Illustration

Word and Image: From Binarism to Dialogism

by Farzaneh Doosti

منتشرشده در نقدنامه هنر، شماره 2، 1391

A Castle of One’s Own: Interactivity in Chatelaine Magazine, 1928-35

by Jaleen Grove

This paper published in the Fall 2011 issue of the Journal of Canadian Studies, and is available from academic journal databases.

Chatelaine promoted maternal feminism with a variety of illustrated content and with mixed results. Hand-drawn imagery... more Chatelaine promoted maternal feminism with a variety of illustrated content and with mixed results. Hand-drawn imagery in 1928 connoted both individual expression and col- lective national identity. Readers’ material interaction with illustration developed their self- direction, critical judgement, and creativity in how they received editorial, advertising, and aesthetic messages. This made the magazine popular and gave it counterpublic potential. Unfortunately, Chatelaine—an important employer of women at first—replaced much of the illustration by female artists with men’s work and generic photographs after 1932. Ironically, Chatelaine’s celebration of essentialized femininity in pictures and other texts contributed to the exclusion of women from “masculine” illustration jobs, even as such imagery also brought women together in solidarity.

La revue Châtelaine célébrait le féminisme maternel avec un contenu illustré varié. Les résultats ont toutefois été mixtes. Les images dessinées à la main en 1928 représentaient l’expression individuelle ainsi que l’identité nationale collective. L’interaction du matériel de lecture avec les illustrations a aidé les lectrices à développer leur autodétermination, leur jugement critique et leur créativité en assimilant l’article rédactionnel, la publicité et les messages esthétiques. Ceci a rendu la revue populaire et lui a donné un potentiel con- trepublic. Malheureusement, Châtelaine – un employeur important de femmes à ses débuts – remplaça beaucoup de ses illustrations réalisées par des artistes féminines par des œuvres masculines et des photos génériques après 1932. Il est donc ironique que la célébration de la féminité essentialisée de Châtelaine dans ses images et ses textes ait contribué à l’exclusion des femmes dans les emplois demandant des illustrations « masculines », alors même qu’elle regroupait les femmes dans une vague de solidarité.

Reexamining Illustration’s Role in Treasure Island: Do Images Pirate Texts?

by Laura Eidam

English Literature in Transition, 1880-1920 55.1 (2012): 45-68.

ART ET SCIENCE AU MOYEN AGE

by stavros Lazaris

The Thackeray Alphabet

by Kerry William Purcell

Quelques considérations sur l’illustration du Physiologus grec

by stavros Lazaris

in: Bestiaires médiévaux: Nouvelles perspectives sur les manuscrits et les traditions textuelles. Actes du XVe colloque international de la Société Internationale Renardienne, Louvain-la-Neuve, 18-22 août 2003, B. Van den Abeele (ed.), Louvain-la-Neuve, 2005 (Textes, études, congrès, 21), p. 141-167 & figs. 34-50

Seeing the body: The divergence of ancient Chinese and Western medical illustration

by Camillia Matuk

published 2006 in The Journal of Biocommunication 32(1): 1–8.

La naissance de l'illustration photographique dans le livre d'art: Jules Labarte et l'Histoire des arts industriels (1847-1875)

by Marc H. Smith

(avec Sylvie Aubenas) Bibliothèque de l'école des chartes. 2000, tome 158. pp. 169-196

(Ilustrações para o artigo / Illustrations for the paper) "Behavior of the common moorhen in Rio Grande do Sul, Brazil"

by Fábio Purper Machado

(Ilustrações para o artigo - Illustrations for the paper) "Behavior of the common moorhen in Rio Grande do Sul, Brazil", escrito por Gabriel Luz Wallau, Franchesco Della-Flora, Anderson Saldanha Bueno, Josmael Corso, Mauro Freitas Ortiz and Nilton Carlos Cáceres.

Publicado na ACTA ETHOLOGICA V.13, N.2, p.127-135,
DOI: 10.1007/s10211-010-0082-5. ISSN: 0873-9749

(Informado pelos autores / Informed by the authors)

This study presents data on behavioural acts performed... more (Informado pelos autores / Informed by the authors)

This study presents data on behavioural acts performed by the Common Moorhen Gallinula chloropus in southern Brazil, and compares these with the behaviours previously reported for other populations. Focal observations of individuals were conducted in the municipality of Santa Maria, in the central region of the state of Rio Grande do Sul, Brazil. The sampling was done in 2-hour sessions, between January and March of 2007. A total of 20 behavioural acts, grouped in seven categories, were identified and described: locomotion (N=5 acts), grooming (N= 4), intra-specific behaviour (N=2), inter-specific behaviour (N= 3), foraging (N=2), reproduction (N=2) and rest (N= 2).
Among the observed behaviours were acts that are not described in the literature such as greeting of offspring and some feeding acts. Regarding the use of habitat, we observed that this species has a preference for water or aquatic macrophytes, which is contrary to other reports. In the analysis of behavioural daily variation, overall behavioural categories did not vary significantly throughout the day, whereas we observed a significant difference in the use of categories during the periods 11:00 am–1:00 pm, 1:00– 3:00 pm and 5:00–7:00 pm. The contrasting data between studies indicate that the variation between habitats and ecological interactions may generate different selective pressures on the behaviour of G. chloropus.

Keywords: Gallinula chloropus . Behavioural acts . Populations
. Behavioural geographic variation . Brazil .

A Look at Chris Van Allsburg: An American Author and Illustrator

by JC Brown

LIS 6510, children's literature, picture books, illustrator, american illustrator, michigan illustration, university of michigan

A brief biography of author/illustrator Chris Van Allsburg with a comparison of several of his works: Jumanji, The... more A brief biography of author/illustrator Chris Van Allsburg with a comparison of several of his works: Jumanji, The Mysteries of Harris Burdick, The Polar Express, The Widow's Broom, Zathura, and The Queen of the Falls.

« Illustration et sérialité dans les livraisons romanesques (1870-1910 », séminaire de recherche sur la littérature française du XIXe siècle des universités de Paris-Sorbonne et Sorbonne-Nouvelle, organisé le 23 février 2008 par Hélène Védrine (publié sur le site de l’Ecole des Chartes

by Matthieu Letourneux

"«Voir les bandits à l’oeuvre », Document et fiction dans l’illustration de faits-divers (1877-1918)", Cahiers du GRIT, I, 2011.

by Matthieu Letourneux

Bernard Picart, Girolamo Odam, et alii. Stoch's 1724 Pierres antiques gravées

by Hadrien Rambach

Work in progress

Philipp von Stosch’s Gemmæ antiquæ cælatæ scalptorum nominibus insignitæ / Pierres antiques gravées, sur lesquelles... more Philipp von Stosch’s Gemmæ antiquæ cælatæ scalptorum nominibus insignitæ / Pierres antiques gravées, sur lesquelles les graveurs ont mis leurs noms … et traduites en François par M. de Limiers, published in Amsterdam in 1724 by Bernard Picart, is a folio volume containing (3), (2), xxi, 97, (1) pages, and 70 plates. Perhaps the most attractive illustrated book on gems published in the eighteenth century, it is certainly the most famous.

Evaluating Illustration Aesthetically: Points for consideration for those new to the field

by Jaleen Grove

An informal, unpublished essay

People from the mainstream art world are beginning to take note of the collection, analysis, history, and appreciation... more People from the mainstream art world are beginning to take note of the collection, analysis, history, and appreciation of illustration. There is a danger, however, that they unwittingly bring with them a deficit of understanding and even a prejudiced eye, due to illustration having been villified for most of the 20th century as "not-art". This essay debunks some common myths, and serves as a primer on what to look for in illustration art.

Portraits d'Héloïse dans l'édition illustrée d'Une saison dans la vie d'Emmanuel

by Kirsty Bell

The Illustrator & The Scientist: The Future of the Future

by Thomas Barwick

This is a copy of a short article written for the journal of the AOI ( Association of Illustrators)

‘Images de Marque? Les illustrations du Cabinet des fées au XVIIIe et XIXe siècles’, RELIEF-Revue électronique de littérature française, Vol. 4, No. 2 (2010), 109-141

by Jonathan Hensher

This essay  examines a series of editions published between 1823 and 1864 reprising the title of the famous... more This essay  examines a series of editions published between 1823 and 1864 reprising the title of the famous illlustrated collection of fairy-tales, Le Cabinet des fées (1785-89). By considering the material aspects of these relatively little-known editions, and in particular their illustrations, we both can trace the development of the market in children's books and widen our vision of the illustration of fairy-tales beyond the better-known editions which have hitherto monopolised the attention of researchers. Stylistic and thematic shifts (in the vision of the fairy-tale "past", orientalist tendencies, the representation of the fantastic) brought about by both cultural and technological developments, distinguish these editions from previous productions. This said, a strong "nostalgic" tendency can be discerned in many of these illustrations, which reprise the visual modes of the 17th Century and earlier, even if they only rarely display the influence of Marillier's famous engravings for the edition of 1785.


Résumé

Cet essai considère une série d’éditions parues entre 1823 et 1864 qui reprennent le titre du célèbre recueil illustré de contes de fées, Le Cabinet des fées (1785-89). En examinant le caractère matériel de ces éditions peu connues, et surtout celui de leurs illustrations, on peut retracer le développement du marché de livres pour enfants en cette période et élargir notre vision de l’illustration des contes au-delà des éditions plus célèbres qui ont jusque-là accaparé l’attention des chercheurs. Les changements stylistiques et thématiques (dans la vision du « passé » féerique, la tendance orientaliste, la représentation du fantastique) entraînés par des développements culturels ainsi que techniques, différencient l’illustration de ces éditions de la production antérieure. Pourtant, on constate aussi une forte tendance « nostalgique » dans nombre de ces illustrations, qui reprennent les modes visuels du XVIIe siècle et avant, même si elles ne montrent que très rarement l’influence des célèbres illustrations de Marillier pour l’édition de 1785.

‘Economies of Scale: patterns of gigantism and miniaturisation in late eighteenth-century editions of Orlando furioso’, in Cionescu, Christina (ed.), Book Illustration in the Long Eighteenth Century: reconfiguring the visual periphery of the text (Cambridge Scholars Publishing), 75-112.

by Jonathan Hensher

‘Economies of scale: patterns of gigantism and miniaturisation in late eighteenth-century editions of Orlando... more ‘Economies of scale: patterns of gigantism and miniaturisation in late eighteenth-century editions of Orlando furioso’

  This essay seeks to examine illustrations as indicators of shifts in the economic, technical and ideological conditions both within publishing and in wider society. Using the example of late eighteenth-century editions of Lodovico Ariosto’s Orlando furioso, it focuses on variations in the dimensions of their illustrations, analysing variations in size between different series of illustrations and also examining the visual, interpretative and social shifts involved in cases where plates are copied and re-scaled. It is our intention here to show that, far from being an incidental detail, this issue of changing size raises important questions regarding both the changing modes of production and consumption of illustrated literature, and the very concept of visual authorship, reproduction and similitude in pre-photographic visual culture.
  From an analysis of the ‘canonical’ character of the large, luxurious and widely-imitated series of illustrations to Ariosto’s poem which appeared in the 1770s, and their relation to subsequent, smaller-scale and largely (but not entirely) derivative production, the degree to which the size (and number) of illustrations, in addition to their pictorial content, contributes to determining the generic identity of a text is discussed.
  Deploying theoretical models of cultural production and consumption derived from the work of Pierre Bourdieu, along with established analytical approaches to the economic context of eighteenth-century print culture, the essay shows how book illustration in this period functioned as a means of acquiring and exchanging the ‘symbolic capital’ of authority (both social, textual and pictorial) within the socio-economic as well as the literary-artistic realm.

‘Engraving Difference: the representation of the Oriental Other in Marillier’s illustrations to the Mille et une nuits and other contes orientaux in Le Cabinet des fees (1785-89)’, Journal for Eighteenth-Century Studies 31 (September 2008), 377-91.

by Jonathan Hensher

The role of visual images in shaping French society’s notions of the Oriental other, while much discussed with regard... more The role of visual images in shaping French society’s notions of the Oriental other, while much discussed with regard to the colonial period of the nineteenth and twentieth centuries, remains comparatively little documented as far as the eighteenth century is concerned. The 120 illustrations by Pierre-Clément Marillier (1740-1808) for the Cabinet des fées are therefore of particular significance. Although often referred to as a collection of contes de fées, the 41-volume Cabinet des fées also contains a very high proportion of tales with an Oriental theme, including Galland’s translation of the Mille et une nuits, making this in effect the first true illustrated edition of the Nights. By virtue of their quantity and variety, then, Marillier’s illustrations rank among the most important sources for the study of the visual representation of the Oriental other in this period.
While numerous postcolonial critics have challenged Said’s admittedly somewhat monolithic characterisation of Orientalism as ‘a Western style for dominating, restructuring, and having authority over the Orient’, the modes of representation employed in Marillier’s illustrations display a surprising degree of continuity with the visual production of the later, colonial era. While certain images may portray the Orient in a comparatively favourable light, with regard both to the choice of episodes for illustration and the specific treatment of these scenes, there is in general a marked tendency to present the other as at once alluring and threateningly alien.
While reprising certain traditional verbal tropes in their representation of the Oriental other, as well as embodying elements of Enlightenment discourse on ethnicity and culture, Marillier’s illustrations nonetheless display many of the distinctive features of the fully-fledged visual Orientalism that would rise to dominance in the colonial period. Although their depiction of Oriental characters, particularly as regards costume, may not display the pretensions to ethnographic accuracy that would characterise later representations, their systematic indication of the ethnic and cultural difference of Oriental men through their ‘Turkish’ dress is a clear indication of a movement in this direction. This is equally true of their consistent emphasis on the stereotypically ‘Oriental’ vices of sexual deviance and brutal violence through the selection of episodes for depiction, while their inscription of an eroticised vision of Oriental women is even more surprising in its pre-figuring of subsequent tendencies. An analysis of Marillier’s engravings reveals a surprising degree of continuity in representational paradigms between these two periods which would seem to confirm the applicability of many of the postulates of postcolonial criticism to the eighteenth century.

Os surfistas

by Manuel Joao Ramos