Dentro del rico y multiforme panorama de imágenes forjadas en el mundo romano, por su indudable originalidad destacan las iconografías inspiradas en la tierra de los faraones. Concretamente, suscitan interés las representaciones nilóticas animadas por pigmeos provistos de barritas. En el presente trabajo, el objetivo consiste en el identificar, basándose en el estudio de las fuentes clásicas y en las comparaciones iconográficas de las obras examinadas, un fil rouge semántico de estos específicos modelos nilóticos existentes en la cuenca mediterránea entre (...) los siglos I-III d.C. Finalmente, se obtienen ciertas conclusiones acerca de la funcionalidad tanto como del significado de las enigmáticas barritas preservadas hasta nuestros días a través del espejo artístico romano. (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)

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)

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...

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)

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

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)

Quatro painéis de muito boa pintura, representando aspectos da vida e martírios dos Santos Mártires de Lisboa, Veríssimo, Máxima e Júlia, estão patentes no Museu Carlos Machado, em Ponta Delgada, nos Açores.Obras nunca estudadas antes de 2001, embora referenciadas documentalmente já no século XIX, permaneceram em colecções particulares até aos anos sessenta do século XX, quando foram doadas ao museu açoriano, onde se encontram em bom estado de conservação. Nunca dali saíram, a não ser um dos painéis para a XVII (...) Exposição Europeia de Arte, Cultura e Ciência (núcleo da Casa dos Bicos) e outro painel, em 1992, para uma exposição em Génova. As obras, de relativamente pequenas dimensões, são muito ricas em aspectos iconográficos e de caracterização de ambientes. Datáveis da década de 30 do século XVI, têm sido atribuídas ao pintor Garcia Fernandes e, mais recentemente, a Cristóvão de Utreque, um dos mestres que foi referenciado como eventual colaborador dos chamados Mestres de Ferreirim: Cristóvão de Figueiredo, Gregório Lopes e Garcia Fernandes.Muito interessante, no entanto, é a iconografia das paisagens urbanas de duas das pinturas, mas a vida e os martírios dos santos não acompanham o que se conhecia da literatura do tempo. (shrink)