By Roelof van Straten, Patricia de Man (trans)
For the 1st time in English, on hand in a single resource, "An advent to Iconography" explains the methods artists use references and allusions to create which means. The e-book offers the historic, theoretical, and useful elements of iconography and ICONCLASS, the excellent iconographical indexing procedure built by way of Henri van de Waal. themes akin to the heritage of iconography, personification, allegory, and logos obtain specific emphasis. extra good points contain annotated bibliographies of books and magazine articles from around the globe which are linked to iconographic examine. This finished consultant, with its greater than 60 illustrations, bargains a readable and prepared resource for the topic.
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Extra resources for An Introduction to Iconography
8 cm, Paris, Basset, 1790. Voltaire to the Panthéon. During the last days of the ancien régime he was an obscure producer of populist commercial art, accused by his competitors of pirating prints. 21 One of his prints (illus. 21), of which at least two versions were published,22 foregrounds the secularization of a monk, and not only by showing his change of hairstyle. However, more important from our point of view than this amusing scene is the background of the picture, which shows Basset’s actual workshop in the ‘rue St Jacques’, the old centre for small printing-presses between the Sorbonne and the Seine, and a window display of caricatures.
Finally, the immediate vicinity of the Panthéon was to be landscaped in accordance with the spirit of the Revolution – a grove of patriotic virtues, with statues of Great Men and shaded pathways for ‘promenades philosophiques’, with tombstones and monuments in the form of pyramids and obelisks, as in the picture by Lagrenée. Thus arranged, the Panthéon was to function both as a venue for festive state occasions and a congenial place for the edification of the 30 citizens, for the exchange of ideas, for reconciliation.
The accompanying description of the aristocratie characterizes the two noblemen as haughty and cruel, the clergyman as lecherous and lascivious, and the administration represented by the 54 39 Etching for an ornamented fan, 1789. judge as heartless and stupid. Acting in unison, according to both image and text, these ‘gluttonous vultures’ have devoured the French people and gorged themselves on their blood: The aristocracy is a monster, neither male nor female, but of both sexes together; it has the claws of a harpy, the tongue of a leech, the soul of a prosecutor, the heart of a financier, the feet of a billygoat, the voracity of a vulture, the cruelty of a tiger, the pride of a lion, the lasciviousness of a monk and the stupidity of a provincial judge; it has been seen for over a century slaking its thirst with the blood of men, wolfing the labourer’s harvests and hopes, devouring the people and causing in France the greatest devastation.