our long love's day; Thou by the Indian Ganges' side Shouldst rubies find; I by the tide Of Humber would complain. I would Love you ten years before the Flood; And you should, if you please, refuse Till the conversion of the Jews. My vegetable love should grow Vaster than empires, and more slow. An hundred years should go to praise Thine eyes, and on thy forehead gaze; Two hundred to adore each breast, But thirty thousand to the rest; An age at least to every part, And the last age should show your heart. For, lady, you deserve this state, Nor would I love at lower rate. But at my back I always hear Time's winged chariot hurrying near; And yonder all before us lie Deserts of vast eternity. Thy beauty shall no more be found, Nor, in thy marble vault, shall sound My echoing song; then worms shall try That long preserv'd virginity, And your quaint honour turn to dust, And into ashes all my lust. The grave's a fine and private place, But none I think do there embrace. Now therefore, while the youthful hue Sits on thy skin like morning dew, And while thy willing soul transpires At every pore with instant fires, Now let us sport us while we may; And now, like am'rous birds of prey, Rather at once our time devour, Than languish in his slow-chapp'd power. Let us roll all our strength, and all Our sweetness, up into one ball; And tear our pleasures with rough strife Thorough the iron gates of life. Thus, though we cannot make our sun Stand still, yet we will make him run. Nicholas Poussin 1594-1665 Andrew Marvell 1621-1678 A Dance to the Music of Time
1800s Week! James Northcote Portrait of Ira Aldridge, Shakespearean Actor in Victorian London England (1826) Half length frontal portrait of Ira Aldridge, celebrated nineteenth century black actor, in the role of Othello. He is dressed in a white wrapper-like garment of which the striped coral-and-white sash is just visible at the bottom of the picture. He has a white lace neckerchief. His eyes look to the left. The plain dark grey background is paler behind his head than it is in the corners of the painting. His close-cropped, parted hair is therefore silhouetted. -Manchester Art Gallery
African Presence in Renaissance Europe: The Contemporary Response
From musicians to princes, a new book by historian Miranda Kaufmann opens a window on the hitherto unknown part played by black people in 16th-century England
Designed by Angela Rossi, the Dame Giralda offers a humorous print that depicts an exotic giraffe dressed in Renaissance finery, giving her a striking regal presence. Complete with a Black integrated printed frame. Available in three sizes.
Study of a Boy, William Etty, 1827-38
BY RUNOKO RASHIDI* The study of the African presence in history, whether in the African Diaspora or Africa itself, is a richly rewarding endeavor. In
