Mixed Race Studies

“Des couleurs primitives”: Miscegenation and French Painting of Algeria

Visual Resources
Volume 24, Issue 3 (2008)
pages 273 – 298
DOI: 10.1080/01973760802284638

Peter Benson Miller, Art Historian
Rome Art Program

The Romantic concept of “local color” refers to a site of painterly experimentation, the application of pigment in the chromatic construction of a picture. The term also identifies a detail authenticating an exotic subject considered typical of a particular region. This article zeroes in on the convergence of these two aspects of local color, interrogating the dialogue between subject and technique in the representation of North Africans. In their paintings from the late 1840s depicting “primitive” racial types from the Maghrib, Eugène Delacroix (1798-1863) and Théodore Chassériau (1819-1856) shifted to a color system that emphasized contrasts of distinct zones of color derived from an ethnological spectrum over smooth transitions and harmonies between hues. Unpacking the coordinates, including the trope of the mixed-blood, and the unstable classificatory schemas of physical anthropology suggests that these painters’ unconventional colorism and formal daring indexed the pervasive anxiety that miscegenation would lead to racial chaos. 

…Initially, though, the apparent prevalence of mixed races in Algeria did not inspire concern. In an influential text published in 1826, the American consul general in Algiers, William Shaler (1778–1833), while ambivalent about miscegenation, praised the hybrid ancestry of the ‘‘Moors’’: ‘‘an amalgamation of the ancient Mauritanians, various invaders, the emigrants from Spain, and the Turks,’’ which created a vigorous blend. Proof of the positive effect of such interbreeding, according to Shaler, was the fact ‘‘that there are few people who surpass them in beauty of configuration; their features are remarkably expressive, and their complexions are hardly darker than those of the inhabitants of the South of Spain.’’ While specialists would later question Shaler’s claims, and continue to debate the viability of mixed races, the impulse to discern origins, filiation and racial identity—whether mixed or pure—through skin color and physiognomy would remain a constant…

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‘Whose colour was no black nor white nor grey, But an extraneous mixture, which no pen Can trace, although perhaps the pencil may’: Aspasie and Delacroix’s “Massacres of Chios”

Art History
Volume 22, Issue 5 (December 1999)
Pages 676-704
DOI: 10.1111/1467-8365.00182

Darcy Grimaldo Grigsby, Professor of Art History
The University of California, Berkeley

While painting Massacres of Chios in 1824, Eugène Delacroix wrote in his journal that ‘The mulatto will do very well.’  This paper asks why a ‘mixed-blood’ would figure in a picture painted on behalf of the Greek War of Independence and argues that Chios must be understood as material evidence of the history of France’s imperial aspirations, as a vestige of its confusions as well as its experiments. To broaden the geopolitical horizon of interpretation of Chios is to appreciate the extent to which global politics were performed and remembered in the studio space of an ambitious, insecure and sexually preoccupied young French male painter.

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