Figures
0.1 World map (Natural Earth II projection) showing territories colonized by the Dutch between the seventeenth century and the twentieth 3
2.1 A visitor looking at Gerrit Dou’s Tronie of a Young Black Man (c.1635) and Hendrick Heerschop’s King Caspar (1654) in the exhibition Here: Black in Rembrandt’s Time, Rembrandthuis, Amsterdam, 2020 23
2.2 Installation view of the portraits of Diego Bemba, Don Miguel de Castro, and Pedro Sunda (all 1643) by Jasper Beckx in the exhibition Here: Black in Rembrandt’s Time, Rembrandthuis, Amsterdam, 2020 25
2.3 Jacob Coeman, Pieter Cnoll, Cornelia van Nijenrode, Their Daughters, and Two Enslaved Servants, 1665. Oil on canvas, 52 × 75 in. (132 × 190.5 cm). Rijksmuseum, Amsterdam (SK-A-4062) 26
2.4 Visitors reading the texts of three songs about slavery in the first room of the exhibition Slavery, Rijksmuseum, Amsterdam, 2021 28
2.5 A visitor looking at the art installation La Bouche du Roi (1997–2005) by Romuald Hazoumè in the exhibition Slavery, Rijksmuseum, Amsterdam, 2021 29
2.6 Installation view of the participatory art installation Look at Me Now (2021) by Tirzo Martha and David Bade in the exhibition Slavery, Rijksmuseum, Amsterdam, 2021 30
2.7 Contemporary artworks by Dutch artists from the African diaspora in the exhibition Here: Black in Rembrandt’s Time, Rembrandthuis, Amsterdam, 2020 31
2.8 A visitor looking at the added (white) text label that is part of the Rijksmuseum & Slavery project 33
2.9 Installation view of Ten True Stories of Dutch Colonial Slavery, United Nations, New York, 2023 34
3.1 Installation view of the exhibition Under Cover of Darkness, Iziko Slave Lodge, Iziko Museums of South Africa, Cape Town, 2018 36
3.2 Installation view of the exhibition Under Cover of Darkness, Iziko Slave Lodge, Iziko Museums of South Africa, Cape Town, 2018 36
3.3 Installation view of Azazole Ndamase’s Untitled (30 May 2018) in the exhibition Under Cover of Darkness, Iziko Slave Lodge, Iziko Museums of South Africa, Cape Town, 2018 41
5.1 Natasja Kensmil, White Elephant, 2019. Oil on canvas, 7 7/8 × 9 1/8 in. (20 × 23 cm). Amsterdam Museum (4903) 57
5.2 Natasja Kensmil, Monument of Regents, 2019. Oil on canvas, 11 7/8 × 9 1/2 in. (30 × 24 cm). Amsterdam Museum (4900) 58
5.3 Installation view of Monument of Regents: Natasja Kensmil, Amsterdam Museum, 2020–22 61
5.4 Natasja Kensmil, Maria Munter and Isaac Jan Nijs, 2020. Oil on canvas, 9 7/8 × 9 1/8 in. (25 × 23 cm). Amsterdam Museum (7021) 63
5.5 Natasja Kensmil, Selva Amazone, 2020. Oil on canvas, 9 1/8 × 7 7/8 in. (23 × 20 cm). Andriesse ~ Eyck Gallery, Amsterdam 65
6.1 The Golden Coach installed in the courtyard of the Amsterdam Museum, 2021–22 68
6.2 Tribute from the Colonies, left panel of the Golden Coach 68
6.3 Introductory wall of The Golden Coach exhibition at the Amsterdam Museum, 2022 70
6.4 Installation view of The Golden Coach exhibition at the Amsterdam Museum, 2022 70
6.5 Installation view of The Golden Coach exhibition at the Amsterdam Museum, 2022 73
7.1 Detail showing Herengracht 518 from Caspar Jacobsz. Philips’s Verzaameling van all de huizen en prachtige gebouwen langs de Keizers en Heere-grachten der stadt Amsteldam (Amsterdam: Bernardus Mourik, c.1767). Engraving, overall 14 × 22 1/16 × 1 3/16 in. (35.5 × 56 × 3 cm). The Metropolitan Museum of Art, New York (46.50.1) 79
7.2 Christiaan Andriessen, Demonstration of the Spanish Buck, April 18, 1806. Amsterdam City Archive. Louis Zamore van Wicky, who lived with Andriessen in Amsterdam until 1805, was the son of a plantation owner in Berbice; his mother was an unknown Black woman. Van Wicky probably explained to Andriessen how the Spanish Buck was used as a severe punishing device on enslaved people in Berbice and Suriname 82
7.3 Ernst Willem Jan Bagelaar, Portrait of Wange van Bali, c.1798–1837. Etching, 2 15/16 × 2 3/16 in. (7.4 × 5.6 cm). Rijksmuseum, Amsterdam (RP-P-BI-245). Wange van Bali was born in slavery in Flores (present-day Indonesia) and arrived around 1814 in Delft, where he became a servant in the household of Jacobus van der Chijs and Anna Bagelaar 83
7.4 Map showing enslavers in the Netherlands who were compensated for losing enslaved people 86
7.5 Jan Brandes, Tea Visit in Batavia, c.1780. Watercolor, 6 1/8 × 7 11/16 in. (15.5 × 19.5 cm). Rijksmuseum, Amsterdam (NG-1985-7-2-15) 88
9.1 Installation view of the exhibition Past Made Present: Dutch Shadows in the Black Atlantic, Museum of Art, Rhode Island School of Design, Providence, RI, 2022 104
9.2 Installation view of the exhibition Past Made Present: Dutch Shadows in the Black Atlantic, Museum of Art, Rhode Island School of Design, Providence, RI, 2022 106
9.3 Kennedi Carter, Shahqeel, 2020, from the series Flexing/New Realm. Color inkjet print, 40 × 29 1/2 in. (101.6 × 74.9 cm). Museum of Art, Rhode Island School of Design, Providence, RI; Walter H. Kimball Fund (2022.31) 107
9.4 G-Star RAW, design label, Amsterdam (1989–present), Anne Marika Verploegh Chassé, wearer and mender. Jeans, c.2005. Cotton twill weave; indigo-dyed, patched, and mended, inseam 30 in. (76.2 cm). Museum of Art, Rhode Island School of Design, Providence, RI; Gift of Anne Marika Verploegh Chassé (2018.43) 108
9.5 Installation view of the exhibition Past Made Present: Dutch Shadows in the Black Atlantic, Museum of Art, Rhode Island School of Design, Providence, RI, 2022 109
9.6 Installation view of the exhibition Past Made Present: Dutch Shadows in the Black Atlantic, Museum of Art, Rhode Island School of Design, Providence, RI, 2022 111
9.7 James Van Der Zee, The Heiress, Harlem, 1938. Silver print, 7 3/16 × 9 5/16 in. (18.4 × 23.6 cm). Museum of Art, Rhode Island School of Design, Providence, RI; Museum purchase with the aid of funds from the National Endowment for the Arts (80.232.17) 112
9.8 Alanna Airitam, Queen Mary (The Queen), from the series The Golden Age, 2017. Color inkjet print with hand-applied varnish, 36 × 24 in. (91.4 × 61 cm) 113
9.9 Attributed to Jan van Huysum, Still Life with Flowers, c.1715–30. Oil on canvas, 14 × 11 in. (35.6 × 27.9 cm). Museum of Art, Rhode Island School of Design, Providence, RI; Gift of D. Berkeley Updike in memory of Elisabeth Bigelow Updike (36.018) 114
9.10 Rembrandt van Rijn, Self-Portrait in a Fur Cap: Bust (state iv/vi), 1630. Etching on paper, 2 1/2 × 2 1/8 in. (6.3 × 5.2 cm). Museum of Art, Rhode Island School of Design, Providence, RI; Museum Works of Art Fund (49.458) 115
10.1 John Singleton Copley, John Bours, c.1763. Oil on canvas, 50 1/4 × 40 1/8 in. (127.6 × 101.9 cm). Worcester Art Museum, Worcester, MA (1908.7) 118
10.2 Rembrandt van Rijn, Marten Soolmans, 1634. Oil on canvas, 81 11/16 × 52 in. (207.5 × 132 cm). Rijksmuseum, Amsterdam (SK-A-5033) 124
10.3 John Greenwood, Sea Captains Carousing in Suriname, c.1755–58. Oil on bed ticking, 37 3/4 × 75 in. (95.9 × 190.5 cm). Saint Louis Art Museum, St. Louis, MO, Museum Purchase (256:1948) 126
11.1 Julien Hudson, Portrait of a Young Woman in White, 1840. Oil on canvas, 37 13/16 × 32 1/2 in. (73 × 60.3 cm). Harvard Art Museums/Fogg Museum, Cambridge, MA; Richard Norton Memorial Fund (2017.229) 129
11.2 Marie-Guillemine Benoist, Portrait présumé de Madeleine, 1804. Oil on canvas, 31 7/8 × 25 9/16 in. (81 × 65 cm). Musée du Louvre, Paris (INV 2508; L 3597) 132
11.3 Attributed to Jacques Guillaume Lucien Amans, Bélizaire and the Frey Children, c.1837. Oil on canvas, 47 1/4 × 36 1/4 in. (120 × 92.1 cm). The Metropolitan Museum of Art, New York; Purchase, Acquisitions Fund, Brooke Russell Astor Bequest, Friends of the American Wing Fund, Muriel J. Kogan Bequest, and funds from various donors, 2023 (2023.317) 133
11.4 Titus Kaphar, Enough about You, 2016. Oil on canvas and antique frame, 45 × 70 × 5 in. (114.3 × 177.8 × 12.7 cm) 137
11.5 Andrew LaMar Hopkins, Creole Lady, 2018. Acrylic on canvas. Private collection 138
12.1 John van Nost the Elder, Garden Statue with Sundial (previously Elihu Yale Sundial), 1708. Bronze, cast lead, and cement, base 12 3/4 × 19 1/2 × 19 1/2 in. (32.4 × 49.5 × 49.5 cm), sculpture 63 1/2 × 33 1/4 × 26 7/8 in. (161.3 × 84.5 × 68.2 cm). Yale University, New Haven, CT; Gift of Ganson G. Depew, B.A. 1919; Clarence W. Bowen, B.A. 1873; Henry King Smith, B.A. 1898; E. Byrne Hackett, Hon. M.A. 1914; and R. Eden Dickson, Esq. (1922.8) 144
13.1 Museums Are Not Neutral, La Tanya S. Autry, Mike Murawski, and colleagues, 2017 151
13.2 Installation view of Antwoine Washington’s And Yeah, About that Seat at the Table (2021) in the exhibition Imagine Otherwise, Museum of Creative Human Art, Cleveland, in partnership with moCa Cleveland, 2021 155
13.3 Installation view of Imani Dennison’s NO MAS-Irreversible Entanglements (2020) in the exhibition Imagine Otherwise, ThirdSpace Action Lab, Cleveland, in partnership with moCa Cleveland, 2021 156
13.4 Exhibition leaflet for the exhibition Imagine Otherwise, moCa Cleveland, 2021 161
13.5 Wall text for the exhibition Imagine Otherwise, moCa Cleveland, 2021 163
13.6 Installation view of Vaimoana Niumeitolu and Kyle Goen’s Red Carpet (2016) in the exhibition Temporary Spaces of Joy and Freedom, moCa Cleveland, 2020 170
14.1 Reggie Black, No Records, 2020. Projection. Dyckman Farmhouse Museum, New York 175
15.1 Romuald Hazoumè, Kawessi, 2013. Mixed media, 12 5/8 × 17 3/4 × 10 5/8 in. (32 × 45 × 27 cm). Mount Holyoke College Art Museum, South Hadley, MA; Purchase with the Belle and Hy Baier Art Acquisition Fund (MH 2023.3) 177
16.1 Frans Hals, Family Group in a Landscape, 1645–48. Oil on canvas, 79 1/2 × 112 1/8 in. (202 × 285 cm). Museo Nacional Thyssen-Bornemisza, Madrid (1934.8) 180
16.2 Titus Kaphar, Shifting the Gaze, 2017. Oil on canvas, 83 × 103 1/4 in. (210.8 × 262.3 cm). Brooklyn Museum; William K. Jacobs Jr. Fund (2017.34) 180
17.1 Tessel Dekker, Stop Racisme: Kappen nou met Zwarte Piet (Stop Racism: Knock It Off with Black Pete), 2020 182
18.1 Balthasar van den Bossche, A Painter’s Studio with an Elegant Couple, late 17th or early 18th century. Oil on canvas, 38 1/4 × 45 1/2 in. (97.2 × 115.6 cm). Private collection, New York 184
19.1 Adriaen van Utrecht, Banquet Still Life with a Parrot, Dog, and Monkey, 1644. Oil on canvas, support 73 1/4 × 95 11/16 in. (186 × 243 cm). Rijksmuseum, Amsterdam, on loan from the City of Amsterdam (A. van der Hoop Bequest) 194
19.2 Abraham van Beyeren, Banquet Still Life, 1667. Oil on canvas, unframed 55 1/2 × 48 in. (141 × 121.9 cm), framed 67 1/2 × 59 × 4 in. (171.4 × 149.9 × 10.2 cm). Los Angeles County Museum of Art, gift of the Ahmanson Foundation (M.86.96) 195
20.1 Albert Eckhout, “Mulatto” Man, c.1643. Oil on canvas, 108 × 67 in. (274 × 170 cm). Nationalmuseet, Copenhagen (N.38.a5) 225
20.2 Albert Eckhout, Mameluca, 1641. Oil on canvas, 106 × 67 in. (271 × 170 cm). Nationalmuseet, Copenhagen (N.38.a6) 226
20.3 Zacharias Wagener, Molher Negra, c.1641. Watercolor on paper, 8.3 × 13 in. (21.2 × 33.5 cm). Thierbuch, Kupferstich-Kabinett, Staatliche Kunstsammlung, Dresden (Ca 226a M. (a) 7a, fol. 98) 227
20.4 Label for Frans Post’s Landscape with Anteater (c.1660), on permanent display at the Museu de Arte de São Paulo, 2021 229
20.5 Frans Post, Sugar Mill Driven by Oxen, 1640. Pen and brush on paper, 9 × 12 in. (22.5 × 31 cm). Atlas van Stolk, Rotterdam (46440) 230
21.1 Frans Post, Sugar Mill, 1650–55. Oil on canvas, 46 1/16 × 65 3/4 in. (117 × 167 cm). Musée du Louvre, Paris (INV 1724; B 296) 241
21.2 Detail of Post’s Sugar Mill 244
21.3 Detail of Post’s Sugar Mill 245
21.4 Frans Post, Landscape in Brazil with Sugar Plantation, 1660. Oil on canvas, 34 1/4 × 44 1/2 in. (87 × 113 cm). Statens Museum for Kunst, Copenhagen (KMSsp491) 253
22.1 Detail of Sébastien Cabot, Mappemonde (Anvers, 1544). Hand-colored engraving. Bibliothèque nationale de France, Paris; département des Cartes et Plans (CPL GE AA-582 [RES]) 266
22.2 Detail of Diego Gutiérrez, Americae sive qvartae orbis partis nova et exactissima descriptio (Antwerp, 1562). Library of Congress, Washington, DC; Lessing J. Rosenwald Collection. “Provinica de Caripana” is located north of the Amazon River, on the far left of this detail. Scenes of violent cannibalism are located south of the Amazon in “Brasil.” 268
22.3 Detail of Abraham Ortelius, Typus Orbis Terrarium (Antwerp, 1570). Library of Congress, Washington, DC; Geography and Maps Division. Caribana is still north of the Amazon River, but it is located much closer to the coast 268
22.4 Detail of Theodor De Bry, Americae pars magis cognita (Frankfurt am Main, 1593). John Carter Brown Library, Providence, RI 269
22.5 Jodicus Hondius, Nieuwe Caerte …, 1599. Universiteit van Amsterdam, Bijzonder Collecties. Here, Caribana appears north of the Orinoco River, within present-day Venezuela. Guiana is introduced as a separate location, replacing Caribana as the region just north of the Amazon River 270
22.6 Carolyn Arena and Colleen Truskey, Historic Guiana: Indigenous Nations Mapped According to European Sources of the 16th and 17th Centuries: Based on the Exploratory Voyages of Lawrence Keymis (c.1595) and Robert Harcourt (c.1609) and the ‘Guine et Caribane’ map by Nicholas Sanson (c. 1656, based on De Laet, c.1620), 2018. 275
23.1 Albert Eckhout, African Woman and Child, 1641. Oil on canvas, 111 × 74 in. (282 × 189 cm). Nationalmuseet, Copenhagen (N.38.a8) 278
23.2 Albert Eckhout, African Man, 1641. Oil on canvas, 107 × 66 in. (273 × 167 cm). Nationalmuseet, Copenhagen (N.38.a7) 279
23.3 Zacharias Wagener, Woman Being Carried in a Covered Hammock, from Wagener’s Thierbuch (c.1641). Watercolor on paper, 8.3 × 13.2 in. (21.4 × 35.6 cm). Kupferstich-Kabinett, Dresden (Ca 226/104) 286
23.4 Zacharias Wagener, Divination Ceremony and Dance, from Wagener’s Thierbuch (c.1641). Watercolor on paper, 8.3 × 13.2 in. (21.4 × 35.6 cm). Kupferstich-Kabinett, Dresden (Ca 226/105) 286
23.5 A Nobleman, a Merchant, and an Interpreter on the Gold Coast, from Beschryvinghe ende Historische verhael van het Gout Koninkrijck van Guinea anders de Gout-custe de Mina genaemt (Amsterdam, 1602) 289
23.6 Zacharias Wagener, Pernambuco Slave Market, from Wagener’s Thierbuch (c.1641). Watercolor on paper, 8.3 × 13.2 in. (21.4 × 35.6 cm). Kupferstich-Kabinett, Dresden (Ca 226/106) 293
23.7 Unidentified maker, Fabric samples from the Vrouwe Maria Geertruida (1788). Nationaal Archief, The Hague, West India Company Archive (nr. 179) 294
24.1 Johannes Vingboons, New Amsterdam or Now New York on the Island of Man[hattan] (Nieuw-Amsterdam ofte nue Iorx op’t Teylant Man[hattan]), 1664. Colored print, 42 × 63 cm. Nationaal Archief, Den Haag, Verzameling Buitenlandse Kaarten Leupe: Eerste Supplement, nummer toegang 4. VELH, (619.14) 299
24.2 Claes Jansz. Visscher, Novi Belgii, Novaeque Angliae nec non partis Virginae, 1651–55. Etching and engraving with hand-coloring and gold, 47 × 55.9 cm. From the collections of the New York State Library, Manuscripts and Special Collections, Albany 303
24.3 Ludolf Backhuysen, Ships in Distress off a Rocky Coast, 1667. Oil on canvas, 114.3 × 167.3 cm. National Gallery of Art, Washington, DC; Ailsa Mellon Bruce Fund Collections (1985.29.1) 304
24.4 Hendrik de Leth, Gesigt uyt de Braaw-Waal, siende naar het Wagt-huys van de Oude Waal, Monkelbaanstooren en West-Indisch-huys, c.1735. Etching. Collectie Atlas Dreesmann, Stadsarchief Amsterdam (5053) 305
24.5 Description of a Slave Ship. London: Printed by James Phillips (for the London Committee of the Society for Effecting the Abolition of the Slave Trade), 1789 306
24.6 Olaudah Equiano (“Gustavus Vassa”) by Daniel Orme, published by Olaudah Equiano (“Gustavas Vassa”), after W. Denton, published 1 March 1789. Stipple engraving, 15.6 × 9.5 cm. National Portrait Gallery, London (NPG D8546) 312
24.7 Joseph Mallord William Turner, Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on Canvas, 90.8 × 122.6 cm. Museum of Fine Arts, Boston; Henry Lillie Pierce Fund (99.22) 313
25.1 Herman Doomer, chest/cabinet, 1632. Oak with ebony veneer, inlaid with mother-of-pearl, 78 × 63 7/8 × 26 9/16 in. (198.1 × 162.2 × 67.5 cm). Rijksmuseum, Amsterdam (BK-2020-1) 316
25.2 Herman Doomer, chest/cabinet, c.1635–45. Oak with ebony veneer, kingwood, rosewood, and pseudo-acacia, inlaid with mother-of-pearl, 86 13/16 × 81 1/8 × 32 7/8 in. (220.5 × 206 × 83.5 cm). Rijksmuseum, Amsterdam (BK-1975-81) 317
25.3 Frans van Mieris, Head of a Black Woman Looking Upwards toward the Right, after 1650. Black chalk on paper, 2 5/8 × 2 5/8 in. (6.6 × 6.6 cm). British Museum, London (1895,0915.1212) 318
25.4 Frans van Mieris the Elder, Woman before a Mirror (with a Black Maid), c.1664. Oil on panel, 11 13/16 × 9 1/16 in. (30 × 23 cm). Staatliche Museen zu Berlin, Gemäldegalerie (838) 319
25.5 Cornelis Cornelisz van Haarlem, Bathsheba at Her Bath, 1594. Oil on canvas, 30 1/2 × 25 3/16 in. (77.5 × 64 cm). Rijksmuseum, Amsterdam (SK-A-3892) 322
25.6 Rembrandt van Rijn, Two African Men, 1661. Oil on canvas, 31 × 25 in. (77.8 × 64.4 cm). Mauritshuis, The Hague (685) 324
25.7 A Moor and a Parrot, 1682. Engraving, from François van Hoogstraten, De schoole der wereld (Dordrecht, 1682) 327
25.8 Gabriet Metsu, Woman Reading a Letter, c.1664–66. Oil on panel, 20 11/16 × 15 13/16 in. (52.5 × 40.2 cm). National Gallery of Ireland, Dublin (NGI.4537) 329
25.9 Unidentified artist, Landscape on Mauritius, Named “De vuyle bocht,” c.1670. Pen and ink drawing, 20 1/8 × 14 3/8 in. (20.2 × 14.3 cm). Nationaal Archief, The Hague (NL-HaNA_4.VEL_1132) 334
25.10 Detail of Doomer’s chest/cabinet (c.1635–45) 337
26.1 Hand-colored engraving, 21 × 16 in. (53.3 × 40.6 cm). From Caspar Barlaeus, Rerum per octennium in Brasilia (History of Eight Years in Brazil) (Amsterdam: J. Blaeu, 1647). Also published as Paranambucae pars Borealis in Le Grande Atlas, vol. 12 (Amsterdam: Joan Blaeu, 1667) 342
26.2 Frans Post, Sugar Mill in Brazil, c.1645. Pen and brown ink on paper, 5 5/8 × 11 1/8 in. (14.3 × 28.2 cm). Koninklijke Musea voor Schone Kunsten van België, Brussels (inv. 4060 / 2888) 342
27.1 Jacob Marrel, Four Tulips, c.1637–45. Opaque and transparent watercolor over graphite on parchment, 13 9/16 × 17 3/4 in. (34.5 × 45 cm). Harvard Art Museums/Fogg Art Museum, Cambridge, MA; The Maida and George Abrams Collection, Promised Gift, 2018 345
28.1 Maria Sibylla Merian and workshop (designer and colorist) and Pieter Sluyter (etcher), Owlet Moth, Green Mantis (Choeradodis strumaria), and Cow’s Udder Fruit (Solanum mammosum), plate 27 from Metamorphosis insectorum Surinamensium (Amsterdam, 1705). Hand-colored etching on paper, 20 7/8 × 13 in. (53 × 33 cm). Library of Congress, Washington, DC; Rare Book and Special Collections Division (QL466.M57) 348
29.1 Calabash bowl, Surinamese, before 1831. Carved calabash rind encrusted with white clay, 4 3/8 × 8 5/8 × 8 1/4 in. (11 × 22 × 21 cm) 349
30.1 Andrés Sánchez Gallque, Portrait of Don Francisco de Arobe and His Sons Don Pedro and Don Domingo, 1599. Oil on canvas, 36 1/4 × 68 7/8 in. (92 × 175 cm). Museo Nacional del Prado, Madrid (P004778), and Museo de América, Madrid (MAM00069) 352
31.1 Benjamin Wynkoop, spoon, New York, c.1700. Silver, 1/2 × 6 3/4 × 1 7/8 in. (1.3 × 17.1 × 4.7 cm). New-York Historical Society (1963.154) 355
32.1 Miguel Cabrera, Pintura de Castas, 4. De español y negra, mulata, 1763. Oil on canvas, 52 × 39 3/4 in. (132 × 101 cm). Colección particular Comodato y custodia en el Museo de Historia Mexicana 359
32.2 Miguel Cabrera, Pintura de Castas, 9. De negro e india, china cambuja (zamba), 1763. Oil on canvas, 52 × 39 3/4 in. (132 × 101 cm). Museo de Américas, Madrid (MAM 00007) 360
32.3 Miguel Cabrera, Pintura de Castas, 10. De chino cambujo e índia, loba, 1763. Oil on canvas, 52 × 39 3/4 in. (132 × 101 cm). Museo de Américas, Madrid (MAM 00011) 361
33.1 Unidentified maker, No. 1 Native Chintz, White Ground (Inlandsche Chitsen, Witte grond), fabric sample from the Vrouwe Maria Geertruida (1788). Nationaal Archief, The Hague, West India Company Archive (nr. 179) 363
34.1 Unidentified photographer, Carte-de-visite with Portrait of Sojourner Truth, 1864. Albumen silver print on card, 3 9/16 × 2 1/16 in. (9 × 5.3 cm). Harvard Art Museums/Fogg Museum, Cambridge, MA; Transfer from Special Collections, Fine Arts Library, Harvard College Library, Bequest of Evert Jansen Wendell (2010.69) 370
34.2 Nona Faustine, 72 Canal, Sojourner Truth’s Home, 2016 375
34.3 Nona Faustine, Isabelle, Lefferts House, Brooklyn (Self-Portrait), 2016 377
35.1–2 Remy Jungerman, PROMISE IV, 2018–19. Cotton, textile, kaolin (pimba), yarn, nails, acrylic, wood, 196 1/16 × 53 9/16 × 52 3/4 in. (498 × 136 × 134 cm). Stedelijk Museum, Amsterdam (2020.4.0111(1–3)) 381
35.3–4 Remy Jungerman, Pimba AGIDA SUSA, 2021. Cotton, textile, kaolin (pimba) on wood panel (plywood), 75 9/16 × 95 1/4 × 1 3/4 in. (192 × 242 × 4.5 cm). Private collection 382
35.5 Saamaka Maroon shoulder cape by Peepina of the village of Totikampu, Surinamese, early 20th century. Schomburg Center for Research in Black Culture, NYPL, New York 382
35.6 Remy Jungerman, Pimba AGIDA MADAFO XII, 2022. Cotton, textile, kaolin (pimba) on wood panel (plywood), 32 1/4 × 32 1/4 × 1 3/4 in. (82 × 82 × 4.5 cm). Collection of the artist 382
35.7–8 Installation views of the exhibition Remy Jungerman: Behind the Forest, Stedelijk Museum, Amsterdam, 2021–22 384
35.9–11 Remy Jungerman, Visiting Deities, 2018–19. Cotton textile, kaolin (pimba), painted wood, meranti table legs, dry river clay, nails, yarn, mirror, and river water samples from the Cottica in Suriname, the Hudson in the United States, and the Amstel in the Netherlands, dimensions variable. Kunstmuseum, The Hague, acquired with the support of the Mondriaan Fund (1060725–7) 385
36.1 Detail of Rosana Paulino, Wall of Memory, 1994/2015. Installation of patuás on acrylic blanket and fabric sewn with thread and cotton, photocopy on paper and watercolor, each 3 1/8 × 3 1/8 × 1 1/8 in. (8 × 8 × 3 cm). Pinacoteca do Estado de São Paulo; Gifted by the Pinacoteca Art and Cultura Association—APAC, 2016 388
36.2 Rosana Paulino, Aracnes, 1996. Mixed media installation, dimensions variable 388
36.3–4 Rosana Paulino, The Nursemaids, 2009. Mixed media installation, dimensions variable 389
36.5 Detail of Rosana Paulino, Assentamento (Settlement), 2013. Mixed media and video installation, dimensions variable 390
36.6 Rosana Paulino, Assentamento n. 3 (Settlement no. 3), 2012. Color lithograph, 29 15/16 × 22 7/16 in. (76 × 57 cm). Galerie Mendes Wood MD, São Paulo 390
36.7–10 Rosana Paulino, Natural History?, 2016. Artist’s book, mixed media on paper, each page 11 1/4 × 14 15/16 in. (28.5 × 38 cm). Galerie Mendes Wood MD, São Paulo 391
36.11 Rosana Paulino, The Salvation of Souls?, 2017. Digital printing on pieces of cloth sewn together, 11 7/16 × 22 13/16 in. (29 × 58 cm). Galerie Mendes Wood MD, São Paulo 392
36.12 Rosana Paulino, The Grandmas, 2019. Still from video installation, 21st Contemporary Art Biennial, São Paulo, 2019–20 393
36.13–14 Rosana Paulino, Lady of Plants no. 2 and no. 4, 2015. Watercolor and graphite on paper, each 12 3/4 × 9 7/8 in (32.5 × 25 cm). Galerie Mendes Wood MD, São Paulo 394
36.15 Frontispiece to Carolus Linnaeus, Hortus Cliffortianus (Amsterdam, 1738). Dumbarton Oaks Research Library and Collection, Trustees for Harvard University, Washington, DC 395
36.16 Rosana Paulino, Tropical Paradise?, 2017. Digital print on cloth, acrylic, cutting, and sewing, 37 13/16 × 43 5/16 in. (96 × 109.5 cm). Galerie Mendes Wood MD, São Paulo 399
39.1 Anthony van Dyck, Robert Rich, Second Earl of Warwick, c.1632–35. Oil on canvas, 81 7/8 × 50 3/8 in. (208 × 128 cm), with added strip of 2 1/8 in. (5.4 cm) at top. The Metropolitan Museum of Art, New York; Jules Bache Collection, 1949 (49.7.26) 411
39.2 Barbara Walker, Vanishing Point 27 (Mijtens), 2021. Graphite on embossed Somerset Satin paper, 35 1/8 × 25 5/8 in. (89.7 × 72.8 cm) 418
Tables
20.1 Dutch Brazil-themed temporary exhibitions 234