BiblioVault - Books about Themes, motives

Iconology: Image, Text, Ideology
W. J. T. Mitchell
University of Chicago Press, 1986
Library of Congress N7565.M5 1986 | Dewey Decimal 704.94

"[Mitchell] undertakes to explore the nature of images by comparing them with words, or, more precisely, by looking at them from the viewpoint of verbal language. . . . The most lucid exposition of the subject I have ever read."—Rudolf Arnheim, Times Literary Supplement

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Illegible Will: Coercive Spectacles of Labor in South Africa and the Diaspora
Hershini Bhana Young
Duke University Press, 2017
Library of Congress PN1590.B53Y68 2017

In Illegible Will Hershini Bhana Young engages with the archive of South African and black diasporic performance to examine the absence of black women's will from that archive. Young argues for that will's illegibility, given the paucity of materials outlining the agency of black historical subjects. Drawing on court documents, novels, photographs, historical records, websites, and descriptions of music and dance, Young shows how black will can be conjured through critical imaginings done in concert with historical research. She critically imagines the will of familiar subjects such as Sarah Baartman and that of obscure figures such as the eighteenth-century slave Tryntjie of Madagascar, who was executed in 1713 for attempting to poison her mistress. She also investigates the presence of will in contemporary expressive culture, such as the Miss Landmine Angola beauty pageant, placing it in the long genealogy of the freak show. In these capacious case studies Young situates South African performance within African diasporic circuits of meaning throughout Africa, North America, and South Asia, demonstrating how performative engagement with archival absence can locate that which was never recorded.

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Illuminated Paris: Essays on Art and Lighting in the Belle Époque
Hollis Clayson
University of Chicago Press, 2019
Library of Congress N8214.5.F8C539 2019 | Dewey Decimal 709.04

The City of Light. For many, these four words instantly conjure late nineteenth-century Paris and the garish colors of Toulouse-Lautrec’s iconic posters. More recently, the Eiffel Tower’s nightly show of sparkling electric lights has come to exemplify our fantasies of Parisian nightlife. Though we reflect longingly on such scenes, in Illuminated Paris, Hollis Clayson shows that there’s more to these clichés than meets the eye. In this richly illustrated book, she traces the dramatic evolution of lighting in Paris and how artists responded to the shifting visual and cultural scenes that resulted from these technologies. While older gas lighting produced a haze of orange, new electric lighting was hardly an improvement: the glare of experimental arc lights—themselves dangerous—left figures looking pale and ghoulish. As Clayson shows, artists’ representations of these new colors and shapes reveal turn-of-the-century concerns about modernization as electric lighting came to represent the harsh glare of rapidly accelerating social change. At the same time, in part thanks to American artists visiting the city, these works of art also produced our enduring romantic view of Parisian glamour and its Belle Époque.

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Image and Myth: A History of Pictorial Narration in Greek Art
Luca Giuliani
University of Chicago Press, 2013
Library of Congress N5633.G48613 2013 | Dewey Decimal 709.38

On museum visits, we pass by beautiful, well-preserved vases from ancient Greece—but how often do we understand what the images on them depict? In Image and Myth, Luca Giuliani tells the stories behind the pictures, exploring how artists of antiquity had to determine which motifs or historical and mythic events to use to tell an underlying story while also keeping in mind the tastes and expectations of paying clients.

Covering the range of Greek style and its growth between the early Archaic and Hellenistic periods, Giuliani describes the intellectual, social, and artistic contexts in which the images were created. He reveals that developments in Greek vase painting were driven as much by the times as they were by tradition—the better-known the story, the less leeway the artists had in interpreting it. As literary culture transformed from an oral tradition, in which stories were always in flux, to the stability of written texts, the images produced by artists eventually became nothing more than illustrations of canonical works. At once a work of cultural and art history, Image and Myth builds a new way of understanding the visual culture of ancient Greece.

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Image and Theme: Studies in Modern French Fiction: Bernanos, Malraux, Sarraute, Gide, Martin Du Gard
W. M. Frohock
Harvard University Press, 1969
Library of Congress PQ671.I4 | Dewey Decimal 843.91209

These five monographs utilize recent advances in image-study and thematics to explore previously uninvestigated aspects of the works of five important French novelists. Viewed together, the individual monographs present variations on a systematic approach to the close study of French fiction. W.M. Frohock's introduction provides an explication of the relationships among the monographs, describes the basic research method employed, and enlarges upon underlying theoretical assumptions.

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The Image of the Black in African and Asian Art
David Bindman
Harvard University Press, 2017
Library of Congress N8232.I45 2017 | Dewey Decimal 704.0396

The Image of the Black in African and Asian Art asks how the black figure was depicted by artists from the non-Western world. Beginning with ancient Egypt—positioned properly as part of African history—this volume focuses on the figure of the black as rendered by artists from Africa, East Asia, and the Indian subcontinent. The aesthetic traditions illustrated here are as diverse as the political and social histories of these regions. From Igbo Mbari sculptures to modern photography from Mali, from Indian miniatures to Japanese prints, African and Asian artists portrayed the black body in ways distinct from the European tradition, even as they engaged with Western art through the colonial encounter and the forces of globalization.

This volume complements the vision of art patrons Dominique and Jean de Menil who, during the 1960s, founded an image archive to collect the ways that people of African descent have been represented in Western art from the ancient world to modern times. A half‐century later, Harvard University Press and the Hutchins Center for African and African American Research completed the historic publication of The Image of the Black in Western Art—ten books in total—beginning with Egyptian antiquities and concluding with images that span the twentieth century. The Image of the Black in African and Asian Art reinvigorates the de Menil family’s original mission and reorients the study of the black body with a new focus on Africa and Asia.

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Imagination without Borders: Feminist Artist Tomiyama Taeko and Social Responsibility
Laura Hein and Rebecca Jennison, Editors
University of Michigan Press, 2010
Library of Congress N7359.T65I43 2010 | Dewey Decimal 709.2

Tomiyama Taeko, a Japanese visual artist born in 1921, is changing the way World War II is remembered in Japan, Asia, and the world. Her work deals with complicated moral and emotional issues of empire and war responsibility that cannot be summed up in simple slogans, which makes it compelling for more than just its considerable beauty.

Japanese today are still grappling with the effects of World War II, and, largely because of the inconsistent and ambivalent actions of the government, they are widely seen as resistant to accepting responsibility for their nation’s violent actions against others during the decades of colonialism and war. Yet some individuals, such as Tomiyama, have produced nuanced and reflective commentaries on those experiences, and on the difficulty of disentangling herself from the priorities of the nation despite her lifelong political dissent. Tomiyama’s sophisticated visual commentary on Japan’s history—and on the global history in which Asia is embedded—provides a compelling guide through the difficult terrain of modern historical remembrance, in a distinctively Japanese voice.

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In the Aftermath of Migration: Renegotiating Ancient Identity in Southeastern Arizona
Anna A. Neuzil
University of Arizona Press, 2008
Library of Congress E99.P9N277 2008 | Dewey Decimal 304.808991411

The Safford and Aravaipa valleys of Arizona have always lingered in the wings of Southwestern archaeology, away from the spotlight held by the more thoroughly studied Tucson and Phoenix Basins, the Mogollon Rim area, and the Colorado Plateau. Yet these two valleys hold intriguing clues to understanding the social processes, particularly migration and the interaction it engenders, that led to the coalescence of ancient populations throughout the Greater Southwest in the fourteenth and fifteenth centuries A.D. Because the Safford and Aravaipa valleys show cultural influences from diverse areas of the pre-Hispanic Southwest, particularly the Phoenix Basin, the Mogollon Rim, and the Kayenta and Tusayan region, they serve as a microcosm of many of the social changes that occurred in other areas of the Southwest during this time.

This research explores the social changes that took place in the Safford and Aravaipa valleys during the thirteenth through the fifteenth centuries A.D. as a result of an influx of migrants from the Kayenta and Tusayan regions of northeastern Arizona. Focusing on domestic architecture and ceramics, the author evaluates how migration affects the expression of identity of both migrant and indigenous populations in the Safford and Aravaipa valleys and provides a model for research in other areas where migration played an important role.

Archaeologists interested in the Greater Southwest will find a wealth of information on these little-known valleys that provides contextualization for this important and intriguing time period, and those interested in migration in the ancient past will find a useful case study that goes beyond identifying incidents of migration to understanding its long-lasting implications for both migrants and the local people they impacted.

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The Insect and the Image: Visualizing Nature in Early Modern Europe, 1500-1700
Janice Neri
University of Minnesota Press, 2011
Library of Congress N7668.I56N47 2011 | Dewey Decimal 704.943257094

Once considered marginal members of the animal world (at best) or vile and offensive creatures (at worst), insects saw a remarkable uptick in their status during the early Renaissance. This quickened interest was primarily manifested in visual images—in illuminated manuscripts, still life paintings, the decorative arts, embroidery, textile design, and cabinets of curiosity. In The Insect and the Image, Janice Neri explores the ways in which such imagery defined the insect as a proper subject of study for Europeans of the early modern period.

It was not until the sixteenth century that insects began to appear as the sole focus of paintings and drawings—as isolated objects, or specimens, against a blank background. The artists and other image makers Neri discusses deployed this “specimen logic” and so associated themselves with a mode of picturing in which the ability to create a highly detailed image was a sign of artistic talent and a keenly observant eye. The Insect and the Image shows how specimen logic both reflected and advanced a particular understanding of the natural world—an understanding that, in turn, supported the commodification of nature that was central to global trade and commerce during the early modern era.

Revealing how sixteenth- and seventeenth-century artists and image makers shaped ideas of the natural world, Neri’s work enhances our knowledge of the convergence of art, science, and commerce today.

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Inventing Indigenism: Francisco Laso's Image of Modern Peru
Natalia Majluf
University of Texas Press, 2021
Library of Congress ND419.L37 | Dewey Decimal 759.98509034

2023 ALAA Book Award, Association for Latin American Art/Arvey Foundation

A fascinating account of the modern reinvention of the image of the Indian in nineteenth-century literature and visual culture, seen through the work of Peruvian painter Francisco Laso.

One of the outstanding painters of the nineteenth century, Francisco Laso (1823–1869) set out to give visual form to modern Peru. His solemn and still paintings of indigenous subjects were part of a larger project, spurred by writers and intellectuals actively crafting a nation in the aftermath of independence from Spain. In this book, at once an innovative account of modern indigenism and the first major monograph on Laso, Natalia Majluf explores the rise of the image of the Indian in literature and visual culture. Reading Laso’s works through a broad range of sources, Majluf traces a decisive break in a long history of representations of indigenous peoples that began with the Spanish conquest. She ties this transformation to the modern concept of culture, which redefined both the artistic field and the notion of indigeneity. As an abstraction produced through indigenist discourse, an icon of authenticity, and a densely racialized cultural construct, the Indian would emerge as a central symbol of modern Andean nationalisms.

Inventing Indigenism brings the work and influence of this extraordinary painter to the forefront as it offers a broad perspective on the dynamics of art and visual culture in nineteenth-century Latin America.

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