(The Root) — This image is part of a weekly series that The Root is presenting in conjunction with the Image of the Black in Western Art Archive at Harvard University’s W.E.B. Du Bois Institute for African and African American Research.
In a scene scarcely imaginable if not for its all-too-common occurrence in reality, an incident of the 19th-century slave trade is here presented with unflinching detail. The large-scale format of the painting, more than 7 feet wide, brings the viewer uncomfortably close to one of the true atrocities wrought by European colonial expansion. We are witness to a rendezvous of slave traders on the west coast of Africa, a key point of exchange that sent millions of the continent’s population into bondage on foreign shores.
This canvas was painted by François-Auguste Biard, a French artist whose work runs the gamut from this and other horrifying scenes of slavery to melodramatic views of polar exploration and humorous takes on the Parisian middle class. It seems not to depict an eyewitness experience but instead presents an indictment of the slave trade composed of many carefully arranged elements. The canvas is yet imbued with a pervasive sense of decadence and apathy, of men corrupted by the routine infliction of the greatest kind of cruelty on their fellow human beings.
The crowded scene comprises a veritable catalog of the abuses of the slave trade. In the right background, native slave traders drive along coffles of captive Africans from the interior, to be examined, branded and crowded onto boats for transfer to a large slave ship in the harbor.
The actual sale of the slaves takes place in the center of the picture. A white man, his hand resting on the chest of a prostrate slave, haggles over his worth with four armed Africans as his companion examines the slave’s mouth. With his other hand this man disturbs the trancelike state of the well-dressed record keeper lounging at the right, his ledger and quill pen lying beside him.
On the left the scene becomes even more nightmarish. The relative calm of the opposite side is replaced with the frenzied preparation of the slaves for transport. Beside the central group, a just-purchased young woman is branded by one sailor while another waits with a set of neck irons. In the background, black slavers drive their cargo into small sailing boats in a scene recalling the expulsion of damned souls to hell in Dante’s Inferno.
The monumental canvas was exhibited in the summer of 1840 at the Royal Academy in London. It was declared by the author William Makepeace Thackeray to be “the best, most striking, most pathetic lecture against the [slave] trade that ever was delivered.”