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Colouring the CaribbeanRace and the Art of Agostino Brunias$
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Mia L. Bagneris

Print publication date: 2018

Print ISBN-13: 9781526120458

Published to Manchester Scholarship Online: May 2018

DOI: 10.7228/manchester/9781526120458.001.0001

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PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in MSO for personal use (for details see www.manchester.universitypressscholarship.com/page/privacy-policy).date: 15 October 2018

Coda – Pushing Brunias’s buttons, or rebranding the plantocracy’s painter: the afterlife of Brunias’s imagery

Coda – Pushing Brunias’s buttons, or rebranding the plantocracy’s painter: the afterlife of Brunias’s imagery

Chapter:
(p.215) Coda – Pushing Brunias’s buttons, or rebranding the plantocracy’s painter: the afterlife of Brunias’s imagery
Source:
Colouring the Caribbean
Author(s):

Mia L. Bagneris

Publisher:
Manchester University Press
DOI:10.7228/manchester/9781526120458.003.0006

The concluding chapter reiterates the major contentions of the previous chapters and examines the diverse ends to which Brunias’s images have been appropriated almost from the very moment of their creation. It opens with an investigation of a set of painted buttons in the collection of the Cooper-Hewitt Museum that have been attributed to Brunias and are purported to have adorned the coat of Toussaint L’Ouverture, leader of the successful Haitian slave rebellion against France. Ultimately, the chapter asserts that the fact Brunias’s work can be simultaneously described as plantocratic propaganda and as fashion fit for a Haitian revolutionary points to its complexity and continuing historical importance.

Keywords:   Buttons, Cooper-Hewitt Museum, Toussaint L’Ouverture

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