Whitewashing in art

Whitewashing in art is the practice of altering the racial identity of historical and mythological figures in art as a part of a larger pattern of erasing and distorting the histories and contributions of non-whites. It mirrors the racial biases and prejudices of those times, which continue to impact society today. It encompasses various facets reflecting historical biases.

Black women were often whitewashed in art. In Western art, the omission of black-skinned figures from mythology and history has been a subject of debate, exemplified by the portrayal of Andromeda as white in Clash of the Titans films, despite her original depiction as a black princess from Ethiopia. This phenomenon extends beyond art, where the term "whitewashing" refers to the masking or downplaying of diverse realities, often leading to a predominant white perspective. It can distort representation, potentially overlooking contributions from people of colour and promoting a more monochromatic narrative.

Despite the significant presence of Black people in Europe dating back to at least the 16th century, their representation in art history is often skewed or absent. When present, Black bodies are usually portrayed in subservient roles, with their humanity and individuality often entirely denied.

For example, the Royal Albert Memorial Museum's (RAMM) portrait of an African was incorrectly attributed to Ignatius Sancho. This is dubbed snow-blindness and it is common practice when naming European subjects in portraits from the 17th century onwards, as while the African figures depicted alongside them are often referred to as "A Negro' or 'and Servant". Also, in most historical European paintings, a Black figure is used as a prop or an object, existing solely to frame and reflect the white presence. Even when Black figures are depicted in fine clothing, it's often a deceptive representation, with the fancy silks and lace merely serving as decoration that masks the brutal reality of an enslaved life.

British actor and author Paterson Joseph calls this practice racist and dehumanising, and urged the international art community to make efforts to identify and name these figures.

Many institutions are now addressing this issue by re-evaluating how they acquire, curate, and display works. The history of Black people in Europe is often viewed through the lens of slavery and colonialism.

In 2017, the exhibition "The Black Figure in the European Imaginary" took place at the Cornell Fine Arts Museum at Rollins College in Winter Park, Florida. This exhibition brought together 31 artworks from the 18th and 19th centuries, all created by European artists but sourced from American collections. The article emphasizes that the understanding of Black individuals during this period was often influenced by their roles as slaves, servants, or exotic foreigners, and was shaped by preconceived notions. These perceptions were largely influenced by colonialism, imperialism, slavery, abolition, and racism. The exhibition categorized the artworks into four groups: slaves and servants, artists' models, historical and literary figures, and exotic themes. The article highlights a painting titled "Portrait of a Youth in an Embroidered Vest" by French painter Marie-Victoire Lemoine as an example of how Black servants were often depicted as luxury accessories for the elite.

According to art historian and curator Adrienne L. Childs, interestingly, the exhibition indicates that European artists were more likely to depict Black figures with individuality and dignity, a contrast to the racist exaggerations prevalent in America during the same period. However, these depictions were also complex and nuanced due to underlying themes of objectification, servitude, and hierarchical attitudes about race.