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Relevant bibliographies by topics / Haitian Painting

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Academic literature on the topic 'Haitian Painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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Journal articles on the topic "Haitian Painting"

1

Reising, Claire. "Dany Laferrière’s Diasporic Creation and détours through Haitian Painting." L'Esprit Créateur 61, no. 3 (2021): 48–63. http://dx.doi.org/10.1353/esp.2021.0033.

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2

Benson, LeGrace. "Kiskeya-Lan Guinee-Eden: The Utopian Vision in Haitian Painting." Callaloo 15, no. 3 (1992): 726. http://dx.doi.org/10.2307/2932015.

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Valerio-Holguín, Fernando. "The Vulture of History in The Kingdom of This World by Alejo Carpentier." Theory in Action 14, no. 4 (October 31, 2021): 113–26. http://dx.doi.org/10.3798/tia.1937-0237.2135.

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In thesis IX of the Theses on the Philosophy of History, Walter Benjamin indicates, from the painting “Angelus Novus” by Paul Klee, that the Angel of History has his face turned back, contemplating a catastrophe. He wants to stay, but the great wind of progress is pushing him forward into the future, leaving rubble on its pass. The new historical novel The Kingdom of this World by Alejo Carpentier narrates the long and tortuous process of the Haitian Revolution and beyond. At the end of the novel, there is a great green wind that sweeps across the Northern Plain and the ruins of the old sugar mill. In Carpentier's novel, there is a “wet vulture”, which I will call the Vulture of History, which is thrown over Bois Caïman, the sacred space where the revolution originated. My purpose in this essay is to explore the Vulture of History as a baroque allegory of the Haitian Revolution. Unlike the angel from Benjamin's thesis, who wants to go back to the past to reconstruct history, Carpentier's vulture is an angel of death who feeds on the detritus of history.

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Haffner, Peter. "Brief Overview of Two Centuries of Haitian Painting (1804–2004) by Michel-Philippe Lerebours." Journal of Haitian Studies 25, no. 1 (2019): 224–27. http://dx.doi.org/10.1353/jhs.2019.0010.

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Kerpen, Beate. "IMAGINANDO EL CARIBE DESDE CÁDIZ: LA ESCRITURA Y PINTURA DE MICHELINE DUSSEK." Revista Internacional de Culturas y Literaturas, no. 13 (2013): 63–73. http://dx.doi.org/10.12795/ricl.2013.i13.06.

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Siendo una de pocas voces hispanohablantes de la diáspora haitiana, la escritora, pintora y activista Micheline Dusseck está al margen de la crítica literaria tanto española como haitiana. El artículo analiza cómo saca a la luz en su obra las experiencias marginalizadas de la mujer subalterna de Haití cuya particular invisibilidad se perfila por la intersección de raza, clase y género. Palabras claves: Diáspora haitiana, subalternidad, interseccionalidad, crítica tercermundista

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Benson, LeGrace. "Ecological Disquisitions on Six Paintings by Edouard Jean." Journal of Haitian Studies 29, no. 1 (March 2023): 145–54. http://dx.doi.org/10.1353/jhs.2023.a922862.

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Abstract: Capois artist Edouard Jean (1953–) created this group of paintings especially for a Haitian Studies Association conference, held in Cap-Haïtien in 2016, with the environment as its central theme. Jean is among the artists who were students and then colleagues of Philomé Obin, founder of the “School of the North History Painters.” Many of Jean’s works depict scenes of Haitian history, and he has been observed walking about with a rolled-up copy of a paperback book on Haitian history sticking out from his back pocket. His history paintings always include keenly observed and finely executed flowers and trees, and he has created many works where these are the subject. When he heard of the conference on the environment, he wanted to make a set of works that would tell some of the story, often distressing, that he was observing around him. With the collaboration of his main collector, Laetitia Schuett, Jean has made the paintings available for this special issue of the journal.

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7

Vei, Tze. "Embodiment of Typical Images of Chinese Traditional Opera in Oil Painting." Observatory of Culture 20, no. 6 (December 21, 2023): 634–41. http://dx.doi.org/10.25281/2072-3156-2023-20-6-634-641.

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The article is devoted to the peculiarities of embodiment of typical images of Chinese traditional opera in works of oil painting. Depicting the actors in their stage roles, the artists strive to recreate the aesthetic impact that Chinese opera has on the viewer. However, they use a system of artistic and expressive means characteristic of the fine arts. The aim of the study is to determine the peculiarities of embodiment of typical images of Chinese traditional opera by contemporary Chinese artists. The works of Peng Xiaohan, Wang Qijun, and Yue Haitao serve as the object. Although the typical images of Chinese traditional opera are characterised by their own set of symbols and signs, each author depicts the plots and characters of the productions in their own way. Some of them strive for a realistic portrayal of what is happening on stage: they capture the expressive poses of the main character, capture the plot scenes of the production. Others create a collective image of a character or separate parts of the plot, using the symbolism of colour, costume, theatrical make-up. On the example of paintings by the above artists, the author identifies the main creative approaches to the embodiment of typical images of Chinese traditional opera in oil painting. These include following the iconographic canons of Chinese opera, combining the traditions of Chinese art with the tendencies of Western painting, etc. For the first time, on the basis of works by contemporary Chinese painters, different approaches to the reflection of typical images of Chinese traditional opera in oil painting were identified and the peculiarities of their embodiment in the language of fine arts were determined, which can be useful for further research in this area.

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8

Weaver, Karol Kovalovich. "“Her Infant at Her Breast”: Breastfeeding as Survival and Resistance in Colonial Haiti." Journal of Women's History 35, no. 4 (December 2023): 76–96. http://dx.doi.org/10.1353/jowh.2023.a913383.

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Abstract: This article analyzes published sources, archival records, and prints and paintings to show that, over the course of the eighteenth century, white colonists in Saint-Domingue attempted unsuccessfully to dehumanize enslaved persons by exploiting their breasts as sources of productive and reproductive labor and by disfiguring them by means of brands. Enslaved women and men resisted that control. Despite being branded, enslaved persons ran away. Knowing the tremendous cultural and social value accorded to their breasts, enslaved women, whether as mothers or othermothers, pursued a strategy of subversive breastfeeding. By so doing, they nurtured children and sustained survival, including fugitive networks. Ultimately, these Black mothers impacted how freedom was defined and imagined both during and long after the Haitian Revolution. These findings contribute to histories of the breast, the Haitian Revolution, intimate labor, and the body. They make visible women and their decisions in challenging enslavement.

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9

Butcher, Pablo. "Haiti: The message on the wall." Index on Censorship 17, no. 3 (March 1988): 10–13. http://dx.doi.org/10.1080/03064228808534380.

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Arrival in Port-au-Prince, itself always an assault on the senses, was a heady experience during the euphoria after Duvalier's peremptory exit on 7 February 1986. Wall paintings celebrated the forced departure of Baby Doc and his family.

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10

Mukenge, Arthur, and Emmanuel Kayembe. "Fiction et réalité dans Pays sans chapeau de Dany Laferrière: Entre autobiographie, autofiction et au-delà." Literator 37, no. 1 (November 30, 2016). http://dx.doi.org/10.4102/lit.v37i1.1290.

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En architecte, le narrateur monte en épingle l’histoire d’ici et d’ailleurs : après vingt années passées à Montréal, il fait un rebond chez lui, à Port-au-Prince (cfr Pays sans chapeau). À première vue, Haïti demeure le même ; c’est le statu quo que le narrateur observe : l’odeur du café est la même, la pauvreté aussi crue que violente affecte la population, les amis du narrateur sont restés fidèles à leur jeunesse. Par la même occasion, le roman relance le débat sur la pertinence de la migration, qui, du coup, semble moins centrée à une ère où l’imaginaire se situe au-delà des pays « réel » et « imaginaire » ; cette dichotomie donne une vraie valeur intrinsèque à Pays sans chapeau et démontre, de ce fait, la belle forme technique et esthétique du roman. Ainsi, nous allons chercher à démontrer comment Pays sans chapeau constitue un corpus stratégique qui se situe entre l’autobiographie, l’autofiction au delà …Fiction and reality in Pays sans chapeau (A country without a hat) by Dany Laferrière: Between autobiography autofiction and beyond. Pays sans chapeau (a country without hat) is one of the novels written by Dany Laferrière and published in 2007. This book deals with the return of the narrator, Vieux Os, to Port-au-Prince after many decades spent abroad in exile. It is also based on the painting or description of the Haitian society in which the narrator is horrified by the sheer number of the dead people or ghosts walking around together with the living in the streets of the city. He realises that the city of Port-au-Prince is overcrowded, yet he cannot distinguish the living from the dead amongst the bodies. The article aims to research the perpetual problem of the relationship between reality and fiction in autobiographical texts. An attempt will be made to determine to which category the novel Pays sans chapeau belongs. Consequently, it also analyses the dichotomy between the fictional and the real. This article will take as its theoretical point of departure Philppe Lejeune and Isabelle Grell’s definitions of autobiography and Jenny Laurent’s definition of autofiction.

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Dissertations / Theses on the topic "Haitian Painting"

1

Pataki, Eva. "Haitian painting, the naives and the moderns /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10730862.

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2

Collins, Megan Marie. "The Portrait of Citizen Jean-Baptiste Belley, Ex-Representative of the Colonies by Anne-Louis Girodet Trioson: Hybridity, History Painting, and the Grand Tour." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1237.pdf.

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3

Ulysse, Sterlin. "Problématique de l'autre : écriture et peinture haïtiennes en question." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20073.

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Les premiers discours sur l’art en Haïti ont été envisagés à partir de la question de l’autre. Il s’agissait de savoir comment la littérature aiderait à définir une identité haïtienne. Ce travail interroge la littérature et la peinture sur la problématique de l’autre, l’autre du dedans, où l’altérité se joue entre les membres d’une même société. Les productions artistiques et culturelles populaires sont analysées à travers le prisme de l’art naïf qui est à la base de la réflexion sur le rapport entre littérature et peinture. Dans un premier temps, les représentations du monde rural par le mouvement indigéniste sont explorées dans les discours littéraires et picturaux, afin de voir si la pratique a su répondre aux objectifs théoriques énoncés par les penseurs du mouvement. Dans un second temps, le dialogue entre la littérature et peinture est traité à partir de plusieurs points de vue : culturel, social, esthétique, en nous appuyant sur les romans suivants, La contrainte de l’inachevé d’Anthony Phelps, L’Énigme du retour de Dany Laferrière et Yanvalou pour Charly de Lyonel Trouillot. Tandis qu’en peinture nos analyses se réfèrent aux toiles de André Normil, Wilson Bigaud, Wilbert Laurent ou Pétion Savain, entre autres
The first writings on art in Haiti were based on the questioning of otherness - the aim was to know how literature could help define a Haitian identity. This dissertation uses literature and painting to explore this issue of otherness – an otherness inside, in which otherness lies between the members of a same society. The popular artistic and cultural productions are analyzed through the perspective of Naïve Art which gives birth to this reflection on the interaction between literature and painting. The representations of the rural world by the indigenous movement are first explored in literary and pictorial works, in order to see if practice could match the theoretical objectives established by the thinkers of the movement. The dialogue between literature and painting is then explored through several perspectives – cultural, social, esthetic ones, while studying the following novels, La contrainte de l’inachevé by Anthony Phelps, L’Énigme du retour by Dany Laferrière and Yanvalou pour Charly by Lyonel Trouillot. In painting, our analyses notably refer to the works of André Normil, Wilson Bigaud, Wilbert Laurent or Pétion Savain among others

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Books on the topic "Haitian Painting"

1

Pataki, Eva. Haitian painting: Art and kitsch. Jamaica Estates, N.Y: E. Pataki, 1986.

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2

Peintres Haïtiens. Paris: Éditions Cercle d'art, 2000.

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3

Drot, Jean-Marie. An encounter between two worlds as seen by Haiti's artists. [Paris]: Afrique en Creations Foundation, 1994.

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4

Drot, Jean-Marie. An encounter between two worlds as seen by Haiti's artists. Rome: Carte segrete, 1994.

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5

Nadal-Gardère, Marie-José. La peinture haïtienne =: Haitian arts. Paris: F. Nathan, 1986.

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6

Drot, Jean-Marie. L' incontro dei due mondi visto dai pittori di Haïti. [Rome]: Edizioni Carte segrete, 1992.

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7

(Gallery), Art Etche. Florilège: Peintres et peintures d'Haïti. [Saint-Laurent-de-la-Barrière]: Art Etche, 2011.

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8

Lerebours, Michel-Philippe. Haïti et ses peintres: De 1804 à 1980 : souffrances & espoirs d'un peuple. Port-au-Prince, Haïti: Imprimeur II, 1989.

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9

Damour, Rebert. Rebert Damour: Peintre de l'élégance. [Saint-Laurent-de-la-Barrière]: Art Etche, 2015.

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10

Chavannes, Etienne, Edger Jean-Baptiste, Ernst Prophète, and Kirsten Coyne. Haiti, three visions. Mahwah, N.Y.]: Ramapo College of New Jersey, 1994.

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Book chapters on the topic "Haitian Painting"

1

visini-Gebert, Lizabeth Para. "Sacred Forms: Ritual, Representation, and the Body in Haitian Painting." In Black Religion and Aesthetics, 91–112. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230622944_6.

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2

François, Anne M. "Teaching Haiti and the Dominican Republic." In Teaching Haiti, 239–48. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9781683402107.003.0013.

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Portrayals of Haitian immigrants in mass media are often one-dimensional, a fact that has resulted in the perpetuation of clichés and stereotypes. By contrast, many diasporic writers, filmmakers, artists, and intellectuals present far more complex and layered representations of Haitian immigrants in their works. This chapter discusses a course on diasporic representations of Haitian immigrant experiences in literature, painting, films, and music of Haiti and the Dominican Republic, an interdisciplinary course focused on the humanities but relevant to a variety of fields, including global studies, migration studies, area studies, and cultural studies.

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3

Rodriguez, Linda Marie. "Paint and Poison." In Collective Creativity and Artistic Agency in Colonial Latin America, 199–227. University Press of Florida, 2023. http://dx.doi.org/10.5744/florida/9781683403524.003.0008.

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This chapter uses the 1791 trial of Pedro Dionisio Muñoz de Carballo to analyze the intersection of racism, racialization, and the artistic sphere as well as details of art production in Cuba during the late eighteenth century. Muñoz de Carballo, a free man of color and owner of a painting supply shop in Havana, was accused of selling lethal substances. This case took place during a period of great racial conflict. After the Haitian Revolution, fears of slave revolts increased. Black Cubans dominated the art sphere, and this caused racial anxiety. The case against Muñoz de Carballo was intended to ensure order and to exclude Blacks from Cuba’s art world. Art was marshaled as an effective tool to justify the political economy of slavery built upon white supremacy. Royal authorities used strategies such as the development of an aesthetic of good taste, the establishment of a fine arts academy, and the organization of artists into guilds. These measures ensured a rigid hierarchy that served as a glass ceiling for Blacks and mulatos. Linda Marie Rodriguez not only discusses art and race, but offers a clear picture of the material culture related to art in Cuba around 1800.

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Gonzalez, Aston. "Compositions of No Ordinary Merit and the Struggle for Black Rights." In Visualizing Equality, 65–106. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659961.003.0004.

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This chapter studies the process by which Robert Douglass Jr. and Patrick Henry Reason expanded their activist networks through their artistic production during the 1840s. Reason joined the campaign to secure voting rights for free black men in New York, and both he and Douglass protested plans for black colonization. Douglass returned from Haiti and traveled to England, where he strengthened his antislavery networks and developed his artistic skills. The images and lectures resulting from Douglass’s trip to Haiti celebrated it as a model for black leadership, self-determination, and the building of black cultural institutions in the United States. The paintings he completed in Haiti communicated the possibilities of black rights, leadership, and political organization that might serve as an example for those in the United States. Likewise, Reason created prints of black leaders to highlight domestic black achievement and commemorate role models who worked to overcome and eradicate racial prejudice. Douglass and Reason’s adoption of different business strategies and new visual technologies provided avenues to critique and correct racial inequalities.

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Reports on the topic "Haitian Painting"

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Highlights from the Collection of the Art Museum of the Americas of the Organization of American States (OAS): Outstanding works by artists from the Spanish, English, French, and Dutch Speaking Caribb. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0008217.

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This paper presents a selection of 39 important works (paintings, sculptures, drawings, engravings and photographs) by recognized Caribbean artists from Barbados, Jamaica, The Bahamas, Trinidad and Tobago, Haiti, Dominican Republic, Puerto Rico, and Suriname, and early Cuban masters such as Amelia Peláez, Juan José Sicre and Mario Carreño, in the collection of the OAS Art Museum of the Americas, on loan to the IDB Cultural Center for this exhibition.

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