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The confrontation of West Indies’ variegated and mixed-race populations with painting’s material (canvas and pigments) and the human classificatory systems proper to the era of Encyclopedie’s illustrations prove to be, regarding race and racialization process, a notably interesting research field. Yet, until today, the idea of early modern Caribbean painting has not been raised as such; this is therefore what I propose to study in this article. Indeed, Caribbean painting by means of figurative inventiveness and because of its grounding in the geographical, political, and historical specificity of racial and cultural archipelago, created an original pictorial inventory of human diversity.

Fabric, Skin, Color: Picturing Antilles’ Markets as an Inventory of Human Diversity