by Nigel Spivey
5 SECOND NATURE
Citations from Alfred Haddon come from A.C. Haddon, Evolution in Art (London 1895). On the rapport between prehistoric sites, rock art and topography – ancient and modern – see C. Chippindale and G. Nash eds., Pictures in Place:The Figured Landscapes of Rock Art (Cambridge 2004), B. Bender ed., Landscape: Politics and Perspectives (Oxford 1993), and C.Tilley, A Phenomenology of Landscape: Places, Paths and Monuments (Oxford 1994). Simon Schama’s Landscape and Memory (London 1995) contains insights on the Western tradition of viewing ‘Nature’, so too K. Clark, Landscape into Art (2nd ed. London 1976). On the Roman wall-paintings: R. Ling,‘Studius and the Beginning of Roman Landscape Painting’, in Journal of Roman Studies 67 (1977), 1–16; for Renaissance theories, E.H. Gombrich, Norm and Form (Oxford 1966), 107–21. Chinese painters’ observations: S. Bush and H. Shih, Early Chinese Texts on Painting (Harvard 1985), 141–90, see also M. Sullivan, Symbols of Eternity: The Art of Landscape Painting in China (Oxford 1979).American manifestations of ‘the Picturesque’: A.Wilton and T. Barringer, American Sublime: Landscape Painting in the United States (London 2002).‘Land art’: a survey of the genre is given in S. Boettger, Earthworks: Art and Landscape of the Sixties (California 2003).
6
ART AND POWER
An early account of the Benin trophies taken by the ‘British Punitive Expedition’ can be found in H. Read and O. Dalton, Antiquities from the City of Benin … in the British Museum (London 1899); a more systematic study is by W. Fagg, Nigerian Images (London 1963). On courtly pomp in Europe, see P. Burke, The Fabrication of Louis XIV (Yale 1992); for the ‘theatre state’ concept, C. Geertz, Negara (Princeton 1980).The archaeological background to the ‘King of Stonehenge’ find of 2002 is given in D.V. Clarke,T.G. Cowie and A. Foxon, Symbols of Power at the Time of Stonehenge (Edinburgh 1985). For results of Italian excavations at Arslantepe see M. Frangipane ed., Alle origini del potere (Milan 2004).The study of Mesopotamian royal imagery was pioneered by Henri and H.A.G. Frankfort, whose work remains necessary reading, e.g. H. Frankfort, Cylinder Seals (London 1939); see also J.N. Postgate, Early Mesopotamia: Society and Economy at the Dawn of History (London 1992). On the Persian empire: C. Nylander, ‘Achaemenid Imperial Art’, in M.T. Larsen ed., Power and Propaganda: A Symposium on Ancient Empires (Copenhagen 1979), 345–59; plus J. Boardman, Persia and the West (London 2000). Of the vast literature created by Alexander, I recommend D.M. Lewis et al. eds., Cambridge Ancient History (Second Edition), VI: The Fourth Century B.C. (Cambridge 1994), esp. 876–81, J. Carlsen et al. eds., Alexander the Great: Reality and Myth (Rome 1993), M.J. Price, The Coinage in the Name of Alexander the Great (Zürich 1991), and A.F. Stewart, Faces of Power (California 1993). M.Andronikos, Vergina:The Royal Tombs (Athens 1994) evokes the excitement of the Vergina discoveries.The power-politics of Augustus were shrewdly analyzed, with one eye on the rise of the Fascist dictators, by Ronald Syme in The Roman Revolution (Oxford 1939); the visual aspects of this process scrutinized by P. Zanker, The Power of Images in the Age of Augustus (Ann Arbor 1988). On totalitarian imagery see D. Ades et al. eds., Art and Power (London 1955).
7 SEEING THE INVISIBLE
Bamiyan and beyond: a survey was made at Bamiyan before the Taliban attack – see T. Higuchi ed., Bamiyan:Art and Archaeological Researches on the Buddhist Cave Temples in Afghanistan (4 vols, Dohosha 1983–4). For a prejudiced account: R. Byron, The Road to Oxiana (London 1981) [1937], 262–4; for Byron’s photographs, Apollo magazine July 2002, 28–34. Interpretation using Hsuan-Tsang:D. Klimburg-Salter, The Kingdom of Bamiyan: Buddhist Art and Culture of the Hindu Kush (Naples 1989).The colossal image at Davel: H.A. Giles, The Travels of Fa-hsien (399–414 AD), or Record of the Buddhistic Pilgrims (Cambridge 1923), 9. On other Buddhist images along the Silk Road, the accounts of Aurel Stein remain valuable, such as On Central Asian Tracks (London 1933), 193–202; see also S.Whitfield ed., The Silk Road:Trade,Travel,War and Faith (London 2004). For more on Buddhist iconography: A.K. Coomaraswamy, ‘The Origin of the Buddha Image’, in Art Bulletin 9 (1927), 287–328, B. Rowland, The Evolution of the Buddha Image (New York 1968), J. Miksic, Borobudur (Hong Kong 1990). For Hindu iconography:D.L. Eck, Darsan: Seeing the Divine Image in India (Chambersburg 1981), and R.H. Davis, Lives of Indian Images (Princeton 1997). E. Kitzinger, Byzantine Art in the Making (Cambridge, Mass. 1977) and A. Grabar, Christian Iconography: A Study of its Origins (New York 1968) are among many interpretative studies of early Christian art; see also N.J. Spivey, Enduring Creation (London 2001), 39ff. The Iconoclasm dispute is thoroughly discussed in A. Besançon, The Forbidden Image (Chicago 2000). On icon-painting: L. Ouspensky and V. Lossky, The Meaning of Icons (Boston 1955). On Guaraní Christian images: G.A. Bailey, Art on the Jesuit Missions in Asia and Latin America, 1542–1773 (Toronto 1999). Ethiopian Christian images: M.J. Ramos and I. Boavida eds., The Indigenous and the Foreign in Christian Ethiopian Art (London 2004). On Kandinsky – and echoing the chapter heading – M. Henry, Voir l’invisible: Sur Kandinsky (Paris 1988).
8 IN THE FACE OF DEATH
D.H. Lawrence, quoted in the overture to this chapter, reappears at the end, and might also have been mentioned with regard to the Aztecs, whose fascination for him is evident in his 1926 novel, The Plumed Serpent.A fully annotated text of Lawrence’s Sketches of Etruscan Places, edited by S. de Filippis, is available in the Cambridge Edition of the Works of D.H. Lawrence (Cambridge 1992). A historical overview of Western attitudes to death is given by P. Ariès, The Hour of Our Death (New York 1981); for anthropological approaches, R. Huntington and P. Metcalf, Celebrations of Death (Cambridge 1979); for archaeological approaches, M. Parker Pearson, The Archaeology of Death and Burial (Texas 1999). See also J. Bremmer, The Rise and Fall of the Afterlife (London 2002). Jericho skulls: a readable account is given by Kathleen Kenyon in her Digging up Jericho (London 1957). Easter Island: archaeological revelations in J. Flenley and P. Bahn, The Enigmas of Easter Island (Oxford 2003); for the most up-to- date account of Easter’s ‘turbulent history’, see S.R. Fischer, Island at the End of the World (London 2005). Aztec sacrifice: for general remarks about Spanish accounts of the Americas see S. Greenblatt, Marvelous Possessions (Oxford 1991); for a more detailed analysis see Inga Clendinnen’s Aztecs: An Interpretation (Cambridge 1991) – see also her essay in Representations 33 (1991), 65–100. On the Etruscan rapport with the dead see B. d’Agostino, ‘Image and Society in Archaic Etruria’, in Journal of Roman Studies 89 (1989), 1–10; N.J. Spivey, Etruscan Art (London 1997); and (for a full compendium of tomb paintings), S. Steingräber et al., Etruscan Painting (New York 1986). Don McCullin has given an account of his career in Unreasonable Behaviour (London 1990); an album of his work, introduced by former editor Harold Evans, is simply entitled Don McCullin (London 2001).
* * *
ACKNOWLEDGEMENTS
This book is single-minded; however, being allied with a television series to which many others contributed, its boundaries of intellectual property are elastic. I owe thanks to the several researchers and consultants involved by the BBC, in particular David Barrowclough; to the series producer, Mark Hedgecoe, and other producer-directors of individual episodes – Ben McPherson, Nick Murphy, Francis Whateley and Martin Wilson – and our executive producer, Kim Thomas; and to various sources of assistance and expertise around the globe, notably the following: Sven Hauer, Angeliki Kottaridou, David Lewis-Williams; Sally May, Howard Morphy, Anthony Murphy and all at Injalak Arts Centre; Klaus Schmidt; and Shahrokh Razmjon. A fellowship at the Centre for Cross-Cultural Research at the Australian National University, Canberra, furnished time and facilities for preparatory reading and fieldwork; and I am grateful, as ever, for the abiding support and indulgence of the Faculty of Classics, Cambridge University, and Emmanuel College.
PICTURE CREDITS
BBC Worldwide would like to thank the following for providing photographs and for permission to reproduce copyright material.While every effort has been made to trace and acknowledge copyright h
olders, we would like to apologize should there have been any errors or omissions.
Page 10t Alinari/Bridgeman Art Library/Biblioteca Ambrosiana Milan; 10b AKG/Erich Lessing Mauritshuis,Amsterdam; 17 Thomas Stephan © Ulmer Museum; 18 Giraudon/Bridgeman Art Library; 23t Pierre Vauthey/Corbis Sygma; 23b Jean Clotte/Centre d’information et de documentation, Grotte Chauvet – Pont-d’Arc; 26 Bridgeman Art Library; 28/29 Charles Jean Marc/Corbis Sygma; 35b D. Lewis-Williams; 42 Archivo Iconografico, S.A./Corbis; 45 Thomas Stephan © Ulmer Museum; 51 AKG/Vatican Museums; 53t Erich Lessing/AKG; 53b © 2001 Scala, Florence/Castello Sforzesco, Milan; 54 © 2005 Digital Image, MoMA/Scala, Florence – Museum of Modern Art, New York/acquired through the Lille P. Bliss bequest 333.1939 © Succession Picasso/DACS 2005; 56 Erich Lessing/AKG; 69l Erich Lessing/AKG; 69r Erich Lessing/ AKG; 70l AKG; 70r Gianni Dagli Orti/Corbis; 74 AKG/Nimatallah/ Archaeological Museum, Naples; 76 AKG/Vatican Museums; 77 Rabatti-Domingie/AKG/Uffizi Gallery, Florence; 80 Jean-Louis Nou/AKG; 82 Electa/AKG; 83l © 1990 Scala, Florence/Museo Civico de Arte Antica,Turin; 83r Werner Forman/Corbis; 85 Erich Lessing/AKG/Musée de la Tapisserie; 88 Lucasfilm Ltd/Paramount; 93t Nik Wheeler/Corbis; 93b R Sheridan/Ancient Art & Architecture Collection Ltd; 96t The Trustees of the British Museum; 96bThe Trustees of the British Museum; 103 Erich Lessing/AKG/Cabinet des Medailles, Bibliothèque Nationale, Paris; 106 Erich Lessing/AKG; 112 Erich Lessing/AKG/Musée de la Tapisserie; 123 Kimbell Art Museum/Corbis; 126 John Van Hasselt/ Corbis Sygma; 130 Bridgeman Art Library/V&A Museum; 133 Archivo Iconografico, S.A./Corbis; 136 Erich Lessing/AKG/ Museo Nazionale Romano delle Terme; 139 Corbis/Christie’s Images; 142 AKG/Musée Conde, Chantilly; 143 AKG/V&A Museum; 145 Erich Lessing/AKG/Graphische Sammlung Albertina, Vienna; 146t AKG/Stedelsches Kunstinstitut, Frankfurt-am-Main; 146b Kimbell Art Museum/Corbis; 149 Gift of Thomas Fortune Ryan, 1912.1 Collection, University of Virginia Art Museum; 150 Corbis; 153 Gianfranco Gorgoni/Collection: DIA Center for the Arts, New York/courtesy of James Cohan Gallery, New York/ © Estate of Robert Smithson/licensed by VAGA, New York, NY/ DACS 2005; 155 Gregor M. Schmid/Corbis; 157 Werner Forman/ Corbis; 158 The Royal Collection © 2005, Her Majesty Queen Elizabeth II; 161l from Revd John Williams, Missionary Enterprises; 161r Dagli Orti/The Art Archive/Bibliothèque des Arts Décoratifs, Paris; 164/165 Jason Hawkes/Corbis; 166t The Trustees of the British Museum; 166b The Art Archive/The British Museum; 169 Gianni Dagli Orti/Corbis; 172t Roger Wood/Corbis; 1 75 Corbis; 179 Dagli Orti/The Art Archive/Pella Museum, Greece; 180b Dagli Orti/The Art Archive/Fitzwilliam Museum Cambridge; 184/185 AKG/Archaeological Museum, Naples; 190b Pirozzi/AKG; 192 © 1990 Scala, Florence/San Giovanni Battista, MüStair, Switzerland; 193 Rabatti-Domingie/AKG; 196 Alinari Archives/ Corbis; 198 Gianni Dagli Orti/Corbis; 199 Gregor M. Schmid/ Corbis; 201 AKG/Collection of the Ronge Family; 202 Corbis/ Reuters; 209l Nimatallah/AKG/Akropolis Museum, Athens; 209r AKG/British Museum; 212t Charles & Josette Lenars/Corbis; 212b Jean-Louis Nou/AKG; 215t V&A Picture Library; 215bl AKG/ Collection of the Ronge Family; 215br Paul Almasy/Corbis; 216l Lindsay Hebberd/Corbis; 216r Angelo Hornak/Corbis; 220 Jean-Louis Nou/AKG; 223 Erich Lessing/AKG; 224 Erich Lessing/AKG; 229t Erich Lessing/AKG; 229b © 1990 Scala, Florence/Church of Santa Sabina, Rome/courtesy of the Ministero Beni e Att. Culturali; 232 © 1990 Scala, Florence/Tretyakov State Gallery, Moscow; 235t Karen Tweedy-Holmes/Corbis; 235b Stefan Diller/AKG; 238 Jörg P.Anders/bpk/Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Gemäldegalerie; 241l Jörg P. Anders/ bpk/Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Skulpturensammlung und Museum für Byzantinische Kunst; 241r © 1990 Scala, Florence/Palazzo Comunale, Massa Marittima; 242 Erich Lessing/AKG/Unterlinden Museum, Colmar; 245 Pirozzi/ AKG; 246l Joseph Martin/AKG; 246r Luca I.Tettoni/Corbis; 249 Chris Lisle/Corbis; 250 Bridgeman Art Library/Yale Center for British Art, Paul Mellon Collection; 253 Solomon R. Guggenheim Museum, New York © ADAGP, Paris and DACS, London 2005; 255 Archivo Iconografico, S.A./Corbis; 256 bpk/Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Ägyptisches Museum; 260 Archivo Iconografico, S.A./Corbis; 263 Wolfgang Kaehler/ Corbis; 268tr Nathan Benn/Corbis; 268b Ian Mursell/Mexicolore/ Bridgeman Art Library; 271 Viktor Korotayev/Reuters/Corbis; 272 Archivo Iconografico, S.A./Corbis; 275t Archivo Iconografico, S.A./Corbis; 279 AKG/Nimatallah; 281 Don McCullin/NB Pictures.
The following images are © BBC:Tim Cragg 172b, 180t, 195l and 195r; Matthew Hill 9, 115, 116t, 116b, 275b and 276;Andrea Illescas 104t; Ben McPherson 268tl; Nick Murphy 62, 65l, 65r, 73; Nick Murphy/Henry Moore Foundation 55; Nick Murphy/ Archaeological Museum Reggio Calabria 2 and 79; Christian Mushenko 121; Carolyn Vermalle 35t, 38, 46t and 46b.The images on the following pages were kindly supplied by the author: 7, 15, 104 below, 109, 184 inset, 190 top left and 190 top right.