Lives of Images (Reaktion Books - Picturing History)

178 Pages·2001·3.35 MB·English

by  Peter Mason

The Lives of Images
Peter Mason
‘…aniconologicalanalysisthatcanrangefreely,withnofear
of borderguards…bytakingpainstoilluminateonesingle
obscurity,cancastlightongreatanduniversalevolutionary
processesinalltheirinterconnectedness’
 

The Lives of Images
 
SeriesEditors
PeterBurke,SanderL.Gilman,LudmillaJordanova,
RoyPorter,†BobScribner(–)
Inthesameseries
HealthandIllness LandscapeandEnglishness
ImagesofDifference  
 . 
TheThief,theCrossandtheWheel
MeninBlack PainandtheSpectacleofPunishmentin
  MedievalandRenaissanceEurope
 . 
DismemberingtheMale
Men’sBodies,BritainandtheGreatWar ‘DownwiththeCrown’
  BritishAnti-monarchismandDebatesabout
Royaltysince
EyesofLove  
TheGazeinEnglishandFrenchPainting
andNovels– TheJewishSelf-Image
  AmericanandBritishPerspectives
‒
TheDestructionofArt  
IconoclasmandVandalismsincetheFrench
Revolution GlobalInterests
  RenaissanceArtbetweenEastandWest
    
TheFeminineIdeal
  PicturingTropicalNature
  
MapsandPolitics
 
RepresentingtheRepublic
MappingtheUnitedStates‒
TradingTerritories
  
MappingtheEarlyModernWorld
 
BodiesPolitic
PicturingEmpire Disease,DeathandDoctorsinBritain,
PhotographyandtheVisualizationofthe ‒
BritishEmpire  
 
Eyewitnessing
PicturesandVisualityinEarly TheUsesofImagesasHistoricalEvidence
ModernChina  
 
TheArtofSuicide
MirrorinParchment  . 
TheLuttrellPsalterandtheMakingof
MedievalEngland
 
The Lives of Images
Peter Mason
 
paraAnneChapman,laquetieneelcorazónmásgrande
PublishedbyReaktionBooksLtd
FarringdonRoad,London,
www.reaktionbooks.co.uk
Firstpublished
Copyright©PeterMason
Allrightsreserved
Nopartofthispublicationmaybereproduced,
storedinaretrievalsystemortransmitted,inany
formorbyanymeans,electronic,mechanical,
photocopying,recordingorotherwise,
withoutthepriorpermissionofthepublishers.
SeriesdesignbyHumphreyStone
PrintedandboundinGreatBritainby
Bookcraft,MidsomerNorton
BritishLibraryCataloguinginPublicationData
Mason,Peter,‒
Thelivesofimages.–(Picturinghistory)
.Art,European.Humanbeingsinart
I.Title
.

Contents
Acknowledgements 
Introduction
 TheLives(andDeaths)of FuegiansandTheirImages 
 BeingThere 
 FromAmericatoOxfordshire? 
 ThePurloinedCodex 
 ImagesandObjects 
References 
PhotographicAcknowledgements 
Index 

Acknowledgements
The research behind this book was conducted in Santiago de Chile,
London, Brussels, Paris, Krakow and Amsterdam. I am grateful to
RobertoEdwardsandtheFundaciónAméricaforhostingmystaysin
Santiago, to Francisco Bethencourt and the Gulbenkian Foundation
for doing the same in Paris, and to the members of the various
archives and libraries who patiently responded to my inquiries and
supplied the original photographs, in particular David Newman of
thelibraryof theSouthAmericanMissionSocietyatAllenGardiner
Cottage,TunbridgeWells.
Themainargumentof thebook,assummarizedinChapter,was
presentedasaciclodeconferenciasattheInstituteof Aesthetics,Ponti-
ficiaUniversidadCatólicadeChile,inMarchatthekindinvita-
tion of Margarita Alvarado Pérez. Its final form has benefited from
those lively discussions in Santiago. An early version of Chapter 
appeared in English as ‘En tránsito: Los fueguinos, sus imágenes en
Europa,ylospocosqueregresaron’,inP.MasonandC.Odone,eds,
CulturasdePatagonia:Miradas:Ensayossobrelospueblospatagóni-
cos. An earlier version of Chapter  appeared as ‘Ethnographic
Portraiture in the Eighteenth Century: George Psalmanaazaar’s
Drawings of Formosans’, in Eighteenth-Century Life, XXIII () –
thoughIwouldnowprefertowrite‘“Ethnographic”Portraiture’.An
earlier version of Chapter , written after Arthur MacGregor had
tippedmeoff abouttheHarmanmonumentandBrendaKirschhad
takenmetoBurford,waspresentedattheconferenceentitled‘Natura
eCultura:L’interpretazionedelmondofisiconeitestienelleimmag-
ini’ at the Accademia Nazionale Virgiliana di Scienze, Lettere ed
Arte, Mantua, in October  at the kind invitation of Giuseppe
Olmi. It was subsequently published as ‘Of Turkeys and Men:
Towards a Historical Iconography of New World Ethnographic and
NaturalHistoricalRepresentation’inthevolumewiththesametitle
as the conference, edited by L. Tongiorgi Tomasi, G. Olmi and A.
Zanca(Florence,).Ashorterversionof Chapterwaspresented

totheTagungderdeutschsprachigenEthnologinnenundEthnologen
inViennainSeptemberatthekindinvitationof AdamJones.It
wassubsequentlypublishedinJournaloftheHistoryofCollections,IX
().Thesectionof ChapteronHumboldtisbasedon‘Moving
Mountains and Raising the Dead’, in M. Jansen and L. Reyes, eds,
GarcíaCódices,CaciquesyComunidades(Leiden,).
Although I live and work in Amsterdam, this book was written
without support from any Dutch institution. As an independent
writer, I am all the more dependent on friends and colleagues for
passing on articles and other materials and for making valuable
suggestions.Itisthusapleasuretoacknowledgetheassistanceof all
those who have helped in various ways: Margarita Alvarado Pérez,
Christian Báez Allende, Clare Baines, Nicolas Barker, Christine
Barthe, Ernst van den Boogaart, Giancarlo Carabelli, Anne Chap-
man, Eugenio Dittborn, Jacqueline Dubois, Elizabeth Edwards,
Christian Feest, Jean Fisher, Caterina di Girolamo, Paula Honorato,
Maarten Jansen, Adam Jones, Geneviève Lacambre, Sebastián
López, Colin McEwan, Arthur MacGregor, Pedro Mege Rosso,
Carolina Odone, Giuseppe Olmi, Marisol Palma, José Pardo Tomás,
Elaine Reichek, Luis Ángel Sánchez Gómez, Ben Schmidt, Claudia
Swan,ChristelVerhasandTheaVignau-Wilberg.Muchasgracias.
IthasbeenapleasuretoworkwiththeeditorialteamatReaktion,
especiallyAndreaBelloliandHarryGilonis.
Florike Egmond’s contribution is unique. Without it, I would be
nowhere.Mydebtof gratitudetoherisboundless.
