Enslaved Woman 1844 Auguste Edouart French Despite silhouettes being hailed as the democratization of portraiture vis-à-vis the aristocratic tradition of oil paintings, the art form could not completely undo period inequities of race and the dehumanizing conditions of slavery. Thus, even though the woman depicted here is shown with dignity, we do not know her real name or anything about her personhood beyond her enslaved status. Perhaps because she was assigned to the lady of the house, this individual bears an elegant comportment. This woman’s long hair is done in a somewhat elaborate and fas

Enslaved Woman 1844 Auguste Edouart French Despite silhouettes being hailed as the democratization of portraiture vis-à-vis the aristocratic tradition of oil paintings, the art form could not completely undo period inequities of race and the dehumanizing conditions of slavery. Thus, even though the woman depicted here is shown with dignity, we do not know her real name or anything about her personhood beyond her enslaved status. Perhaps because she was assigned to the lady of the house, this individual bears an elegant comportment. This woman’s long hair is done in a somewhat elaborate and fashionable updo, and she wears a petticoat with an overlay collar. Edouart was known to delight in adding accoutrements to his sitters, and this case is no exception. Folded over her arms appears to be fabric, possibly a blanket or article of clothing. On the back of the silhouette is written, "New Orleans 1st March 1844 / Belonging to Mrs. Oyley." This silhouette is a rarity in Edouart’s work. In his records of more than 3,800 named and dated silhouettes cut in the United States, only seven are noted as portraying enslaved Enslaved Woman. Auguste Edouart (French, 1789–1861). 1844. Chalk on prepared black cut paper mounted to paper board

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