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already noted how a portrait of him as an Eton schoolboy was re-issued in 1834, when he was in his mid-thirties and a member of the cabinet. It was photography that eventually closed this gap by presenting Derby as a sagacious elder statesman in the 1860s (figure 6.2). The making of Palmerston’s public image Russell’s 1846–52 minority Whig government was vulnerable to pressure from Radicals for retrenchment, but its weakness was partly offset by the popularity of Palmerston’s foreign policy.39 The paradox was that Palmerston’s growing prestige and habit of acting
This book analyses Anna of Denmark’s material and visual patronage at the Stuart courts, examining her engagement with a wide array of expressive media including architecture, garden design, painting, music, dress, and jewellery. Encompassing Anna’s time in Denmark, England, and Scotland, it establishes patterns of interest and influence in her agency, while furthering our knowledge of Baltic-British transfer in the early modern period. Substantial archival work has facilitated a formative re-conceptualisation of James and Anna’s relationship, extended our knowledge of the constituents of consortship in the period, and has uncovered evidence to challenge the view that Anna followed the cultural accomplishments of her son, Prince Henry. This book reclaims Anna of Denmark as the influential and culturally active royal woman that her contemporaries knew. Combining politics, culture, and religion across the courts of Denmark, Scotland, and England, it enriches our understanding of royal women’s roles in early modern patriarchal societies and their impact on the development of cultural modes and fashions. This book will be of interest to upper level undergraduate and postgraduate students taking courses on early modern Europe in the disciplines of Art and Architectural History, English Literature, Theatre Studies, History, and Gender Studies. It will also attract a wide range of academics working on early modern material and visual culture, and female patronage, while members of the public who enjoy the history of courts and the British royals will also find it distinctively appealing.
Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.
member of the UN Security Council is prepared to do. We witness these two metaphors sustained by news values and production practices. Can the arrow of causation implied so far be reversed so that, rather than mental images being routinely translated and enacted in policy to produce visual outcomes, can visual images be created that inform new mental images for those conducting war and foreign policy? Windows of opportunity emerge to change political discourse in moments of policy failure and discord and uncertainty among policy elites. When policymakers cannot offer a
By 1911, diplomatic relations between the United States and Italy seemed solidly planted. In that year, the United States proceeded to sign arbitration treaties with Great Britain and France as part of a broader foreign-policy strategy of peaceful diplomatic relations and promotion of commerce. 1 The two young nation states, in the process
of Power: Framing News, Public Opinion, and U.S. Foreign Policy. Chicago: University of Chicago Press. Farocki, Harun. 2004. ‘Phantom Images.’ Public 29: 12–22. Foster, Hal. 1983. Anti- Aesthetic: Essays on Postmodern Culture. Port Townsend, WA: Bay Press. Freedberg, David. 1989. The Power of Images: Studies in the History and Theory of Response. Chicago: University of Chicago Press. Goffman, Erving. 1986. Frame Analysis: An Essay on the Organization of Experience. Boston: Northeastern University Press. Ghosh, Bishnupriya. 2011. Global Icons: Apertures to the
in 1928. 37 This position was by all means justified in the interwar period, when the results of anthropological research that contradicted the racist academic mainstream had to be as unassailable as possible. Furthermore, Franz Boas had already spoken out vehemently against the questionable weaponisation of anthropology by politics, especially foreign policy in the USA. 38 Nevertheless, Herskovits relied in his research on the support of representatives of Black interest politics. Without the help of Du
international leaders like Frantz Fanon, Malcolm X and Mao. Despite the fact that China eventually made ‘disastrous foreign policy decisions vis-à-vis Africa and the Third World’, at the time the Black Panther Party was operating ‘China was the most powerful “coloured” nation on earth’.5 In mid-1967 the American artist Emory Douglas became the BPP’s Minister of Culture, responsible for the visual parts of its influential weekly publication, then called The Black Panther Community News Service and published in Oakland. The Black Panthers were organised under ministries – of
and advertisements, this remained highly subjective. Some images were clearly inaccurate as likenesses, such as the depictions of Palmerston that underplayed his age in the 1850s, but resonated for what they represented, in this case Palmerston’s vigorous, manly approach to foreign policy and the defence of British interests. It was revealing that even after photographs of Palmerston, which presented a more accurate view of his aged features, became widespread, contemporaries still thought they embodied the ‘jaunty’ qualities that had been a feature of pictorial