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Baudelaire called her "mistress of mistresses" and his "Vénus Noire" ("Black Venus"), and it is believed that Duval symbolized to him the dangerous beauty, sexuality, and mystery of a Creole woman in mid-19th century France. [3] She lived at 6, rue de la Femme-sans-tête (Street of the Headless Woman) on the Ile Saint-Louis, near the Hôtel ...
Marie Thérèse Coincoin, [a] born as Coincoin (with no surname), [1] also known as Marie Thérèse dite Coincoin, [2] and Marie Thérèse Métoyer, [3] [4] (August 1742 – 1816) was a planter, slave owner, [1] and businesswoman at the colonial Louisiana outpost of Natchitoches (later known as Natchitoches Parish).
Historical records state that Marie Catherine Laveau was born a free woman of color in New Orleans 's French Quarter, Louisiana, on Thursday, September 10, 1801.At the time of her birth, Louisiana was still administered by Spanish colonial officials, although by treaty the territory had been restored to the French First Republic a year prior. [1]
The English word creole derives from the French créole, which in turn came from Portuguese crioulo, a diminutive of cria meaning a person raised in one's house.Cria is derived from criar, meaning "to raise or bring up", itself derived from the Latin creare, meaning "to make, bring forth, produce, beget"; which is also the source of the English word "create".
In Hispanic America, criollo (Spanish pronunciation:) is a term used originally to describe people of full Spanish descent born in the viceroyalties.In different Latin American countries, the word has come to have different meanings, mostly referring to the local-born majority.
Map of North America in 1750, before the French and Indian War (part of the international Seven Years' War (1756 to 1763)). The Flag of French Louisiana. Through both the French and Spanish (late 18th century) regimes, parochial and colonial governments used the term Creole for ethnic French and Spanish people born in the New World.
Prior to the 1760s, visitors to Saint-Domingue frequently described the great beauty, romance, and allure of the mixed-race Creole women. Afterwards, they became known as dangerous temptations. Mixed-race men who were known for passion, handsomeness, and chivalry became restereotyped as highly sexual, narcissistic, lazy, and physically weak.
[3] [6] For example, François Fleischbein's Portrait of a Free Woman of Color (c. 1837) and Adolph Rinck's Free Woman of Color, New Orleans (1844) have both been identified as portraits of Marie Laveau at different points in time. [15] [16] [17] According to her daughter, however, Laveau's image was never recorded during her lifetime.