By Udo J. Hebel
The pictorial flip within the humanities and social sciences emphasizes the political energy of pictures and the level to which historic, political, social, and cultural techniques and practices are formed visually. the quantity gathers twenty-one articles by means of visible tradition reviews specialists within the fields of paintings historical past, American reports, historical past, and Political technology from Europe and the USA. the gathering explores the political functionality and cultural influence of pictures and the way political iconographies interpret norms of activities, aid ideological formations, and increase ethical innovations.
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Extra info for Pictorial Cultures and Political Iconographies: Approaches, Perspectives, Case Studies from Europe and America
Example text
Hendrick van Balen and Jan Breughel the Younger: 7KHEHQHÀFHQWFRQVHTXHQFHVRI WKHH[SXOVLRQRI 0DUV, 115,5 x 182,5, Munich, private collection. VKDSHRI WKHZHDOWKSUHVHQWHGWRSHDFHIXO(QJODQG$IWHUKDYLQJEXLOWFRQÀdence and having contemplated all the complex aspects of a peace between 6SDLQDQG(QJODQGGXULQJERWKWKHÀUVWSKDVHVRI QHJRWLDWLQJDQGWKHÀUVW VWHSVRI WKHSDLQWLQJ·VHYROXWLRQ5XEHQVQRZRIIHUVFRQFUHWHEHQHÀWVWRWKH whole English nation as well as to his supporters and dialogue partners at the English court.
I am indebted to David Jaffé for critically discussing my suggesWLRQVWR5DLQHU%DUWKRORPDLDQG&RUGXODYDQ:\KHIRUKHOSZLWKWKHWUDQVODWLRQRI WKHÀUVW version of a paper on the topic given in 2003 at Cambridge University, and Karin Weckermann for amending this article. 34 Ulrich Heinen ency between England and Spain (Ruelens/Rooses vol. 5, 347-348). The sources of information keep quiet about the more precise context concerning the painting’s origin and the use for which it was intended.
162. For a similar caring man at Venus’s side see the Vulcan in Jacopo Tintoretto, “Vulcan, Venus and Amor,” Firenze, Galleria Pitti; Pallucchini/Rossi vol. 1, 164. For Rubens’s comment on the representation of this symbol in another painting see Heinen/Büttner 160. Apparently the overpaint is by Rubens, but further technical investigation seems useful to FRQÀUPWKLVREVHUYDWLRQ Rubens’s Pictorial Peacekeeping Force – Negotiating through ‘Visual Speech-Acts’ 37 Fig. 3. Titian: Allegory of the Marchese de Vasto, c.