Virginie intercedes for a runaway slave from Paul and Virginie
A Harlot's Progress 2, 1732
The Harlot's Progress 4, 1732
A Negro hung alive by the Ribs to a Gallows, 1806
The Ambivalence of Colonial Representation: Images of the Black in Eighteenth-Century Europe

January 20-April 21

 
Introduction to Reason and Fantasy Exhibit
Selected works
Spring 2001 Graduate Coursework
Listings by Theme
Exhibit Checklist
Return to Ackland Home

Virginie intercedes for a runaway slave

Virginie intercedes for a runaway slave

from Paul and Virginie

A Harlot’s Progress 2, 1732

A Harlot’s Progress 4, 1732

A Negro hung alive
by the Ribs to a Gallows, 1806

CHARLES-MELCHIOR DESCOURTIS,
French, 1753 - 1820;
after JEAN FREDERIC SCHALL, French, 1752 - 1825
Virginie intercedes for a runaway slave
from Paul and Virginie
color aquatint
The William A. Whitaker Foundation Art Fund, 2001.9.4

Bernardin de Saint Pierre’s novel Paul and Virginie was first published in 1788 and became an instant best seller.  The story generated numerous visual illustrations produced independently of the text.  Charles-Melchoir Descourtis’ print series after Jean Frederic Schall is one such example.   

The story centers around two children (Paul and Virginie) growing up in the secluded island of Mauritius (then known as the Île de France).  Living far away from France where civilization has brought many social evils, the two children embody an ideal notion of society based on love and innocence.   

Though the real Île de France was a French colony overshadowed by formidable slavery, such history is figured only suggestively in Paul and Virginie through the image of an “escaped Negress.” Virginie provides the slave with food, and takes her back to her master, asking for his pardon.  Yet, the contrasting presence of the threatening master and the prostrated slave in the image suggests that Virginie’s good will is not shared. 

Kee-Lee Lee

 

IntroductionFeatured WorksGraduate StudyThemesChecklistAckland Home