Francis Williams Portrait - Prof Fara Dabhiowala master class on the Black presence in 18th century art

William Williams (c1760) Francis Williams

Deep breath… Prof Fara Dabhiowala analysis of the V&A’s 1760 portrait of Francis Williams by William Williams is simply the best analysis of a work of art I have ever seen or read – a master class  -  period! You can see it here....

 Black Genius: Science, Race, and the Extraordinary Portrait of Francis Williams 

by Prof Fara Dabhiowala

The portrait was introduced into V& A’s collection in the 1920s when a Black presence in a painting in its collection wasn’t as valued as it is today. The work was bought for its depiction of 18thC mahogany chair and table, the Black figure was totally ignored, of absolutely no consequence, at that time. I was minded of the portrait of Toussaint Louverture which came into the V&A’s collection 1833 to be displayed as part of a number of prints depicting French Regal Military and other costumes. Here again the Black central figure - Haitian revolutionary leader, Toussaint Louverture - was seen as of no importance. How times have changed!

Toussaint Louverture (V&A collection)

Prof Fara Dabhiowala brilliant analysis gives us the tools, the ideas, the thinking that helps us reconsider and reflect on that difference. And for me it was his brilliant scholarship and excellent communication skills they really resonated with me on so many levels. His wonderful analytic deconstruction, paired with his charming wit, was a masterclass—making so many essential, important, mostly hidden, connections made manifest. I especially appreciated how he named and dated Johnson's dictionary. I've watched the video several times and will continue to do so. I really urge you too to watch Prof Fara Dabhiowala master class in the Black presence in 18th century art.

I’ve spent this year’s Black History Month presenting on Lloyds involvement and its response to its part  in the 18thC transatlantic trade in enslaved Africans to other city insurance firms. I have been keen to stress that there is no personal guilt or shame involved – that was then , this is now. The essential issue is how do we make manifest we our different from the 18th scientific racist beliefs with its dehumanisation of and brutality to Black bodies. That difference represents who we are today. This change is how we see these pictures , just like Lloyds response to its historical involvement in transatlantic trade in enslaved Africans they make real how we have changed - that was then -- the Williams and Loverture portraits were all about furniture and uniform, Lloyds did not acknowledge it role in enslavement - this is now ...we we think and act differently.