Answer to Question #235796 in History for Sedzani Ndou

Question

Look at “Source A” (see attached pdf instructions for the image), a portrait of the Haitian Revolutionary leader, and former slave, Toussaint Louverture painted by John Kay in 1805. Describe, with reference to at least two visual clues in the portrait, how the artist has represented the future ambitions of the black revolutionaries. What does the source tell us (or not tell us) about the historical context and period? (30 marks; 200 to 250 words)

Answer 1

Toussaint had a close relationship with France, which he described as "la mère patrie" or "the mother nation," beginning in 1794. At every stage, he demonstrated to France that he would not be a mere slave. Toussaint discovered a means to challenge every French member in the province and have them deported to France. He not only disparaged France's representatives, but he also bent the rules of the home nation to his will. According to James (2019), this is why many historians believe Toussaint intended to compel France to recognize St. Domingue as an affiliated state. This paradigm would not be implemented for the provinces that were still reliant on France, England, the Netherlands, and other European powers until 150 years later.

 According to historians, Toussaint Louverture was ahead of his time, and his ideas were too advanced for the historical period in which he lived. On the themes of freedom and fairness, the 1801 Constitution is unmistakable. It provides racial equality, equal opportunities, and equal legal protections (Willson, 2021). It asserts that everyone has the same rights, regardless of skin color or socioeconomic status. In terms of freedom, article three of the law states that "slavery will not be eliminated permanently." As a French citizen, everyone is born, lives, and dies free.” Toussaint Louverture's principles are enshrined in this legislation.

References

James, E. M. (2019). Decolonizing Time: Nineteenth-Century Haitian Portraiture and the Critique of Anachronism in Caribbean Art. Nka: Journal of Contemporary African Art, 2019(44), 8-23.

Willson, N. (2021). Sartorial insurgencies: Rebel women, headwraps, and the revolutionary Black Atlantic. Atlantic Studies, 1-21.