Painting the Bible: Representation of Belief in Mid-Victorian Britain. By Michaela Giebelhausen. British Art and Visual Culture since 1750. Aldershot, U.K.: Ashgate, 2006. xii + 249 pp. $99.95.

2008 ◽  
Vol 77 (1) ◽  
pp. 193-196
Author(s):  
Virginia C. Raguin
2018 ◽  
pp. 25-65
Author(s):  
Anna Dahlgren

Chapter 1 considers the mechanisms of breaks and continuities in the history of photocollage with regard to gender, genre and locations of display. Collage is commonly celebrated as a twentieth-century art form invented by Dada artists in the 1910s. Yet there was already a vibrant culture of making photocollages in Victorian Britain. From an art historical perspective this can be interpreted as an expression of typical modernist amnesia. The default stance of the early twentieth century’s avant-garde was to be radically, ground-breakingly new and different from any historical precursors. However, there is, when turning to the illustrated press, also a trajectory of continuity and withholding of traditions in the history of photocollage. This chapter has two parts. The first includes a critical investigation of the writings on the history of photocollage between the 1970s and 2010s, focusing on the arguments and rationales of forgetting and retrieving those nineteenth-century forerunners. It includes examples of amnesia and recognition and revaluation. The second is a close study of a number of images that appear in Victorian albums produced between 1870 and 1900 and their contemporary counterparts in the visual culture of illustrated journals and books.


2019 ◽  
Vol 23 (4) ◽  
pp. 411-433
Author(s):  
Sheona Beaumont

Abstract Increasingly articulate contemporary art practices are engaging with biblical representation, revealing new relationships with religion through the availability of the word in image. Taking as exemplary the photographic publication of Adam Broomberg and Oliver Chanarin’s Holy Bible (2013), this essay considers the evidence for their hermeneutics between image and word that is characterized by open awareness of and expansive participation in the (rereading of the) Bible. Discussing this engagement, I explore imagistic readings of the Bible through the artists’ strategies of interpolation and repetition, as well as examining their chosen theme—catastrophe—for its revelatory power. Through the artists’ self-reflexive hermeneutics of indeterminacy, I argue that the discussion of the return of religion in art needs attuning to this kind of specific practitioner experience: a hermeneutical circle of imaginative, dialogical, and dynamic interpretative positions in which the notion of indeterminacy is persuasive for interpretative grist, historical accountability, and theological horizon.


Author(s):  
Leah Price

This book asks how our culture came to frown on using books for any purpose other than reading. When did the coffee-table book become an object of scorn? Why did law courts forbid witnesses to kiss the Bible? What made Victorian cartoonists mock commuters who hid behind the newspaper, ladies who matched their books' binding to their dress, and servants who reduced newspapers to fish n' chips wrap? Shedding new light on novels by Thackeray, Dickens, the Brontës, Trollope, and Collins, as well as the urban sociology of Henry Mayhew, the book also uncovers the lives and afterlives of anonymous religious tracts and household manuals. From knickknacks to wastepaper, books mattered to the Victorians in ways that cannot be explained by their printed content alone. And whether displayed, defaced, exchanged, or discarded, printed matter participated, and still participates, in a range of transactions that stretches far beyond reading. Supplementing close readings with a sensitive reconstruction of how Victorians thought and felt about books, this book offers a new model for integrating literary theory with cultural history. The book reshapes our understanding of the interplay between words and objects in the nineteenth century and beyond.


2021 ◽  
Vol 8 (1) ◽  
pp. 51-80 ◽  
Author(s):  
Naomi Billingsley

This article examines an iconic example of grangerizing: the Macklin Bible extra-illustrated in 45 volumes by London artist and bookseller Robert Bowyer (1758‐1834) in the first quarter of the nineteenth century (Bolton Libraries and Museums, Bolton, United Kingdom). The principal focus is on the Bowyer Bible as an example of an extra-illustrator’s close engagement with its source publication. The author argues that Bowyer’s practice responds not only to the Bible or the King James Bible, in general, but also to the Macklin Bible, in particular. The article discusses how the Bowyer Bible engages with the Macklin Bible specifically and how it reflects a broader range of concerns in its visual engagement with the Bible. It demonstrates that Bowyer’s curation of biblical visual material evidences both his professional interests as a connoisseur of prints and his personal interests in the visual culture of the Bible that reflect his own piety as well as contemporaneous developments in the study of the scriptures. Other matters discussed in the article are the original function of this Bible, as well as the extent to which it reflects and is distinctive from contemporaneous extra-illustrated books.


1994 ◽  
Vol 28 (1) ◽  
pp. 137
Author(s):  
Patricia Crown ◽  
D. G. C. Allan ◽  
John L. Abbott ◽  
Marcia Pointon ◽  
Wendy Roworth ◽  
...  

Images ◽  
2010 ◽  
Vol 4 (1) ◽  
pp. 82-108
Author(s):  
Nissim Gal

AbstractThe series of photographs called Bible Stories (2003-2006), made by the photographer Adi Nes, offers a visual interpretation of the biblical narrative as a source for a critical reflection on contemporary culture. The Bible Stories series uncovers the aesthetic, ethical and social codes of the current visual culture. Nes processes the biblical text and rereads it via photography. The renewed appearance of the bible stories connects contemporary photorealism with the tradition of biblical illustration. The contemporary appearance and interpretative recomposition of the biblical episodes invert the hierarchies exemplified in some of the stories, and restructure the apparent gender relations, opening up a way to societal Others in the present, and conscripting the transcendent status of the text in order to criticize contemporary culture through the creative act.


Sign in / Sign up

Export Citation Format

Share Document