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Visual Typologies from the Early Modern to the Contemporary' investigates the pictorial representation of types from the sixteenth to the twenty-first century. Originating in longstanding visual traditions, including street crier prints and costume albums, these images share certain conventions, as they seek to convey knowledge about different peoples. The genre of the type became widespread in the early modern period, developing into a global language of identity. The essays explore diverse pictorial representations of types, customs, and dress in numerous media, including paintings, prints, postcards, photographs, and garments. Together, they reveal that the activation of typological strategies, including seriality, repetition, appropriation, and subversion has produced a universal and dynamic pictorial language. Typological images highlight the tensions between the local and the international, the specific and the communal, and similarity and difference inherent in the construction of identity. The first full-length study to treat these images as a broader genre, Visual Typologies gives voice to a marginalized form of representation. Together, the essays debunk the classification of such images as unmediated and authentic representations, offering fresh methodological frameworks to consider their meanings locally and globally, and establishing common ground about the operations of objects that sought to shape, embody, or challenge individual and collective identities.

Manners and customs in art --- Other (Philosophy) in art --- Art --- History of civilization --- costume [mode of fashion] --- philosophy of art --- visual culture

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Difference exists; otherness is constructed. This book asks how important Western artists, from Giotto to Titian and Caravaggio, and from Bosch to Dürer and Rembrandt, shaped the imaging of non-Western individuals in early modern art. Victor I. Stoichita's nuanced and detailed study examines images of racial otherness during a time of new encounters of the West with different cultures and peoples, such as those with dark skins: Muslims and Jews. Featuring a host of informative illustrations and crossing the disciplines of art history, anthropology, and postcolonial studies, Darker Shades also reconsiders the Western canon's most essential facets: perspective, pictorial narrative, composition, bodily proportion, beauty, color, harmony, and lighting. What room was there for the "Other," Stoichita would have us ask, in such a crystalline, unchanging paradigm?

Sociology of minorities --- Iconography --- History of civilization --- fine arts [discipline] --- exoticism --- iconography --- social anthropology --- zigeuner --- andere mens --- moslim --- negro --- anno 1500-1799 --- anno 1400-1499 --- Europe --- Aliens in art --- Art, Renaissance --- Art, Baroque --- Themes, motives. --- black --- Noncitizens in art. --- zwarten --- Joden, Joods leven --- Moslims --- zigeuners --- rassen --- rondzwervende gemeenschappen: zigeuners --- antropologie --- Westerse kunst --- renaissance (historisch tijdvak, doorheen de 16e eeuw) --- middeleeuwen, middeleeuwse geschiedenis (historisch tijdvak) --- orientalisme --- barok --- zwarten. --- Joden, Joods leven. --- Moslims. --- zigeuners. --- rassen. --- rondzwervende gemeenschappen: zigeuners. --- antropologie. --- Westerse kunst. --- middeleeuwen, middeleeuwse geschiedenis (historisch tijdvak). --- orientalisme. --- barok. --- rondzwervende gemeenschappen: Roma --- Noncitizens in art --- Other (Philosophy) in art --- Themes, motives --- Orient --- In art.