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“Two Moors” by Rembrandt, just good intentions?

August 28, 2014 Por Luana Ozemela 3 Comments


Para leer en español, hacer click aquí

I recently visited the re-opened Mauritiushuis, an art museum in The Hague, Holland, where I was able to appreciate some amazing paintings. One in particular caught my attention; a Rembrandt painting called Two Moors, dating back to 1661. It is a very unusual painting for its time given that African descendants were rarely the object of paintings by famous artists. Art historians believe that the two figures depicted probably lived in Amsterdam and were seen in the streets or on stage, because of their Roman costume.

While I carefully examined it, contentment was shortly outlived by disappointment as I started to notice its poor finishing compared to other paintings. The museum’s commentary over this painting is that it is a finished product because the author signed it, not because it looked finished.

At first I thought to myself, “Why am I being so picky? This is a Rembrandt anyway, and I should be glad he painted African descendants when no one would!” But then I thought: “Wait a minute, why not being picky? Regardless of who those men were, they had a unique opportunity and deserved the artist’s full attention.” 

A simile of what happens in policy making for excluded groups in Latin America

This is a similar theme to what sometimes happens in Latin America when it comes to policies for historically excluded groups such as African descendants and indigenous peoples. Policies targeting ethno-racial groups, although increasing in number, are still scarce given their size (check it out in this map) and the level of exclusion these communities still face.

When a few policies are put in place, such as bilingual education in Mexico or race-based affirmative actions in Brazil, there’s great rejoicing and expectation. However, their impact can be limited due to quality of delivery. Policy makers need to be more ambitious about the reach of policies targeting racial and ethnic communities. Citizens expect nothing less than the highest standard of delivery and positive impact in their communities.

It is not enough to just admire the intention of the artist, we should advocate for the best outcome possible given the artist’s talents and resources.


Filed Under: Diversity, Uncategorized Tagged With: afrodescendientes

Luana Ozemela

Luana Ozemela es Especialista en Desarrollo Social en la División de Género y Diversidad del BID, y su área de trabajo se centra en el diseño y evaluación de operaciones y producción de conocimiento sobre la inclusión de mujeres y grupos étnicos en los mercados de trabajo y financieros, área sobre la que ha publicado numerosos artículos. Es licenciada en Economía por la Universidad Federal do Rio Grande do Sul, cuenta con una Maestría en Desarrollo Económico y Análisis de Política Económica de la Universidad de Southampton y un Doctorado en Economía por la Universidad de Aberdeen. Actualmente está finalizando un Programa sobre Inversiones de Impacto de la Universidad de Oxford.

Reader Interactions

Comments

  1. Tablebasse says

    October 18, 2019 at 2:15 am

    it’s artistic, the blacks have a less thin face and a different temperament. different artistic treatment, it’s pretty

    Reply
  2. John Paul Thornton says

    June 1, 2021 at 10:10 pm

    Speaking as a human, I don’t understand how anyone could be “disappointed” in the spiritual beauty of this canvas. Speaking as a painter, I always felt that Rembrandt gave these models an exquisite, frank, attentive treatment…far better than many other glossy “finished” works. Good heavens, are you scolding Rembrandt? Let’s be grateful for his art. If you are not satisfied, join the artists of the world and dedicate your remaining life to the investigation and depiction of beauty. We will welcome you.

    Reply

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