According to the Merriam Webster dictionary, a negrophile is ‘someone (especially a white person) who is very sympathetic to or supportive of Black people, their culture, or their rights and interests.’ The levels of sympathy and support may, indeed, differ and be open to interpretation. Negrophilia, then, is the attraction to Black culture and Black people, often linked to the fascination of the interwar avant-garde with Africans and African Americans in European metropolises. Between the wars, Black culture became a subject of inspiration, captivation but mostly exploitation by many writers, poets, painters, musicians, or dancers from Paris to Prague.
The Black Boy was the most commercially successful work of the Czech ceramicist Helena Johnová (1884–1962) with nearly 900 sold items of various colour versions. The black figure with exaggerated facial features, however, may well raise eyebrows today, but also a number of questions. These are worth exploring in connection with interwar art and design in Central Europe, as well as with current political issues. The most obvious ones relate to ethnic and gender stereotypes, which still resonate today thanks to the #BlackLivesMatter and #metoo movements. Many people, even academic scholars, argue that the current Czech and, by extension, Central European society has never had problems with racism or sexism, and that therefore issues highlighted by these movements are irrelevant in this geographical and political context. If we look at Johnová’s work more closely, we can, however, point to deep-rooted beliefs that shape today’s understanding of race and racial equality; we can question the assumption that because there were no colonies, there were no stereotypical views of race.