A body for memory: the construction of chintz in visual culture (Rio de Janeiro, 1808-1850 c.)

Abstract

During the first half of the 19th century, in Rio de Janeiro, calico fabrics, which had long been known to residents of other parts of Brazil, became popular among different social groups. The growing success of these prints informed a constant requalification of textiles. As these classifications became more frequent, painters, engravers and publishers strove to reproduce these fabrics through images. The transfer of the Royal Family to Brazil and the opening of ports to friendly nations caused conflicts, interests and experiences surrounding textiles and the circulation of printed matter to gain new momentum. Starting from the context of the expansion (of qualities and varieties) of the same product in international markets, this article problematizes the mechanisms that ensured the “differentiation” between fabrics through iconographic resources. Our investigative path examines a calico manufacturing manual (1804) alongside engravings by Henry de Chamberlain and Joaquim Guillobel. The argument here is that the archetypes constructed around black bodies were fundamental to inform elements present in the images — and, paradoxically, also to represent what could not be visualized, such as the warp and weft of fabrics. Finally, I highlight the permanence and power of these iconographic constructions over time.