By Roelof van Straten, Patricia de Man (trans)
For the 1st time in English, to be had in a single resource, "An creation to Iconography" explains the methods artists use references and allusions to create which means. The booklet offers the historic, theoretical, and sensible features of iconography and ICONCLASS, the excellent iconographical indexing process constructed by means of Henri van de Waal. themes reminiscent of the background of iconography, personification, allegory, and logos obtain precise emphasis. additional good points comprise annotated bibliographies of books and magazine articles from all over the world which are linked to iconographic learn. This entire advisor, with its greater than 60 illustrations, deals a readable and prepared resource for the topic.
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Additional info for An Introduction to Iconography
Hardy is here less concerned with the reader-spectator, more given up to and absorbed in self-expression: 'So I unto myself alone shall sing'. The observer's eye at work, although still a painter's eye, is content to appear as simply a natural, or perhaps a poet's eye. In the opening of 'The Wind's Prophecy', 22 Hardy and the Sister Arts travel on by barren farms, And gulls glint out like silver flecks Against a cloud that speaks of wrecks, And bellies down with black alarms the painter's sensibility has contributed to the description, forming the details into a rapid Ruisdael-like landscape, bringing earth and sky into relationship, establishing the mood by means of the contrast between the black, threatening cloud and the glint of sunshine on the gulls' wings, yet the description itself does not advertise the fact.
As this example illustrates, Hardy looks at his characters' facial characteristics with the eye of a painter. He notices line, curve, and colour, and is alert to what they can tell us of the personality within. Henchard 'showed in profile a facial angle so slightly inclined Pictorial Arts 43 as to be almost perpendicular' (MC, 37), a perpendicularity expressive as much of his stubbornness as of his rectitude. Boldwood has 'full and distinctly outlined Roman features, the prominences of which glowed in the sun with a bronze-like richness of tone' (FFMC, 120).
Most of the time in reading his work, especially the novels, we know, though with varying degrees of awareness, that we are looking at pictures. But the effect, after that first sense of alienation I referred to earlier has worn off, is to heighten rather than to diminish our sense of reality. The pictures are so vivid that they have life, as actual pictures (which are static only in the sense that they cannot get up and walk away) have it. Their effect is simultaneously to idealise and to reify.