Hoffman’s entry for the Dictionary of Louisiana Biography, a publication of the Louisiana Historical Association in cooperation with the Center for Louisiana Studies at the University of Louisiana, Lafayette. He died in the Pyrenees Mountains on June 4, 1795.Īdapted from Paul E. He was promoted to brigadier general in 1793 and fought in the war against the First French Republic (1793–1795). Miró relinquished his office to the Barón de Carondelet in 1791. After the Great Fire of 1788 destroyed much of New Orleans, his administration oversaw the construction of public buildings. Miró also worked to prevent US land companies from occupying parts of what is now Mississippi. To accomplish this task, he conspired with American soldier and statesman James Wilkinson and others to try to detach land-now part of Kentucky-from the United States in the hopes of building a separate Spanish nation. On May 10, 1788, he assumed the duties of intendant as well as governor.ĭuring his term, the Spanish Crown ordered Miró to prevent US settlers from occupying Spanish property. When Gálvez traveled to Cuba between 17, Miró served as interim governor of Louisiana, leading to his appointment as governor in 1785. Miró also helped organize the suppression of the Natchez Rebellion in 1781 and, later that year, was promoted to the rank of colonel and commander of the Louisiana Regiment. The next year, he married Céleste Eléonore Elisabeth Macarty of New Orleans, deepening his ties to the region.įrom 1780 to 1781, Miró served as aide-de-camp to then-governor Bernardo de Gálvez, raising troops in Havana for the successful Mobile campaign of 1780 in support of the American Revolution against Britain. In the fall of 1778 he was appointed lieutenant colonel of the Louisiana Regiment. From 1767 to 1773 he served in the First Battalion of the Fixed Infantry Regiment of the Crown of New Spain, before rising to the rank of adjutant major in the Lisbon Infantry Regiment, where he remained until 1777. A cadet in 1760, he fought in the Portuguese campaign of 1762. Little is known about his early life or education, though his service in the Spanish military is documented. On orders from Spain, he also worked to discourage US settlers from occupying the land they were awarded in the Treaty of Paris (1763).Įsteban Rodríguez Miró y Sabater was born in Catalonia, Spain, in 1744 to Francisco Miró and Marian de Miró y Sabater. After a devastating fire nearly destroyed New Orleans in 1788, Miró oversaw the city’s efforts to rebuild. During his term, he encouraged colonists to be inoculated against smallpox and advocated crop diversification, especially after the royal tobacco monopoly stopped buying the crop in Louisiana. Serving from 1782 until 1791, Spanish colonial governor Esteban Miró oversaw a period of relative economic prosperity in the Louisiana territory. Additional support is provided by the Philip and Muriel Berman Foundation and an anonymous foundation.Esteban Rodriguez Miro y Sabater Serving from 1782 until 1791, Spanish-colonial governor Esteban Miró oversaw a period of relative economic prosperity. This exhibition’s presentation at The Huntington is made possible in part by the National Endowment for the Arts. In 2017, she was awarded a MacArthur Fellowship “genius grant.” Akunyili Crosby’s work has been the subject of acclaimed solo exhibitions in both the United States and the United Kingdom, notably at the Baltimore Museum of Art, the Modern Art Museum of Fort Worth, and the National Portrait Gallery, London. Born and raised in Nigeria, she came to the United States in 1999 to attend the Pennsylvania Academy of the Fine Arts and Swarthmore College, before obtaining a master’s in fine arts from Yale University. 1983) is a leading contemporary artist whose work offers critical perspectives on postcolonial history and experience as well as transnational identities. Furnished with vintage decor and analog electronics, the interiors evoke her own 1980s-era youth.Īkunyili Crosby (b. Published in a year of worldwide social unrest, Armah’s book comments on the challenges of revolution, addresses the unfulfilled political promises of the postcolonial African nation-state, and looks ahead from a place of lost hope.Īkunyili Crosby creates unique settings for her subjects, where history, philosophy, and fantasy permeate the walls of quiet living spaces. The title references a classic 1968 novel, The Beautyful Ones Are Not Yet Born, by Ghanaian author Ayi Kwei Armah. Previous exhibitions in the series featured works by Lynette Yiadom-Boakye (2020) and Celia Paul (2019).įor this exhibition, Als and Akunyili Crosby selected collage-based paintings from “The Beautyful Ones”, the artist’s ongoing series of intimate portraits of Nigerian children, including members of her own family.
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