Sunqua’s Rio De Janeiro: A British Sketch for a Cantonese Painting

Authors

  • Carla Hermann UERJ

DOI:

https://doi.org/10.34024/imagem.v5i2.20172

Keywords:

landscape, panorama, traveller artists, British art, Chinese export painting

Abstract

This article analyzes Panorama do Rio de Janeiro (c. 1830), which depicts the Guanabara Bay in Rio de Janeiro, by the Cantonese artist Sunqua, part of the Casa Geyer/Museu Imperial art collection. In order to understand such work, we turn to Panorama da Baía de Guanabara (1826-29), part of the Museu de Arte de São Paulo collection. It was made by the British artist Emeric Essex Vidal, who visited the city in the first half of the 19th century and served as the basis for the copy made by Sunqua, a painter belonging to the so-called “Cantonese export painting system,” who produced artistic objects for European audiences in the 18th and 19th centuries in the city of Canton, now Guangzhou, in China.

References

Aguirre, R. (2004). Informal Empire. Mexico and Central America in Victorian Culture. University of Minnesota Press.

Bethell, L. (2003). Brazil by British and Irish Authors. Centre for Brazilian Studies/University of Oxford.

Carbone, I. (2002). Glimpses of China Through the Export Watercolours of the 18th-19th Centuries – A Selection from the British Museum’s Collection (Publication N. 10672725). [Dissertação de Mestrado, Universiy of London].

Fan, F. (2004). British Naturalists in Qing China: Science, Empire, and Cultural Encounter. Harvard University Press.

Hermann, C.G. (2016). O Rio de Janeiro para inglês ver: O panorama de Robert Burford em Londres, 1827. [Tese de Doutorado, Universidade do Estado do Rio de Janeiro]. Repositório Institucional da Universidade do Estado do Rio de Janeiro. https://www.bdtd.uerj.br:8443/handle/1/7379

Leite, J. R. T. (1995). Sunqua e o panorama chinês do Rio de Janeiro. Revista de Cultura, (2), 73-80.

Martins, L. L. (2001). O Rio de Janeiro dos navegantes – o olhar britânico (1800 1830). Jorge Zahar.

Mok, M. K. (2014). Mistakes or Marketing? Western responses to the hybrid style of Chinese export painting. In M. Y. Huang (Ed.) The Reception of Chinese Art Across Cultures (pp. 23-44). Cambridge Scholars Publishing.

Poel, R. H. M. (2016). Made for trade – Made in China. Chinese export pain tings in Dutch collections: art and commodity. [Tese de Doutorado, Leiden University]. Repositório Institucional da Leiden University. https://hdl.handle. net/1887/44587

Poole, D. (1997). Vision, Race, and Modernity: A Visual Economy of the Andean Image World. Princeton University Press.

Quijano, A. (2005). Colonialidade do poder, eurocentrismo e América Latina. In E. Lander (Ed.). A colonialidade do saber: Eurocentrismo e ciências sociais (pp. 117-142). CLACSO.

Süssekind, F. (1990). O Brasil não é longe daqui. O narrador, a viagem. Companhia das Letras.

Downloads

Published

2024-12-20

Issue

Vol. 5 No. 2 (2024): Artistic and artistic-cultural relations between the United Kingdom and Brazil

Section

Thematic Dossier

License

Copyright (c) 2024 Carla Hermann

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Articles published in Imagem: Revista de História da Arte are distributed under the Creative Commons Attribution 4.0 International License (CC BY 4.0).

This means that anyone has the right to share — copy and redistribute the material in any medium or format — and adapt — remix, transform, and build upon the material for any purpose, even commercially — provided that appropriate credit is given to the author(s), including their name, a link to the license, and an indication of any changes made.

Copyright of the articles remains with the respective authors. Submission implies agreement with these terms.

More information: https://creativecommons.org/licenses/by/4.0/

How to Cite

Hermann, C. (2024). Sunqua’s Rio De Janeiro: A British Sketch for a Cantonese Painting. Imagem: Revista De História Da Arte, 5(2), 115-134. https://doi.org/10.34024/imagem.v5i2.20172