A SCHOLARLY BOOK REPOSITORY
Audubon was not the father of American ornithology. That honorific belongs to Alexander Wilson, whose encyclopedic American Ornithology established a distinctive approach that emphasized the observation of live birds. In the first full-length study to reproduce all of Wilson’s unpublished drawings for the nine-volume Ornithology, Edward Burtt and William Davis illustrate Wilson’s pioneering and, today, underappreciated achievement as the first ornithologist to describe the birds of the North American wilderness.
Abandoning early ambitions to become a poet in the mold of his countryman Robert Burns, Wilson emigrated from Scotland to settle near Philadelphia, where the botanist William Bartram encouraged his proclivity for art and natural history. Wilson traveled 12,000 miles on foot, on horseback, in a rowboat, and by stage and ship, establishing a network of observers along the way. He wrote hundreds of accounts of indigenous birds, discovered many new species, and sketched the behavior and ecology of each species he encountered.
Drawing on their expertise in both science and art, Burtt and Davis show how Wilson defied eighteenth-century conventions of biological illustration by striving for realistic depiction of birds in their native habitats. He drew them in poses meant to facilitate identification, making his work the model for modern field guides and an inspiration for Audubon, Spencer Fullerton Baird, and other naturalists who followed. On the bicentennial of his death, this beautifully illustrated volume is a fitting tribute to Alexander Wilson and his unique contributions to ornithology, ecology, and the study of animal behavior.
A critical study for those interested in the intersection of art and biblical interpretation
With a special focus on biblical texts and images, this book nurtures new developments in biblical studies and art history during the last two or three decades. Analysis and interpretation of specific works of art introduce guidelines for students and teachers who are interested in the relation of verbal presentation to visual production. The essays provide models for research in the humanities that move beyond traditional disciplinary boundaries erected in previous centuries. In particular, the volume merges recent developments in rhetorical interpretation and cognitive studies with art historical visual exegesis. Readers will master the tools necessary for integrating multiple approaches both to biblical and artistic interpretation.
Features
Though today we commonly read major works of nineteenth-century American literature in unillustrated paperbacks or anthologies, many of them first appeared as magazine serials, accompanied by ample illustrations that sometimes made their way into the serials’ first printings as books. The graphic artists creating these illustrations often visually addressed questions that the authors had left for the reader to interpret, such as the complexions of racially ambiguous characters in Uncle Tom’s Cabin. The artists created illustrations that depicted what outsiders saw in Huck and Jim in Adventures of Huckleberry Finn, rather than what Huck and Jim learned to see in one another. These artists even worked against the texts on occasion—for instance, when the illustrators reinforced the same racial stereotypes that writers such as Paul Laurence Dunbar had intended to subvert in their works.
Authors of American realism commonly submitted their writing to editors who allowed them little control over the aesthetic appearance of their work. In his groundbreaking Artistic Liberties, Adam Sonstegard studies the illustrations from these works in detail and finds that the editors employed illustrators who were often unfamiliar with the authors’ intentions and who themselves selected the literary material they wished to illustrate, thereby taking artistic liberties through the tableaux they created.
Sonstegard examines the key role that the appointed artists played in visually shaping narratives—among them Mark Twain’s Pudd’nhead Wilson, Stephen Crane’s The Monster, and Edith Wharton’s The House of Mirth—as audiences tended to accept their illustrations as guidelines for understanding the texts. In viewing these works as originally published, received, and interpreted, Sonstegard offers a deeper knowledge not only of the works, but also of the realities surrounding publication during this formative period in American literature.
Many spectacular examples of Persianate art survive to the present day, safeguarded in Istanbul and beyond—celebrating the glory of the Persian Empire (and, later, the Ottoman Empire). These include illustrated books, featuring exquisitely painted miniatures artfully embedded in the texts of literary masterpieces, as well as tile decorations in medieval Anatolian architecture.
Because of their beauty, many Persianate books were deliberately disassembled, their illustrations re-used in newer books or possessed as isolated art objects. As fragments found their way to collections around the world, the essential integration of text and image in the original books was lost. Six art historians and a literary historian—instrumental in reconstruction efforts—trace the long journey from the destructive dispersal of fragments to the joys of restoration.
A unique visual history of the world’s best-selling book of all time, Bibles provides a rich snapshot of the biblical bookmaking tradition through images from fifty rare and important Bibles. As the captivating and colorful images collected here reveal, in many ways the history of the Bible mirrors the history of the book and publishing.
Presented chronologically, the Bibles provide a fascinating look into the book making techniques and characteristics of their time. From the fragile papyrus fragments of the ancient world to medieval illuminated manuscripts and glorious modern printed editions, each image is accompanied by a caption which explains its particular significance. In addition, each chapter includes a short introduction that contextualizes each book within its time period. Featuring many unusual examples—some of which have never been illustrated in print before—Bibles includes many of the great biblical texts of the Eastern and Western traditions, including the Magdalen Papyrus, the Laudian Acts, the Anglo-Saxon Exodus, St Margaret’s Gospel-book, the Douce Apocalypse, the Bible Moralisée (MS. Bodley 270b), the Kennicott Bible, the Guttenberg Bible, and the King James Bible.
Drawing exclusively from one of the finest collections of Bibles in the world, which is held at the Bodleian Library at Oxford University, this book tells the remarkable story of the development of the Bible across media, language, and provenance.
This book traces the history of botanical illustration in the Mediterranean from antiquity to the early modern period. By examining Greek, Latin, and Arabic botanical inquiry in this early era, Andrew Griebeler shows how diverse and sophisticated modes of plant depiction emerged and ultimately gave rise to practices now recognized as central to modern botanical illustration. The author draws on centuries of remarkable and varied documentation from across Europe and the Mediterranean.
Lavishly illustrated, Botanical Icons marshals ample evidence for a dynamic and critical tradition of botanical inquiry and nature observation in the late antique and medieval Mediterranean. The author reveals that many of the critical practices characteristic of modern botanical illustrations began in premodern manuscript culture. Consequently, he demonstrates that the distinctions between pre- and early modern botanical illustration center more on the advent of print, the expansion of collections and documentation, and the narrowing of the range of accepted forms of illustration than on the invention of critical and observational practices exclusive to modernity.
Griebeler’s emphasis on continuity, intercultural collaboration, and the gradual transformation of Mediterranean traditions of critical botanical illustration persuasively counters previously prevalent narratives of rupture and Western European exceptionalism in the histories of art and science.
Readers do not always take into account how books that combine image and text make their meanings. But for the Pre-Raphaelite poet Christina Rossetti, such considerations were central.
Christina Rossetti and Illustration maps the production and reception of Rossetti’s illustrated poetry, devotional prose, and work for children, both in the author’s lifetime and in posthumous twentieth-century reprints.
Lorraine Janzen Kooistra’s reading of Rossetti’s illustrated works reveals for the first time the visual-verbal aesthetic that was fundamental to Rossetti’s poetics. Her exhaustive archival research brings to light new information on how Rossetti’s commitment to illustration and attitudes to copyright and control influenced her transactions with publishers and the books they produced. Janzen Kooistra also tracks the poet’s reception in the twentieth century through a complex web of illustrated books produced for a wide range of audiences.
Analyzing an impressive array of empirical data, Janzen Kooistra shows how Rossetti’s packaging for commodity consumption—by religious presses, publishers of academic editions and children’s picture books, and makers of erotica and collectibles—influenced the reception of her work and her place in literary history.
Antiquity’s original travel guide.
Pausanias, born probably in Lydia in Asia Minor, was a Greek of the second century AD, about 120–180, who traveled widely not only in Asia Minor, Palestine, Egypt, and North Africa, but also in Greece and in Italy, including Rome. He left a description of Greece in ten books, which is like a topographical guidebook or tour of Attica, the Peloponnese, and central Greece, filled out with historical accounts and events and digressions on facts and wonders of nature. His chief interest was in monuments of art and architecture, especially the most famous of them; the accuracy of his descriptions is proved by surviving remains.
The Loeb Classical Library edition of Pausanias is in five volumes; the fifth volume contains maps, plans, illustrations, and a general index.
A unique study of lectionaries and graphic design as a site of biblical reception
How artists portrayed the Bible in large canvas paintings is frequently the subject of scholarly exploration, yet the presentation of biblical texts in contemporary graphic designs has been largely ignored. In this book Amanda Dillon engages multimodal analysis, a method of semiotic discourse, to explore how visual composition, texture, color, directionality, framing, angle, representations, and interactions produce potential meanings for biblical graphic designs. Dillon focuses on the artworks of two American graphic designers—the woodcuts designed by Meinrad Craighead for the Roman Catholic Sunday Missal and Nicholas Markell’s illustrations for the worship books of the Evangelical Lutheran Church in America—to present the merits of multimodal analysis for biblical reception history.
Focusing on the objectification of women by the “male gaze,” Stewart analyzes the varous ways in which this masculine power is simultaneously represented and veiled: the fascination with women playing “male” roles, such as soldiers; the preponderance of voyeuristic images of the naked female body; the transformation of male power into hostile forces of nature that render women helpless. Further, Stewart shows how “indecent” engravings that purported to test the limits of eighteenth-century morality often merely reinforced prevailing images of women.
Addressing critical concerns about the societal enforcement of gender roles in literature along with essential questions about the function of illustration, Engraven Desire provides surprising insight into the culturally conditioned act of reading. Stewart’s work, itself richly illustrated with hundreds of arresting reproductions, makes a significant contribution to our understanding of the interplay of art, literature, and society.
In the immediate aftermath of the Revolutionary War, only the wealthiest Americans could afford to enjoy illustrated books and prints. But, by the end of the next century, it was commonplace for publishers to load their books with reproductions of fine art and beautiful new commissions from amateur and professional artists.
Georgia Brady Barnhill, an expert on the visual culture of this period, explains the costs and risks that publishers faced as they brought about the transition from a sparse visual culture to a rich one. Establishing new practices and investing in new technologies to enhance works of fiction and poetry, bookmakers worked closely with skilled draftsmen, engravers, and printers to reach an increasingly literate and discriminating American middle class. Barnhill argues that while scholars have largely overlooked the efforts of early American illustrators, the works of art that they produced impacted readers' understandings of the texts they encountered, and greatly enriched the nation's cultural life.
The writings of Francis Hutcheson played a central role in the development of British moral philosophy in the eighteenth century. His Illustrations on the Moral Sense is significant not only historically but also for its exploration of problems of concern in contemporary ethics. Yet except for brief selections it has not appeared in print since the eighteenth century.
Independent moral philosophy began in England with Hobbes and the reactions to his views, in which two divergent strains were implicit: one a rationalistic appeal to eternal and immutable essences and the other an empirical appeal to human affections and desires. Hutcheson countered Hobbes' theory, which was based on self interest, with a theory based on the moral sense and made explicit the opposition between the school of reason and the school of sentiment. His treatment of these and other issues set British moral philosophy on a line of development that has continued to the present.
This edition of Illustrations on the Moral Sense again makes available Hutcheson's contributions to normative ethics and metaethics, thus making possible a more accurate evaluation of his significance in the history of ethics. His epistemology of morals and his theory of justification are critically examined in a substantial introduction by the editor, Bernard Peach. In addition, Hutcheson's correspondence with Gilbert Burnet, the Younger, which is central to an understanding of the controversies in British moral philosophy in the eighteenth century, is made accessible here for the first time since 1735 in an extensive appendix.
You’ll find his face everywhere, from coffee mugs, bobbleheads, and T-shirts to the cover of the Beatles’ Sergeant Pepper’s Lonely Hearts Club Band. Edgar Allan Poe is one of American culture’s most recognizable literary figures, his life and works inspiring countless derivations beyond the literary realm. Poe’s likeness and influence have been found in commercial illustration and kitsch, art installations, films, radio plays, children’s cartoons, and video games. What makes Poe so hugely influential in media other than his own? What do filmmakers, composers, and other artists find in Poe that suits their purposes so often and so variously?
In Poe’s Wake locates the source of the writer’s enduring legacy in two vernacular aesthetic categories: the graphic and the atmospheric. Jonathan Elmer uses Poe to explore these two terms and track some deep patterns in their use, not through theoretical labor but through close encounters with a wide sampling of aesthetic objects that avail themselves of Poe’s work. Poe’s writings are violent and macabre, memorable both for certain grisly images and for certain prevailing moods or atmospheres—dread, creepiness, and mournfulness. Furthermore, a bundle of Poe traits—his thematic emphasis on extreme sensation, his flexible sense of form, his experimental and modular method, and his iconic visage—amount to what could be called a Poe “brand,” one as likely to be found in music videos or comics as in novels and stories. Encompassing René Magritte, Claude Debussy, Lou Reed, Roger Corman, Spongebob Squarepants, and many others, Elmer’s book shows how the Poe brand opens trunk lines to aesthetic experiences fundamental to a multi-media world.
Latin Liturgical Psalters in the Bodleian Library describes more than one hundred psalters from Britain, France, the Netherlands, Germany, Austria, Italy, and Spain, ranging from the ninth to the sixteenth century and reflecting a wide range of requirements and interests. Each entry includes a description of the psalter’s contents, physical makeup, and provenance, alongside full-color images of pages, a bibliography, and tables to assist in the study of illumination and the liturgical use of psalms.
Bringing together important information on a stunning selection of little-known manuscripts held by the Bodleian Library, this volume will prove a valuable resource.
The richly illuminated Luttrell Psalter was created for the English nobleman Sir Geoffrey Luttrell (1276-1345). Inexpensive mechanical illustration has since disseminated the book's images to a much wider audience; hence the Psalter's representations of manorial life have come to profoundly shape our modern idea of what medieval English people, high and low, looked like at work and at play. Alongside such supposedly truthful representations, the Psalter presents myriad images of fantastic monsters and beasts. These patently false images have largely been disparaged or ignored by modern historians and art historians alike, for they challenge the credibility of those pictures in the Luttrell Psalter that we wish to see as real.
In the conviction that medieval images were not generally intended to reflect daily life but rather to shape a new reality, Michael Camille analyzes the Psalter's famous pictures as representations of the world, imagined and real, of its original patron. Addressed are late medieval chivalric ideals, physical sites of power, and the boundaries of Sir Geoffrey's imagined community, wherein agricultural laborers and fabulous monsters play a similar ideological role. The Luttrell Psalter thus emerges as a complex social document of the world as its patron hoped and feared it might be.
The richly illuminated Luttrell Psalter was created for the English nobleman Sir Geoffrey Luttrell (1276-1345). Inexpensive mechanical illustration has since disseminated the book's images to a much wider audience; hence the Psalter's representations of manorial life have come to profoundly shape our modern idea of what medieval English people, high and low, looked like at work and at play. Alongside such supposedly truthful representations, the Psalter presents myriad images of fantastic monsters and beasts. These patently false images have largely been disparaged or ignored by modern historians and art historians alike, for they challenge the credibility of those pictures in the Luttrell Psalter that we wish to see as real.
In the conviction that medieval images were not generally intended to reflect daily life but rather to shape a new reality, Michael Camille analyzes the Psalter's famous pictures as representations of the world, imagined and real, of its original patron. Addressed are late medieval chivalric ideals, physical sites of power, and the boundaries of Sir Geoffrey's imagined community, wherein agricultural laborers and fabulous monsters play a similar ideological role. The Luttrell Psalter thus emerges as a complex social document of the world as its patron hoped and feared it might be.
Nicholas Frankel approaches Wilde's writings as graphical or "printed" phenomena that reveal their significance through the beautiful and elaborate decorations with which they were published in Wilde's own lifetime. With extensive reference to and exposition on Wilde's theoretical writings and letters, the author shows that, far from being marginal elements of the literary text, these decorative devices were central to Wilde's understanding of his own writings as well as to his "aesthetic" theory of language. Extensive illustrations support Frankel's arguments.
While its principal appeal will be to students of Oscar Wilde and the Victorian fin-de-siècle, this book will also appeal to textual and literary scholars, art historians, and linguistic philosophers interested in the graphical nature of the linguistic sign.
Nicholas Frankel is Assistant Professor of English, Virginia Commonwealth University.
The expansive and intricate Atlas Coelestis, created by Johann Doppelmayr in 1742, set out to record everything known about astronomy at the time, covering constellations, planets, moons, comets, and more, all rendered in exquisite detail. Through stunning illustrations, historical notes, and scientific explanations, Phenomena contextualizes Doppelmayr’s atlas and creates a spectacular handbook to the heavens.
Phenomena begins by introducing Doppelmayr’s life and work, placing his extraordinary cosmic atlas in the context of discoveries made in the Renaissance and Enlightenment and highlighting the significance of its publication. This oversized book presents thirty beautifully illustrated and richly annotated plates, covering all the fundamentals of astronomy—from the dimensions of the solar system to the phases of the moon and the courses of comets. Each plate is accompanied by expert analysis from astronomer Giles Sparrow, who deftly presents Doppelmayr’s references and cosmological work to a modern audience. Each plate is carefully deconstructed, isolating key stars, planets, orbits, and moons for in-depth exploration. A conclusion reflects on the development of astronomy since the publication of the Atlas and traces the course of the science up to the present day. Following the conclusion is a timeline of key discoveries from ancient times onward along with short biographies of the key players in this history.
In Poetry, Pictures, and Popular Publishing eminent Rossetti scholar Lorraine Janzen Kooistra demonstrates the cultural centrality of a neglected artifact: the Victorian illustrated gift book. Turning a critical lens on “drawing-room books” as both material objects and historical events, Kooistra reveals how the gift book’s visual/verbal form mediated “high” and popular art as well as book and periodical publication.
A composite text produced by many makers, the poetic gift book was designed for domestic space and a female audience; its mode of publication marks a significant moment in the history of authorship, reading, and publishing. With rigorous attention to the gift book’s aesthetic and ideological features, Kooistra analyzes the contributions of poets, artists, engravers, publishers, and readers and shows how its material form moved poetry into popular culture. Drawing on archival and periodical research, she offers new readings of Eliza Cook, Adelaide Procter, and Jean Ingelow and shows the transatlantic reach of their verses. Boldly resituating Tennyson’s works within the gift-book economy he dominated, Kooistra demonstrates how the conditions of corporate authorship shaped the production and receptionof the laureate’s verses at the peak of his popularity.
Poetry, Pictures, and Popular Publishing changes the map of poetry’s place—in all its senses—in Victorian everyday life and consumer culture.
Illustrations played a key role in American literary culture despite the fact there was little demand for books by American writers. Indeed, most of the illustrated books bought, sold, and shared by Americans were either imported British works or reprinted versions of those imported editions. As a result, in addition to embellishing books, illustrations provided readers with crucial information about the country’s status as a former colony.
Through an examination of readers’ portrait-collecting habits, writers’ employment of ekphrasis, printers’ efforts to secure American-made illustrations for periodicals, and engravers’ reproductions of British book illustrations, Walsh uncovers in late eighteenth-century America a dynamic but forgotten visual culture that was inextricably tied to the printing industry and to the early US literary imagination.
The subject of regulation is one of the most vital and troublesome in our system of government. In this detailed study of early and mid-twentieth-century regulation of commercial aviation Emmette S. Redford illustrates what happens when government regulates a particular industry.
He first sets forth the perspectives for a study of an area of regulation and develops an argument for eclectic perspectives in the study of selected systems, or universes, of social action, such as the performance of an economic function under government regulation.
These perspectives are illustrated in the following series of case studies on regulation of commercial aviation:
- The significance of belief patterns on the content of the Civil Aeronautics Act of 1938.
- The role of Congress in the regulation of commercial aviation in a two-year period.
- The interactions of Congress, the president, and the regulated industry in strengthening safety regulation through passage of the Federal Aviation Act of 1958.
- The actions of the Civil Aeronautics Board on a set of complicated economic issues in the General Passenger Fare Investigation.
- The position of the Air Transport Association in the regulatory pattern.
In "An Essay on Evaluation" Redford summarizes what is revealed in the case studies that is significant with respect to the system of government regulation. He searches for standards for evaluating a system of social control, or for evaluating parts of it, and relates his conclusions to issues regarding the beneficence of a system of regulated private supply of a service.
The Regulatory Process is a study of interest to the aviation industry, to students of regulation of the economy, and to those who seek an understanding of social systems.
An examination of the art in superhero comics and how style influences comic narratives.
For many, the idea of comic book art implies simplistic four-color renderings of stiff characters slugging it out. In fact, modern superhero comic books showcase a range of complex artistic styles, with diverse connotations. Leading comics scholar Jeffrey A. Brown assesses six distinct approaches to superhero illustration—idealism, realism, cute, retro, grotesque, and noir—examining how each visually represents the superhero as a symbolic construct freighted with meaning.
Whereas comic book studies tend to focus on text and narrative, Super Bodies gives overdue credit to the artwork, which is not only a principal source of the appeal of comic books but also central to the values these works embody. Brown argues that superheroes are to be taken not as representations of people but as iconic types, and the art conveys this. Even the most realistic comic illustrations are designed to suggest not persons but ideas—ideas about bodies and societies. Thus the appearance of superheroes both directly and indirectly influences the story being told as well as the opinions readers form concerning justice, authority, gender, puberty, sexuality, ethnicity, violence, and other concepts central to political and cultural life.
This new edition also pays special attention to the material circumstances that enabled and conditioned the printing of the illustrations. The original twelve chapters have been revised and updated throughout, drawing on archival and published resources made available in recent decades. Six chapters are entirely new, explaining how Tenniel’s drawings were professionally hand-engraved on wood blocks; how electrotype replicas were made from those blocks; and what problems could mar the commercial printing of such images—as notoriously happened in the first printing of Alice’s Adventures in Wonderland, which Carroll suppressed on Tenniel’s advice. Also considered for the first time here are the coloring of Tenniel’s black-and-white illustrations, by Tenniel and other artists, and the extraordinary treatment later given to Tenniel’s illustrations by the prestigious Limited Editions Club.
In 2001, a Swedenborgian minister found a set of seven magnificent stained-glass windows stored in old crates in a barn in rural Pennsylvania. Their story illuminates a fascinating facet of American art history as well as an important set of spiritual teachings.
In 1902, a Swedenborgian church in Glendale, Ohio, commissioned the seven windows as a gift for their sister church in Cincinnati. Each window depicts an angel that represents one of the seven churches described in the book of Revelation. The windows were designed and created in the studios of Louis Comfort Tiffany, and they reflect not only the rich symbolism found in the Bible, but Tiffany’s hallmark color and brilliance. Tiffany’s love of revealing angels in stained glass shines through in every panel.
After their original home was torn down in 1964, the windows were put into storage, only to be rediscovered and painstakingly restored years later. Now a traveling exhibition, the seven angels have been given a new life as shining examples of Tiffany’s art and as a focus for spiritual reflection and meditation.
Tiffany’s Swedenborgian Angels guides the reader not only through the history of the windows, but the spiritual meaning of each one, weaving Swedenborg’s teachings with the luminous imagery of the angels themselves. If you have seen the exhibition, the book allows you to revisit the windows again any time; if you have not, it is a powerful introduction to a vivid piece of spiritual history.
With this book, Barbara Brend provides thorough consideration of two celebrated Persian manuscripts housed in the British Library. These two copies of the Khamsah (Quintet) a set of five narrative poems by twelfth-century poet Nizami, a master of allegorical poetry in Persian literature, were produced in Herat in the fifteenth century, one of the greatest periods of Persian painting. Although well known, the manuscripts have never before been written about in relation to each other. Brend tells the story of each poem and the painting that illustrates it, and she formally analyzes the images, placing them in their historical and artistic context.
The images from both highly prized manuscripts are beautifully reproduced in color, and the ownership history of one of the manuscripts—recorded in the form of seal impressions and inscriptions— is also included. Ursula Sims-Williams provides a translation and commentary of these important marks of ownership which identify the Mughal rulers Akbar, Jahangir, Shah Jahan, and Aurangzeb, among many others.
"Ventures into Childland is acute, well written and stimulating. It also has a political purpose, to insist on the importance of protecting and nurturing children, imaginatively and physically."—Jan Marsh, Times Literary Supplement
"A provocative and interesting book about Victorian culture."—Library Journal
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