Since the landmark lunar landing of Apollo 11 on July 20, 1969, NASA’s Lunar Reconnaissance Orbiter (launched in 2009), and the Japanese Aerospace Exploration Agency’s Kaguya spacecraft (2007–2009), among other efforts, have now mapped the Moon’s surface. Before those technological advances and since the beginning of recorded time, people and civilizations have been entranced by Earth’s only natural satellite, which is the second-brightest celestial object visible in the sky from the surface of the planet. Selected examples, among thousands, show how the history of the Moon has been regarded, illustrated, and mapped in visual culture in the Western world. Early examples include representations of a formulaic crescent Moon in Babylonian times; later this dominant stylized depiction of the Moon gave way to more naturalistic images based on observation, culminating in Leonardo da Vinci’s manuscript drawings, which study the lunar structure and cratered surface, and Galileo Galilei’s first telescopic images of the Moon recorded in wash drawings and woodcuts for his book Sidereus Nuncius. Both the artistic and scientific visual acuity that made this evolution possible belonged to the burgeoning empiricism of the 14th through the 17th centuries, which eventually yielded modern observational astronomy and impacted lunar iconography. The subsequent dramatic mapping of the Moon’s surface and the naming of its features became a preoccupation of many astronomers and some artists, who assisted scientists in illustrating their work. With the seeming physical mapping of the Earth-facing side of the Moon well underway in the late 18th and early 19th centuries, the function of Earth’s satellite as a Romantic symbol gained force in the all the arts but most dramatically in the works of landscape painters in Germany (e.g., Caspar David Friedrich and Carl Gustav Carus) and in England (e.g., Samuel Palmer). At the same time, William Blake, who was obsessed with astronomical imagery, used the Moon for expressive purposes, which reached a fever pitch later in the century in the work of Vincent Van Gogh. Along with the increasing accuracy of the Moon’s portrayal through both artists’ and scientists’ representations, the dramatic history of its mapping from Earth crescendoed with the development of photography and William Cranch Bond’s first successful daguerreotype of the Moon in 1851. Further exploration of the Moon, including its far side, has gravitated to aerospace engineers in cooperation with physicists, astronomers, mathematicians, and Apollo astronauts. Nevertheless, the Moon has remained an enduring object of fascination for artists—among the many, Surrealist Joan Miró, Veja Celmins, and Andy Warhol.
The Red Gown: Reflections on the Visual History of Menstruation in Scotland
