Portland, OR, Irish Academic Press, 2000, p. vi. An 1890s’
photograph showing the Sikh guns in the rotunda of the Dublin Museum
of Science and Art is in the Lawrence Collection, National
Photographic Archive, National Library of Ireland, Dublin.
For Wheatley’s paintings see Fintan Cullen,
VisualPolitics. The Representation of
Monuments, memorials and their visibility on the metropole and periphery
to convince populations that there was a ‘right’ to
colonise. The two imperial powers thus sought to legitimise their
newly established colonial structures by different means: visual
ones, the erection of monuments, statues and memorials, were part of
this ‘project’. Three practices of architectural visualpolitics were envisaged: firstly, the conservation and restoration
), pp. 140–183.
76 Davide Rodogno and Thomas David, ‘All the World Loves a Picture: The World Health Organization’s VisualPolitics, 1948–1973’, in H. Fehrenbach and D. Rodogno (eds), Humanitarian Photography: A History (New York: Cambridge University Press, 2015), pp. 223–248.
77 Jennifer J. Palmer and Pete Kingsley, ‘Controlling Sleeping Sickness Amidst Conflict and Calm: Remembering, Forgetting and the Policy of Humanitarian Knowledge in Southern Sudan, 1954–2005’, in C. Bennett, M. Foley and H. B. Krebs (eds), Learning from the Past to Shape
posters that had the dove of the Partisans dripping blood or mutating
into a tank; inspired by this, the main Italian centres for producing visualpolitical imagery set to work on conveying similar ideas in their illustrations.176
Posters produced by the Civic Committees tended to give the message that the
Partisans’ dove should be seen as an aggressive threat rather than a message
of peace: it was seen nesting in the cannon barrel of a Soviet tank, or carrying
rifles and machine guns in its claws. In Il Quotidiano in June 1950, by contrast,
Jacovitti drew ‘Picasso