Through the prism of iconography, we may be able to better understand Vecchietta's stylistic choices towards the end of his career. His last known bronze sculpture, a gaunt and pathetic Christ, executed in 1476, is widely agreed to represent the Risen Christ. Today, the sculpture stands atop the high altar of the Santissima Annunziata, the Hospital Church in Siena, but this was neither its original nor intended location. In fact, the figure was meant to be part of a larger (...) ensemble which, together, constituted Vecchietta's funerary chapel. This article demonstrates unequivocally that the present setting of the statue has fostered an iconographical misunderstanding: naturally, the subject of the statue is Christ; but he represents the Man of Sorrows, not the Risen Christ. An exploration of the significance of the iconography of the Man of Sorrows in mid-fifteenth-century Siena, and its possible antecedents, reveals connections especially with Northern European artefacts circulating in central Italy at the time. The result of these findings is to set Vecchietta's sculpture free from previous preconceptions, shedding new light on a famous artwork and triggering new questions about the artist who made it. (shrink)

En la Biblia de Ávila se encuentra el ciclo pictórico de la vida y la pasión de Cristo más completo del Románico español. Cada escena viene acompañada por una inscripción en latín añadida poco después de que se completaran las imágenes. Sin embargo, no todas las inscripciones identifican los personajes o las escenas correctamente. Uno de los errores se encuentra en el último folio del ciclo que, habiendo sido identificado como Pentecostés o la bajada del Espíritu Santo, no presenta ninguna (...) de las características iconográficas típicas de este tema. Este artículo investiga otras alternativas iconográficas que puedan explicar la peculiaridad de la imagen y la posición final del folio. (shrink)

This chapter investigates medieval Sweden and its iconography of justice. The Swedish lay judges were without university education, and especially the commoners had few opportunities of seeing images of justice on artefacts or in secular buildings. Yet, the ecclesiastical imagery in churches was seen and understood by all, thanks to the Church’s teaching. Based on surveys of justice-related iconography in medieval Swedish and Finnish churches, the chapter argues that the scope of these motifs was very limited. Images of (...) the Last Judgment and Saint Michael weighing souls predominate, while some churches had murals with Moses receiving the Tables of the Law, Solomon’s justice, or truth- or justice-related Biblical verses in Latin. No images of Lady Justice or other justice-related representations came up. Even only a fraction of the Finnish churches had a Last Judgment or Saint Michael to adorn them. However, these two images together, with images of devils tempting people to sin and perdition, were visualisations that had practical meaning in the Swedish legal culture. The practices of justice and judging were popular and daily reiterated, making each sworn oath a step towards either heaven or hell. (shrink)

Luigi Sacco (1769–1863) was the main protagonist of early vaccination campaign in Italy. He found a native source of vaccine lymph: with that, he personally vaccinated more than 500,000 people and furnished all Italy and some Middle East countries too. Starting from the pictures of his books, Sacco proposed to create wax models of real and spurious smallpox pustules in human, cow, sheep and horse; just to permit, not only to doctors, but also to all other health operators, the identification (...) of the right pustules from where to extract active lymph for vaccination. In the Museum of Pathological Anatomy of the Padua University Medical School, we have four anatomical waxes which corresponded exactly to the explicative pictures in 1809 Sacco’s treatise on Vaccine. We have found the same models also at the University of Milan, Pavia and Bologna—the main cities of Cisalpine Republic , the state of North Italy formed at the epoch of Sacco following the Napoleon conquest. The history of the diffusion of these models presented in this text will be a starting point to develop wider questions. In particular, this history could be useful to improve our understanding of the birth of scientific and experimental medicine through XIX and XX Century. (shrink)

From Detroit Red to El-Hajj Malik El-Shabazz, the man best known as Malcolm X restlessly redefined himself throughout a controversial life. His transformations have appeared repeatedly in books, photographs, paintings, and films, while his murder set in motion a series of tugs-of-war among journalists, biographers, artists, and his ideological champions over the interpretation of his cultural meaning. This book marks the first systematic examination of the images generated by this iconic cultural figure--images readily found on everything from T-shirts and hip-hop (...) album covers to coffee mugs. Graeme Abernethy captures both the multiplicity and global import of a person who has been framed as both villain and hero, cast by mainstream media during his lifetime as "the most feared man in American history," and elevated at his death as a heroic emblem of African American identity. As Abernethy shows, the resulting iconography of Malcolm X has shifted as profoundly as the American racial landscape itself. Abernethy explores Malcolm's visual prominence in the eras of civil rights, Black Power, and hip-hop. He analyzes this enigmatic figure's representation across a variety of media from 1960s magazines to urban murals, tracking the evolution of Malcolm's iconography from his autobiography and its radical milieu through the appearance of Spike Lee's 1992 biopic and beyond. Its remarkable gallery of illustrations includes reproductions of iconic photographs by Richard Avedon, Eve Arnold, Gordon Parks, Henri Cartier-Bresson, and John Launois. Abernethy reveals that Malcolm X himself was keenly aware of the power of imagery to redefine identity and worked tirelessly to shape how he was represented to the public. His theoretical grasp of what he termed "the science of imagery" enabled him both to analyze the role of representation in ideological control as well as to exploit his own image in the interests of black empowerment. This provocative work marks a startling shift from the biographical focus that has dominated Malcolm X studies, providing an up-to-date--and comprehensively illustrated--account of Malcolm's cultural afterlife, and addressing his iconography in relation to images of other major African American figures, including Martin Luther King, Jr., Angela Davis, Kanye West, and Barack Obama. Analyzing the competing interpretations behind so many images, Abernethy reveals what our lasting obsession with Malcolm X says about American culture over the last five decades. (shrink)

It has become banal to say that the object of the art of theatre, its artifact, is particularly fragile, that a theatrical performance— necessarily limited in time and not reproducible—is an ephemeral phenomenon. And yet it is a fact that the evanescence of the theatre arts explains better than any other circumstance the universality and the importance of iconography in this area. What could be more natural than the forever manifested desire to prolong the length of the theatrical phenomenon, (...) to immortalize it in a certain sense. (shrink)

La représentation de la Crucifixion dans de grandes compositions aux tympans des églises est un phénomène tardif dans l’Occident médiéval : elle pose le problème de l’intégration de l’iconographie monumentale dans le contexte religieux et homilétique. Les premiers exemples de la fin du XIe siècle étaient liés aux hérésies cathare et petrobrusienne du sud de la France1. Au XIVee siècle, la diffusion du thème rend plus difficile une approche globale de la question. Dans le contexte précis et bi...

t. 1. Essai de définition d'un champ de recherche.

Visual culture has normalized systemic and institutional cruelty toward animals in North America through an iconography of oppression. Certain kinds of images that sanitize and celebrate the consumption of animal bodies through our contemporary food systems are constantly repeated through marketing channels. In doing so, they help us to avoid addressing the very ethical questions at the heart of these practices. In contrast to this, a number of contemporary artists have relied on visual culture to disrupt this pattern of (...) representation and to challenge the status quo. The following discussion explores some recent attempts to reimagine human–animal relationships in nonspeciesist terms through imagery and artistic practice. (shrink)

The Early Iconography of Avalokiteśvara. L’Iconographie ancienne d’Avalokiteśvara. By Gérard Fussman and Anna Maria Quagliotti. Publications de l’Institut de Civilisation Indienne, Collège de France, fasc. 80. Paris: Diffusion de Boccard, 2012. Pp. 152, 21 plates.

Augustine in Iconography: History and Legend has a threefold design: exploration of literary sources; reviews of pertinent archeology; and accounts of individual and cyclical illustrations. One hundred and thirty-two topics in the iconography of the bishop of ancient Hippo, both historical and legendary, are ascertained and analyzed; the historical and archeological background of Augustine's career, cult, and monastic influence are surveyed; four Augustinian cycles are examined; and various individual portraits of Augustine are studied.

O mais divulgado modelo iconográfico mariano da época contemporânea, presente em quase todos os templos católicos do mundo, nasceu em Portugal na sequência das Aparições de Fátima de 1917. Não teria o conhecido desenvolvimento sem que no processo cultual interviesse a disciplina escultórica que logo em 1920 faria cristalizar, através do escopro de um santeiro, a imagem de Nossa Senhora do Rosário de Fátima. O estudo do tipo, do arquétipo e dos subtipos da Virgem de Fátima, primeiramente produzidos em oficinais (...) trabalhos de santeiros e, em fase posterior, interpretados por artistas, permite entender os contornos do nascimento de uma realidade imagética, isto é, de uma iconografia ex nihilo e o seu, necessariamente, tardio desenvolvimento estético. (shrink)

Cette contribution analyse les déclinaisons du thème iconographique de la parabole des dix vierges dans des estampes produites entre les xvie et xviie siècles aux Pays-Bas. Issues d’un processus culturel complexe de production et réception, ces artefacts culturels constituent un exemple significatif de la mise en œuvre d’un discours moralisateur de nature confessionnelle au service de la transformation du système de valeurs d’une population urbaine caractérisée par des changements significatifs dans les structures économiques et sociales de la modernité, dans lesquelles (...) les hommes et les femmes ne cessent de négocier leurs relations et leurs rôles sociaux. L’opposition symbolique entre l’image positive des femmes qui travaillent et celle négative des femmes qui dansent qui émerge de l’analyse, permet d’éclairer la complexité de l’articulation entre les représentations sociales de la danse et du genre que cette opposition implique et produit. (shrink)

Le premier document présenté est inédit : c'est un lécythe attique à figures rouges du début du Ve s. av. J.-C. décoré d'un Éros tirant à l'arc, premier exemple d'un type iconographique promis à une grande fortune. Ensuite est examinée la scène figurée sur le col d'un cratère à figures rouges trouvé à Olynthe : elle doit représenter Héphaistos essayant en vain de se venger des Dioscures après la mise à mort du géant de bronze Talos, épilogue jusqu'alors inconnu d'une (...) des aventures des Argonautes. On revient enfin sur l'inscription ID 2548 et l'identification du Dioskourion de Délos : les fragments d'un kouros archaïque et d'un kouros archaïsant trouvés dans la cella du « temple A » de GD 123 sont presque certainement les restes des xoana évoqués par l'inscription, et l'identification du sanctuaire avec le Dioskourion est donc pratiquement assurée. (shrink)

In Orthodox Christianity icons play a central role in the Liturgy, which they complete and explain. In front of these images, the faithful enter a process of communication with the holy person depicted. That is possible because icons convey the spiritual energies of the archetype of the holy person or of the sacred event they represent. Icon-painters follow Hermeneias — Grammar books — containing canonical indications to help them in their work. These books also give attention to the material elements (...) from which the icons are made; since they are a part of God’s creation, they also need to be treated with reverence. The history of Eastern Christian iconography will be presented as an alternation of moments when an ‘abstract’ style of painting was employed with moments when a more naturalistic/realistic approach was at work. (shrink)

À partir de trois angles d’emblemata portés par d’épaisses plaques de mortier, l’étude envisage l’iconographie, la technique et l’usage de trois panneaux mosaïqués (fin iie‑début ier s.) découverts à Délos. Deux d’entre eux proviennent d’un sanctuaire (Kynthion, Samothrakeion) et le troisième d’une maison. Celui du Kynthion représente un visage qui n’avait pas été reconnu jusqu’ici. Aucun de ces trois panneaux figurés n’a été fixé dans un pavement ou une paroi. L’examen de ces documents conduit à reconnaître l’existence de panneaux mosaïqués (...) – des pinakes – éléments mobiliers dont les correspondants en peinture sont connus depuis longtemps. Les sources iconographiques et textuelles peuvent venir à l’appui de cette interprétation des vestiges. (shrink)