An artwork on Galleree from The Art Institute of Chicago.
About the artwork
View on the River Roseau, DominicaAgostino Brunias (Italian, active in England and the West Indies, 1758–96)
1770/80
United Kingdom
84.1 × 158 cm (33 1/8 × 62 3/16 in.); Framed: 99.4 × 173.1 × 10.8 cm (39 1/8 × 68 1/8 × 4 1/4 in.)
Oil on canvas
Gift of Emily Crane Chadbourne
['18th Century']
['colonialism', 'African', 'caribbean', 'children', 'clouds', 'figures', 'labor', 'landscape', 'men', 'mountains', 'poverty', 'river', 'sky', 'slavery', 'trees', 'village', 'wealth', 'women']
['oil on canvas', 'oil paintings (visual works)', 'paint', 'Italian', 'painting', 'european painting']
['oil paint (paint)', 'canvas', 'paint', 'painting']
['oil painting', 'painting', 'painting (image making)', 'painting techniques']
In this expansive view of Dominica, people along the riverbank bathe, wash linens, converse, and sell produce. The presence of indigenous Carib, African, Afro-Creole, European, and mixed-race individuals attests to the long history of white-settler colonialism in the West Indies, where valuable crops such as coffee and sugar were cultivated through the labor of enslaved people.
The Italian-born artist Agostino Brunias settled on the island, painting scenes of Caribbean life for his planter-class patrons as well as white audiences abroad. Eliding the brutal conditions of slavery, his compositions shaped a reassuring vision of British imperialism for those in power. Yet by centering enslaved and free people of color—and focusing on mixed-race interactions—he also foregrounded the human impact of colonialism.
| attributed to Art Institute of Chicago under CC-By license
In the heart of Dominica, along the gentle banks of a river that carries whispers of time, life unfolds in a tapestry of vibrant colors and stories intertwined. Here, people gather—some immersed in the soothing waters, their laughter echoing like music amidst the rustling leaves. Others kneel on the rocky shore, wringing out linens, their hands moving in rhythmic patterns, while lively conversations float through the air like the soft evening breeze. A few vendors proudly display their produce, laden baskets telling tales of hard work and resilience, beckoning passersby with the promise of fresh flavors.
The scene, a rich panorama of humanity, reveals a melting pot of cultures—a beautiful yet complex composition of indigenous Carib, African, Afro-Creole, European, and mixed-race individuals. Each face speaks of a legacy shaped by the tides of history and the shadows of colonialism that linger just below the surface. For centuries, the land has been nourished by the labor of enslaved people, who toiled in the fertile fields to cultivate the island’s renowned crops—coffee and sugar, each grain a testament to struggle and sacrifice.
Amidst this vibrant life stood Agostino Brunias, an Italian-born artist who forged his path upon these shores. With each stroke of his brush, he captured the everyday scenes of Caribbean existence, painting not only for his wealthy planter-class patrons but for a wider audience who looked from afar. His canvases—filled with the picturesque routines of local life—crafted a comforting image tailored for those in power. These works offered a gentle narrative, one that carefully skirted the brutal realities of slavery's grip on the land.
Yet, beyond the idyllic depictions lay a deeper truth. Brunias, in his portrayal of both enslaved and free people of color, brought forth a narrative that was often silenced. His focus on the intricate interactions among mixed-race individuals illuminated the human impact of colonialism, serving as a poignant reminder of the rich lives and stories woven into the fabric of Dominica. Through his art, he reflected the complexity of a society grappling with its identity against the backdrop of oppression, loss, and resilience—each canvas a window into a world where joy and sorrow exist side by side.
About the artist
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