LightNews — News, ranked by scholars

Rick Herrera

@herreramilhist.bsky.social

Visited NOLA. Got to spend time with THE @historianww2.bsky.social, meet 101-y.o. 9th AAF vet Sam Meyer #MeyertheHatter, & take in American Revolution exhibits at #HistoricNewOrleansCollection & #Cabildo. Bought a spiffy Open Road Panama Hat from Sam, too.

May 2, 2026 at 3:17 PM

Lilith Dorsey

@lilithdorsey.bsky.social

So honored to be speaking about Ritual Objects and Afro-Diasporic Religion this weekend as part of #HistoricNewOrleansCollection Material Belief 🖤 hnoc.org/events/antiq...

Material Belief: Objects of Faith, Spirit, and Tradition

Explore the history and cultural context of antiques shaped by belief, devotion, and spiritual practice throughout the American Gulf South.

hnoc.org

August 4, 2026 at 12:23 AM

Michael

@mdstamper.bsky.social

Portrait of a Free Woman of Color by François Jacques Fleischbein (German) - Oil on canvas / 1837 - Historic New Orleans Collection (Louisiana) #womeninart #portrait #art #portraitofawoman #oilpainting #FrançoisFleischbein #womensart #HNOC #HistoricNewOrleansCollection #WomanOfColor #poc #fineart

This portrait, created by New Orleans artist François Fleischbein (born in Germany) in 1837, depicts a woman of color with a modest smile, wearing a golden headwrap, earrings, and an elaborate, tiered lace collar with a golden bow over a black coat.

The portrait was originally painted with this ornate collar and bow, the artwork underwent an unfortunate alteration in 1988 when the collar and bow were removed. This change likely resulted from societal pressures at the time, as the intricate ornamentation, which emphasized the subject's individuality, may have been too elaborate or inappropriate for the period's portrayal of African American subjects.

A few years ago, the collar and bow were carefully restored, returning the portrait to its original state. This restoration not only honored the artist’s vision but also acknowledged the subject’s cultural identity, reflecting a broader shift toward valuing historically accurate and culturally meaningful representations in art.

Read more about the history of this wonderful piece in 2022 article on the HNOC site called "Identity Theft: A Painting Damaged, a Story Half-Told, and a Reckoning about Bias in Art Stewardship."

François Jacques Fleischbein (1804–1868) was a German painter who lived and worked in New Orleans, Louisiana. He studied painting in Paris with Anne-Louis Girodet. In 1833, he immigrated to New Orleans. Although born Franz Joseph, Fleischbein decided to change his name to François in order to fit with his Creole clients. His paintings show a French academic style as well as a sweetness and charm common to 19th-century German painting.

February 17, 2025 at 8:50 PM

Michael

@mdstamper.bsky.social

Self-Portrait by Zulmé Maspero (American) - Oil on canvas / c. 1853 - Historic New Orleans Collection (Louisiana) #womeninart #art #womanartist #femaleartist #artwork #selfportrait #womensart #oilpainting #ZulméMaspero #Maspero #ArtText #HerStory #AmericanArt #1850s #HistoricNewOrleansCollection

This oval, half-length oil on canvas portrait of a young woman turned in three-quarter view facing left is an 1850s self portrait by American artist Zulmé Maspero. She has dark brown eyes and centrally-parted brown hair, worn bouffant over the ears and with hair falling on either side of the neck. She wears a black dress with inset lace bodice and wide lace around neck and dipping to a deep U-shape below bodice.

The first known female painter of “competence” in Louisiana, Zulmé Maspero, painted her oval bust-length self-portrait within the French neoclassical tradition.

It was long believed that one of the three women in a large portrait of Emma Olivier, Olivia Olivier, and their sister-in-law, Zulmé, was an artist. The donation to The Historic New Orleans Collection of a portrait of the Olivier women included this circa-1853 oval portrait signed discreetly with a small letter "Z," revealing Zulmé Maspero as the painter.

The source of Maspero's training is unknown, but her skill and technical proficiency are comparable with other painters of the same period. Not until the late 1880s and early 1890s was there an obvious increase in the number of women artists who were active in the New Orleans.

April 27, 2025 at 8:20 PM

Michelle Beaty

@mickibeaty.bsky.social

The Historic New Orleans Collection currently has an exhibit called “Captive State: Louisiana and the Making of Mass Incarceration.” It’s so impactful. See it if you can. #history #HistoricNewOrleansCollection