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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]
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).
Her mother also taught her nursing skills and how to prepare medicines from herbs. As a young mixed-race woman, under her mother's watchful eye, Henriette attended many quadroon balls, a chief element of their social world. The balls were attended by creole, free women of color, and creole white men looking for young women as plaçage partners.
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".
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.
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Portrait of a Creole Woman with Madras Tignon (c. 1837) is an oil painting traditionally attributed to George Catlin. It is best known from a c. 1915 copy made by Frank Schneider, an art restorer working for the Louisiana State Museum .