William Blake never travelled to the continent, yet his creation myth is far more European than has ever been acknowledged. The painter Henry Fuseli introduced Blake to traditional European thinking, and Blake responded to late 18th century body-theory in his Urizen books (1794-95), which emerged from his professional work as a copy-engraver on Henry Hunter's translation of Johann Caspar Lavater's Essays on Physiognomy (1789-98). Lavater's work contains hundreds of portraits and their physiognomical readings. Blake, Fuseli, Joshua Reynolds and their contemporaries took a keen interest in the ideas behind physiognomy in their search for the right balance between good likeness and type in portraits. Blake, Lavater, and Physiognomy demonstrates how the problems occurring during the production of the Hunter translation resonate in Blake's treatment of the Genesis story. Blake takes us back to the creation of the human body, and interrogates the idea that 'God created man after his own likeness.' He introduces the 'Net of Religion', a device which presses the human form into material shape, giving it personality and identity. As Erle shows, Blake's startlingly original take on the creation myth is informed by Lavater's pursuit of physiognomy: the search for divine likeness, traced in the faces of their contemporary men.
The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.
The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.
The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.
The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.
The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.
« On ne sait rien à propos de la naissance de Muriel Ortisveiler. Elle serait née au coin d'une rue, se serait détachée d'un mur de pierre en plein après-midi, ou élevée du sol comme une plante, mais quoi qu'il en soit tout d'un coup elle aurait été là. Toutefois personne dans la rue ne l'avait vue apparaître, le phénomène spectaculaire de sa naissance surnaturelle passa donc totalement inaperçu. Au début elle n'avait pas d'histoire, pas de mémoire antérieure à cet instant où il lui avait semblé sortir d'un mur, mais plus tard quelques personnes croisées par hasard se souvinrent d'elle avant ce jour-là, aussi racontèrent-elles quelques bribes de son passé. Elle aurait surgi au centre d'une ville où elle avait jusqu'à présent vécu, mais dans un quartier très différent. À cette époque où elle arriva de façon si aberrante tout était gai, ajoutait-on, et tout - rigoureusement tout - était possible. Cette époque inouïe avait été celle de la confiance et de l'opulence pour une partie de l'humanité et Muriel était née au coeur de cette partie dynamique et confiante du monde. » Sibylle Grimbert est née à Paris. Birth days est son premier roman.
The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.
The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.
William Blake never travelled to the continent, yet his creation myth is far more European than has ever been acknowledged. The painter Henry Fuseli introduced Blake to traditional European thinking, and Blake responded to late 18th century body-theory in his Urizen books (1794-95), which emerged from his professional work as a copy-engraver on Henry Hunter's translation of Johann Caspar Lavater's Essays on Physiognomy (1789-98). Lavater's work contains hundreds of portraits and their physiognomical readings. Blake, Fuseli, Joshua Reynolds and their contemporaries took a keen interest in the ideas behind physiognomy in their search for the right balance between good likeness and type in portraits. Blake, Lavater, and Physiognomy demonstrates how the problems occurring during the production of the Hunter translation resonate in Blake's treatment of the Genesis story. Blake takes us back to the creation of the human body, and interrogates the idea that 'God created man after his own likeness.' He introduces the 'Net of Religion', a device which presses the human form into material shape, giving it personality and identity. As Erle shows, Blake's startlingly original take on the creation myth is informed by Lavater's pursuit of physiognomy: the search for divine likeness, traced in the faces of their contemporary men.
The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.
The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.
The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.
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