When Public History is done so well, we want to celebrate it! In Fall 2018, our colleague in Art History, Dr. Stephennie Mulder, had her students rewrite articles on Wikipedia to be more accurate and based on up-to-date scholarship. To be honest, I’ve thought about doing something like this in my classes, but I would never […]
By Meghan Forbes In “The European Avant-Garde in Print” (REE 325), students explored the unique and vibrant print culture in Central Europe between the two world wars and the social and political context that produced it. I sought to expose students to the networked qualities of magazines that were published in Czech, Hungarian, Serbo-Croatian, Polish, […]
By Peter Worger Tucked into the pages of Nikolai Punin’s diary is a sliver of silver paper made into the shape of a fish. Its scales have been drawn with what appears to be black marker or charcoal in an Impressionist style on one side and in a Cubist style on the other. The fish […]
Cats and dogs in art are rarely mere props. More than decoration, their presence serves a meaningful purpose. They may represent human endeavors, moralities, values, and behaviors. Alternately, their image may signify the lives and conditions of individual animals themselves, or entire categories of such animals, existing in domestic relationships with humans, as suppliers of labor, or even as a sources of food. Animals in art offer novel and useful ways to understand historical trends and events.
“May God be pleased with all the Companions of His Prophet.” With these words, the 12th century mayor of Aleppo, al-Zahir, carved in stone a sentiment that powerfully reflects the nuanced, negotiated sectarian history of Islam in Syria and elsewhere in the Islamic world.
In 1746 Dr. Andrés Arce y Miranda, a creole attorney from Puebla, Mexico, criticized a series of paintings known as the cuadros de castas or casta paintings. Offended by their depictions of racial mixtures of the inhabitants of Spain’s American colonies, Arce y Miranda feared the paintings would send back to Spain the damaging message that creoles, the Mexican-born children of Spanish parents, were of mixed blood.
When Cassiano dal Pozzo, the Pope’s personal assistant, returned to the Vatican from Spain in 1626, he brought with him a Mexican manuscript on natural history, the Libellus de medicinalibus Indorum herbis. The “herbal” was a marvelous Mexican manuscript containing illustrations of more than 180 plants. Commonly known as Codice de la Cruz-Badiano, it is considered the first illustrated survey of Mexican nature produced in the New World.