By Roelof van Straten, Patricia de Man (trans)
For the 1st time in English, to be had in a single resource, "An advent to Iconography" explains the methods artists use references and allusions to create that means. The booklet offers the ancient, theoretical, and functional points of iconography and ICONCLASS, the excellent iconographical indexing approach built by means of Henri van de Waal. issues reminiscent of the background of iconography, personification, allegory, and logos obtain targeted emphasis. further good points comprise annotated bibliographies of books and magazine articles from all over the world which are linked to iconographic examine. This entire consultant, with its greater than 60 illustrations, deals a readable and prepared resource for the topic.
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Additional resources for An Introduction to Iconography
54 The diversity of hairstyling might on the one hand be aligned with the great variety of artful treatments – braids and plaits, decorated with shells or beads, or hair cut to different lengths, partially shaven or wrapped up – that travelers encountered in their contact with western African populations. There are, as Shane White and Graham White propose, other possible sources and readings. 57 This bears upon visual representation. A remarkable wash drawing of 1796 inscribed “Flora’s profile” (Fig.
As our comments and examples in this Introduction have shown, the very instability of the words “slave” and “portraiture” when brought together precludes such closure. 61 We turn to biography, without imagining closure in the biographical; we study portraits, understanding them as material historical traces, without reducing them to mechanical reflections of states of affairs. The essays that make up this volume are set within a four-part conceptual framework, an organization that strives to deepen the theoretical and methodological dialogues that emerge in and between the contributions.
Agency, telos). ” Racial types and stereotypes are a performative expression of this logic. If slave portraiture could be thought of as “oxymoronic” (to use again David Bindman’s provocative term) it is also because it represents a moment of impossibility within the modern paradox set forth by Hegel. 3. J. T. Zealy, Renty, Congo, Plantation of B. F. Taylor, Esqu. , March 1850 (frontal). Daguerreotype. Peabody Museum of Archaeology and Ethnology, Harvard University, 35–5-10/53037, Cambridge, Mass.