You’ve probably seen the sketches. Maybe you were scrolling through a history thread or deep in a Wikipedia hole about 19th-century Europe and came across those jarring, exaggerated caricatures of a woman nicknamed the "Hottentot Venus." Her real name was Sarah Baartman (or Saartjie, though Sarah is now preferred as Saartjie is a diminutive). Honestly, searching for pics of Sarah Baartman today feels a bit like trespassing. It's heavy. It’s complicated.
When we look at these images, we aren't just looking at a person. We are looking at how a whole continent—and its scientists—decided to view Black women for over two hundred years. It’s not just "history." It’s basically the blueprint for how body image and race intersected in the most toxic way possible.
What These Images Actually Show (And What They Hide)
Most of the "pics" or illustrations you’ll find from the 1810s weren't meant to be portraits in the way we think of them. They weren't meant to capture her personality or her soul. They were clinical, or worse, satirical.
The Scientific "Evidence"
In 1815, French zoologist Georges Cuvier basically treated Sarah like a biological specimen. He had artists draw her from multiple angles at the Muséum National d'Histoire Naturelle. These drawings focused obsessively on her physical traits:
- Steatopygia: This is the scientific term for the natural accumulation of fat in the buttocks and thighs, common in some Khoekhoe populations.
- The "Hottentot Apron": This referred to elongated labia minora, which Cuvier and his peers were obsessed with as a "marker" of being less than human.
Cuvier wanted to prove she was the "missing link" between humans and apes. It’s gross, right? But these images were used to "prove" white superiority. When you see these sketches, you’re seeing the birth of scientific racism.
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The Cruel Satire
Then there are the London cartoons. When Sarah was exhibited at 225 Piccadilly, cartoonists like William Heath and George Cruikshank had a field day. They drew her with wildly exaggerated features to make her look like a "freak." They weren't just mocking her; they were mocking the British public's obsession with her.
One famous cartoon shows a group of "refined" Londoners peering at her through magnifying glasses. It’s a meta-commentary on the voyeurism of the time, but Sarah is still the butt of the joke. Literally.
The Long Journey of Her Physical Form
Sarah died in Paris in 1815, probably of an inflammatory ailment (some say pneumonia or syphilis, though it’s debated). She was only 26. But the "images" of her didn't stop with her death.
Actually, it got much worse.
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Cuvier made a plaster cast of her body. He dissected her. He put her brain and her genitals in jars of formaldehyde. For over 150 years—yes, you read that right—her skeleton and that plaster cast were on display at the Musée de l'Homme in Paris. It wasn't until 1974 that they finally took her off public view because people started realizing how dehumanizing it was.
The Repatriation of 2002
It took a personal request from Nelson Mandela and years of legal fighting with the French government to get her remains back. France has these strict laws about museum collections being "inalienable," meaning they can't just give stuff back. They actually had to pass a special law just for her.
In May 2002, she finally went home to South Africa. She was buried in the Gamtoos River Valley. The images of that day—the coffin draped in South African colors—are the only ones that feel like they give her back some dignity.
Why We Still Talk About These Pics Today
You might wonder why this still matters. Well, look at the "Victorian Bustle" dress. Scholars like those at the School of Anatomical Sciences have pointed out that the bustle—the padding used to make a woman's backside look huge in the late 1800s—became popular right after Sarah was exhibited.
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Europeans called her body "ugly" and "primitive" in their journals, then literally went out and bought clothes to mimic her silhouette. The irony is thick.
Impact on Modern Body Image
In 2026, we are still dealing with the "Sarah Baartman effect."
- Fetishization: The way Black women's bodies are hyper-sexualized in media today has direct roots in how Sarah was paraded around London and Paris.
- The "Pear Shape" Ideal: Today, the "BBL" (Brazilian Butt Lift) and the obsession with extreme curves are everywhere. It’s a weird, full-circle moment where the very features Sarah was mocked for are now a multi-billion dollar beauty industry.
How to View This History Ethically
If you’re looking for pics of Sarah Baartman for research or out of curiosity, it’s worth asking yourself a few things first. Experts like Zola Maseko, who made the documentary The Life and Times of Sara Baartman, argue that we need to stop seeing her as just a victim.
- Look for the Agency: There were moments where Sarah fought back. In 1810, an abolitionist group called the African Association took her "handlers" to court, claiming she was being held against her will. Sarah actually testified (though some think she was coached) and said she was there voluntarily and wanted a share of the profits. It suggests she was trying to navigate a terrible situation the best she could.
- Support Contemporary Artists: Instead of just looking at the 19th-century caricatures, look at how modern Black artists reclaim her image. Renée Cox and Lyle Ashton Harris have created works that challenge the "gaze" and give Sarah her power back.
- Acknowledge the Person, Not the Specimen: When you see the sketches, remember she had a family, a home, and a name that wasn't "Venus."
Basically, the "pics" are a mirror. They don't tell us much about who Sarah Baartman really was—her journals don't exist, and her voice was silenced—but they tell us everything about the people who drew her.
Actionable Next Steps
- Visit the Sarah Baartman Centre: If you want to see how her legacy is used for good, look up the Sarah Baartman Centre for Women and Children in Cape Town. It’s a real-world example of turning a history of abuse into a future of protection.
- Read "Hottentot Venus" by Barbara Chase-Riboud: If you want a deeper, more human look at her life (even if it's historical fiction), this book is a great start.
- Check Museum Labels: Next time you’re in a museum with ethnographic displays, look at how they describe the "discovery" of the items. Ask if the provenance is clear.
History isn't just about what happened; it's about who gets to tell the story through the images they leave behind. Looking at Sarah Baartman today means looking past the "freak show" and seeing the woman who was finally allowed to go home.