Harvey Amani Whitfield – författare
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3 produkter
3 produkter
Inbunden, Engelska, 2016
446 kr
Skickas inom 5-8 vardagar
Many Canadians believe their nation fell on the right side of history in harbouring black slaves from the United States. In fact, in the wake of the American Revolution, Loyalist families brought slaves with them to settle in the Maritime colonies of British North America.The transition from slavery in the American colonies to slavery in the Maritimes required slaves to use their traditions of survival, resistance, and kinship networks to negotiate their new reality. While some local judges chipped away at slavery, Maritime slaves fought against the institution of slavery by refusing to work, by running away, by reconstituting their families, and by challenging their owners in court.Harvey Amani Whitfield's book, the first on slavery in the Maritimes, is a startling corrective to the enduring and triumphant narrative of Canada as a land of freedom at the end of the Underground Railroad.
Häftad, Engelska, 2016
361 kr
Skickas inom 5-8 vardagar
Many Canadians believe their nation fell on the right side of history in harbouring black slaves from the United States. In fact, in the wake of the American Revolution, Loyalist families brought slaves with them to settle in the Maritime colonies of British North America.The transition from slavery in the American colonies to slavery in the Maritimes required slaves to use their traditions of survival, resistance, and kinship networks to negotiate their new reality. While some local judges chipped away at slavery, Maritime slaves fought against the institution of slavery by refusing to work, by running away, by reconstituting their families, and by challenging their owners in court.Harvey Amani Whitfield's book, the first on slavery in the Maritimes, is a startling corrective to the enduring and triumphant narrative of Canada as a land of freedom at the end of the Underground Railroad.
Inbunden, Engelska, 2026
435 kr
Kommande
Edward Mitchell Bannister was a Black Canadian American artist whose pastoral landscapes and seascapes made him a well-known painter in the latter part of the nineteenth century. Born in Saint Andrews, NB, Bannister spent the early part of his career in Boston before moving to Providence, RI, where he was a leading artist and abolitionist for thirty years. Bannister won first prize at the 1876 Centennial Exposition in Philadelphia for his painting Under the Oaks, making him the first African American to win a major American art prize. Despite his success, Bannister often struggled to achieve commissions. While he is increasingly revered in the United States, he has remained largely unknown in Canada — until now. Edward Mitchell Bannister: Hidden Blackness | Noir oublié is the first publication in over thirty years about this groundbreaking Black artist and abolitionist. It features archival images and reproductions of sixteen works by Bannister, many drawn from the collection of the Smithsonian American Art Museum. Essays explore Bannister’s life and work, the historical context of Black history in the Maritimes and New England in the 19th century, and the recent discovery that Bannister painted over his work to obscure the Black figures. Peintre accompli, Edward Mitchell Bannister est réputé pour ses marines et ses paysages champêtres. Né à Saint Andrews, au Nouveau-Brunswick, cet artiste du XIXe siècle s’installe en Nouvelle-Angleterre dès sa jeunesse, où il s’investit dans un mouvement abolitionniste de Boston. Son tableau intitulé Under the Oaks [Sous les chênes] lui vaut le premier prix de la Centennial Exposition de Philadelphie, en 1876, et fait de lui le premier Afro-Américain d’origine canadienne à remporter l’un des plus prestigieux prix artistiques des États-Unis. C’est aussi l’un des membres fondateurs de la Rhode Island School of Design. Malgré tout, Bannister reste largement inconnu au Canada. Premier ouvrage publié au Canada sur cet abolitionniste et artiste noir novateur, Edward Mitchell Bannister. Noir oublié est un tournant. Il réunit des images historiques, des reproductions d’œuvres, dont beaucoup figurent dans la collection du Smithsonian American Art Museum, et des essais qui mettent en lumière la vie et l’œuvre du peintre, le contexte historique des Noirs et des communautés noires dans le Nouveau-Brunswick du XIXe siècle. Il présente en outre des découvertes récentes et fascinantes sur la pratique de Bannister, qui transformait volontiers en paysages des tableaux représentant d’abord des personnages.