The Colour of Shadows centres on the life and career of Richard Bridgens, the artist and planter who published West India Scenery in 1836. Many of the drawings from West India Scenery are well-known, but as Raymond explains, Bridgens himself is a little-known character. Before moving from England to Trinidad in 1826, Bridgens had a successful career as an artist and furniture-maker and is known to historians of that milieu. When his wife inherited a stake in the St. Clair plantation in Trinidad, the young family crossed the Atlantic to take on the life of the sugar planter. In documenting the world around him, however, Bridgens didn’t draw his peers in the colonial hierarchy, or the life he led, but instead he depicted the enslaved people who worked on his estate, documenting the conditions under which they lived and worked, and the new creole culture they were beginning to create.
Judy Raymond combines biography, history and art criticism to shed light on the closing years of slavery in Trinidad, and the lives of enslaved Africans before emancipation in 1834. Through her analysis of Bridgens’ drawings and their context, Raymond traces the social and cultural history of enslaved Africans and free coloured people in the early 1830s, covering subjects such as living and working conditions, clothing, and religious and spiritual observance. Raymond also engages with the historiographical debate around Bridgens’ motivation for publishing his images, and his position vis a vis abolition and emancipation. Many art historians have dismissed Bridgens’ book as pro-slavery polemic. But by placing the drawings in the context of Bridgens’ life, and contemporary society, Raymond can at once acknowledge the sometimes discordant notes in the book, but recognise his drawings for what they are—a unique account of the final years of slavery in Trinidad.
Although The Colour of Shadows is essentially a book about Trinidad, Raymond’s analysis can be extended to other islands in the British Caribbean around the time of emancipation. West India Scenery contained 27 drawings—The Colour of Shadows reproduces 15 of them. There is a select bibliography, which contains a mix of primary sources (nineteenth-century books) and recent works by historians and art critics. Raymond has been a journalist in Trinidad and Tobago for over 25 years, and the book showcases her elegant style of writing. The book would appeal to scholars and everyday readers interested in the 1830s Caribbean, art and history.
Bridgens’ drawings constitute a rare catalogue of slavery and creole life in the British Caribbean at a turning point in the region’s history—by contextualising the drawings, Raymond has made a substantial contribution to historical scholarship. I’m no art historian, but I’m sure her work also challenges scholarship in that field too.
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