Knowingly or not, anyone who has spent much time at all on what used to be called the “China Coast” will surely have come across the paintings of the George Chinnery, an English artist active in Macau in the second quarter of the 19th century. Whatever profile Chinnery may have in the broader painterly pantheon, in Hong Kong and Macau he is the closest to an artistic native son that the Western colonial tradition has.
Macau is endlessly fascinating in no small part because it is so anomalous. Dating back to the “Age of Exploration”, it was the only Iberian possession in East Asia that survived as such into the 20th century—and two years longer than Hong Kong. In spite of all the recent development, it is still a city of baroque churches, blue tiles and black-and-white pavements; streets are “ruas”; a local Portuguese patois unique to the city still just barely hangs on.