Carmen Fracchia

Overview

Biography

Trained originally in Italian art history of the early modern period, I am a specialist in Hispanic Art History, with particular interest in relations between the Spanish visual form of the sixteenth and seventeenth centuries and issues of 'blackness', 'slavery' and 'freedom', 'human diversity' and 'race', and, religion, and, intellectual thought in the formation of the Iberian Empire.

My current research focuses on:

• the overlooked area of the complex specificity of slave subjectivity in the visual form
• the visual and cultural contribution made by Afro-Spanish enslaved and freed artists between 1480-1700 in Hapsburg Spain.
• the case of the Afro-Spanish painter Juan de Pareja (c.1606-1670), ex-enslaved assistant to Diego Velázquez in Madrid at the Spanish Court and in Rome in the Papal Court.

Highlights

• FORTHCOMING EXHIBITION

  Juan de Pareja: Afro-Hispanic Painter

  Metropolitan Museum of Art, New York, 3 April-16 July 2023

  I was a member of the Advisory Committee for this exhibition, the first ever to collect Juan de Pareja's paintings. I will also participate on the audio guide for this exhibition by giving my interpretation of Pareja's main work The Calling of St Matthew. See chapter 06 from my book 'Black but Human': Slavery and Visual Art in Hapsburg Spain, 1480-1700 (OUP: 2019). 

• Collaboration with the North Carolina Museum of Art (NCMA)
  

  I signed a contract with the North Carolina Museum of Art (NCMA) to write a NCMA Community Voice label on the Spanish painting Man Milling Cacao into Chocolate in their collection by February 2023 that will double as a NCMA handbook entry. Future collaborations include the co-curating of an exhibition around this painting. 

• Keynote lecture

  23 September 2022. 'The Afro-Hispanic Presence in Britain's Regional Collections.'. Two-day conference 'Hispanic Art in British Regional Collections: History, Display, Research'. Spanish Gallery, Bishop Auckland & Ushaw College Durham, supported by the Spanish Embassy and Durham University.

  Invited to give the keynote lecture ‘Spanish Art and Race’.

• FORTHCOMING PAPERBACK EDITION OF MY BOOK

  'Black but Human': Slavery and Visual Art in Hapsburg Spain, 1480-1700

  This item is not yet published, but may be pre-ordered now for delivery when available.

  Published: 28 February 2023 (Estimated)

  256 Pages | 63 colour, 27 b/w, plus 16pp colour plate section

  234x156mm

  ISBN: 9780198881063

• Short Documentary Catalina de Motril
  

  I feel extremely proud of the short documentary, Catalina de Motril recently created by Nadia Nadif, actress and producer. I have the priviledge to be a member of the Catalina team since 2020. I was invited to conduct research about Catalina, an enslaved North-African Muslim young woman, who left Spain with her owner Catherine of Aragon to move to London. Here, the Spanish princess married Henry VIII. The Catalina story was based on Nadia's original idea for which Lauren Jonhson provided the historical research on the English side. This documentary is a taste for the feature film directed by Fawaz Al-Matrouk, with script by Hassan Abdulrazzak and music by award-winning Leah Curtis, is to be released in 2024.

• FORTHCOMING: KEYNOTE LECTURE, 19-23 July 2023.

  Society for Renaissance Studies 10th Biennial Conference: “Difficult Pasts”

  University of Liverpool and Liverpool John Moores University.

  Invited as keynote speaker with Herman L. Bennett (CUNY), Islam Issa (Birmingham City University) and Patricia Palmer (Maynooth University).

• BOOK
  

  'Black but Human': Slavery and Visual Arts in Hapsburg Spain, 1480-1700 (Oxford and New York: Oxford University Press, 2019). ISBN 9780198767978

  REVIEWS

  'Black but Human' is the uncomfortable fore-title of a book of an uncomfortable topic, published at a time when thoughtfully historicized treatments of race and colour are sorely needed. The visual and textual evidence that it assembles will be of substantial interest to those who study the history of race and colour in visual culture, and its original framing opens the way to those who will wish to take its arguments further." - Pamela A. Patton, Princeton University.

  "Fracchia’s groundbreaking book, rich in untapped archival sources, lays a foundation for a new understanding of racial blackness and its representation in the Iberian-Atlantic world. Fracchia integrates diasporic African cultural production and its reception with unprecedented depth and clarity—essential reading for anyone interested in race, aesthetics, art history, cultural studies, Atlantic history, and black studies.”- Jesse McCarthy, Harvard University. 

  "A wonderful, scholarly, imaginative and necessary work. The work on the miracle of the black leg is extraordinary. " - Marcus Wood, University of Sussex.

  
  

• Exhibition: 13 May-18 September 2022

  La Voce delle Ombre. Presenze africane nell'arte dell'Italia settentrionale [XVI-XIX]

  The Voice of the Shadows. African Presence in the Art of Northern Italy [16th-19th Centuries]

  For the catalogue and summary see:

  https://www.silvanaeditoriale.it/libro/9788836651702

  Museo delle Culture di Milano-MUDEC

  As a member of the Scientific Committee for this exhibition, I was invited to write about the 'The Iconography of the Miracle of the Black Leg' for the wonderful catalogue with contributions by Federica Morelli, Giulia Bonazza, Luca Tozzi and Silvio Leydi. This is one of the first exhibitions dedicated to the visual representation of African people in the North of Italy from the early modern period to the nineteenth century.

Qualifications

• PhD (London), University College London, 1996
• Laurea (Siena), University of Siena, Italy, 1984

Web profiles

• Academia .edu
• Research Gate
• Linkedin

Administrative responsibilities

• Co-Director-Centre for Iberian and Latin American Visual Studies-CILAVS
• Chair, BA Sub-Board of Examiners, Spanish, Portuguese and Latin American Studies
• Disability Lead for Cultures and Languages
• Tutor, under 18-applicants
• Tutor, BA SPLAS

Visiting posts

• Visiting Professor , University of Pittsburgh, USA, 09-2017 to 09-2017
• Visiting Professor, University of Chicago, USA, 02-2017 to 02-2017
• Visiting Professor, National Autonomous University of Mexico (UNAM), Mexico City, Mexico, 10-2015 to 10-2015
• Visiting Professor, University Rey Juan Carlos (URJC), Madrid, Spain, 04-2011 to 04-2011
• Visiting Professor, University of Granada, Spain, 10-2009 to 07-2013

Research

Research interests

• visual articulation of human diversity, race, hybridity and religion in early modern Spain and colonial Mexico
• visual representation of blackness, enslavery and freedom in early modern Spain
• artistic workshops in early modern Spain
• iconography of the miracle of the black leg
• portraiture and the unworthy subject, visual articulation of human diversity, subjectivity, agency, representation and self-representation
• early modern Spanish paintings
• early modern Spanish polychromed sculptures

Research overview

My pioneering research about the visual representation of blackness and slavery in the Kingdoms of Aragon and Castile in early modern Spain (15th C-17th C) is being:

1. guided by archival study of visual and textual sources
2. strengthened by

(a) three collaborative networks about Slavery and Abolitionism with the University of Granada (Spain), sponsored by the Spanish government 

(b) appointments as visiting scholar at the:

• Department of Social Anthropology of the University of Granada (Spain)
• Department of Media Studies at the University Rey Juan Carlos in Madrid (Spain)
• Department of Philosophy and Literature at the National Autonomous University of Mexico (Mexico City)
• the Department of History of Art and Romance Languages and Literatures at the University of Chicago (USA)
• Department of Hispanic Languages and Literatures at the University of Pittsburgh (USA).

Research Centres and Institutes

• Co-Director, Centre for Iberian and Latin American Visual Studies (CILAVS)
• member, Medieval and Early Modern Worlds

Research clusters and groups

• invited member , CA18129 - Islamic Legacy: Narratives East, West, South, North of the Mediterranean (1350-1750)

Post doctoral staff

• Prof Borja Franco Llopis

Supervision and teaching

Supervision

Supervisions within Birkbeck:

8

Current doctoral researchers

• ANNE BIGGS

  Nature of supervision:

  Joint Principal Supervisor, Oct 2019 onwards

• HILARY FUREY

  Nature of supervision:

  Principal Supervisor, Oct 2017 onwards

• JAVIER VICENTE ARENAS

  Nature of supervision:

  Joint Principal Supervisor, Oct 2018 onwards

• RAQUEL VILLAR-PEREZ

  Nature of supervision:

  Joint Principal Supervisor, Oct 2021 onwards

  Title of thesis:

  From Presentation to Self-Representation. African Visual Legacies in Afro Mexican Contemporary Art

  Description:

  From Presentation to Self-Representation. African Visual Legacies in Afro Mexican Contemporary Art will consider the under-researched contributions of sub-Saharan African cultures to the visual arts in Mexico and the legacies articulated in the work of contemporary Mexican artists that self-identified as Afro-Mexicans.

  Although the presence of Black people in Latin America dates back to the 16th century as a consequence of the conquest and colonisation of the continent, their social, economic, and cultural contributions to the development of the continent have only started to gradually being recognised in the past few decades. In Mexico, consciousness of what is known as ‘La Tercera Raíz’ is relatively new, since after the Mexican Revolution in 1910 ‘it was assumed that cultural homogenization was a necessary condition for the configuring of a modern nation’ (Ramsay, 2016). In 1925, the Mexican presidential candidate José Vasconcelos dubbed the idea of the ‘cosmic race’ and Mexico became the prime example of a mestizo nation. 

  This investigation will explore two crucial questions that will open the conversations to ideas ranging from stereotypes to agency, significance, creativity, negotiation and innovation: In which ways were Afro-Mexicans represented in the visual arts by non-Black artists in colonial Mexico and during the independence periods? Similarly, in which ways did Afro-Mexicans present themselves in the visual form in colonial Mexico and during the independence periods? 

  Further general questions: Are there any shared imagery and signifiers with African traditions? If so, which ones? From where in Africa? What do they mean in the African and in the Mexican context? Do they have any other influences? How does their practice fit in and expand the idea of Diaspora art? How does their practice contribute to the formation of the Afro-Mexican identity in detriment of the mestizo?

• TREVOR WORNHAM

  Nature of supervision:

  Principal Supervisor, Oct 2017 onwards

Doctoral alumni

• MICHAEL POPE

  Nature of supervision:

  Principal Supervisor, Oct 2017

  Title of thesis:

  Proselytizing Empires: The Many Conversions of the Iberian Atlantic, 1479-1668

  Awarded:

  2022

• RICHARD TILBURY

  Nature of supervision:

  Principal Supervisor, Oct 2005

  Title of thesis:

  Iconography of the Spanish Black Legend: A War of Images

  Awarded:

  2021

• MAIRI MACDONALD

  Nature of supervision:

  Principal Supervisor

  Awarded:

  2018

Teaching

Teaching modules

• The Arts: Perspectives and Possibilities (ARAR008S3)
• Memory and History (ARCL065S7)
• Interrogating the Self (ARCL066S7)
• Connecting the Arts (AREN126S5)
• Doing Languages, Cultures and Applied Linguistics (ARLL004S4)
• Word and Image: Constructing the Other in the Hispanic World (Level 5) (ARLL005S5)
• Studying the Hispanic, Luso-Brazilian and Native American Worlds (LNLN016S4)

Publications