Enfilade

From Routledge (and now on sale for $120) . . .

Tara Zanardi and Lynda Klich, eds., Visual Typologies from the Early Modern to the Contemporary: Local Contexts and Global Practices (New York: Routledge, 2019), 298 pages, ISBN: 978-1138200135, $150.

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 chapters 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 chapters 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.

Tara Zanardi is Associate Professor of Art History, Hunter College, CUNY. Lynda Klich is Assistant Professor of Art History, Hunter College, CUNY.

C O N T E N T S

Contributors
Acknowledgements

Tara Zanardi and Lynda Klich, Introduction to Visual Typologies from the Early Modern to the Contemporary: Local Contexts and Global Practices

Repeating, Borrowing, and Serializing
• Heather A. Hughes, Fashion, Nation, and Morality in English Allegorical Costume Prints, ca. 1620–40
• Sarah E. Buck, Bodies of Work in the Ancien Régime: The Costumes Grotesques by Nicolas I de Larmessin
• Elisabeth Fraser, The Color of the Orient: On Ottoman Costume Albums, European Print Culture, and Cross-Cultural Exchange
• Vanesa Rodríguez-Galindo, On and off the Tram: Contemporary Types and Customs in Madrid’s Illustrated and Satirical Press, 1874–98

Staging Place
• Eugenia Paulicelli, Venice: City of Fashion and Power in Giacomo Franco’s Habiti d’huomini et donne venetiane, ca. 1610
• Yu-chih Lai, Costuming the Empire: A Study on the Production of Tributary Paintings at the Qianlong Court in Eighteenth-Century China
• Denise Birkhofer, Enrique Díaz’s Parade of Progress: Toward a Streamlined Mexican Future

Performing the Documentary
• Emily Kathryn Morgan, ‘True Types of the London Poor’: Street Life in London’s Transitional Typology
• Maya Jiménez, The Myth of the Baiana in Nineteenth-Century Portrait Photography
• Lynda Klich, Circulating lo mexicano in Mauricio Yáñez’s Postcards
• Deborah Dorotinsky, It Is Written in Their Faces: Seri Women and Facial Painting in Photography

Materials of Typologies
• Natalia Majluf, Fashioning a Nation: Military Dress in Peruvian Independence, 1821–22
• Tara Zanardi, From Global Traveler to Costumbrista Motif: The Mantón de Manila and the Appropriation of the Exotic
• Victoria L. Rovine, Cloth, Clothing, and Colonial Power: France and West Africa at the Expositions
• Charlene K. Lau, Against ‘Fashion-Time’: Bernhard Willhelm, Regional Folk Dress, and the Contemporary

Unmasking Stereotypes
• Ashley Bruckbauer, Ambassadors à la turc: Assimilation and Dissimulation in Eighteenth-Century Images of French-Ottoman Diplomacy
• Leyla Belkaïd-Neri, The Transmediterranean Routes of Fashion: Between Material Expression and Artistic Representation
• Teresa Eckmann, Julio Galán and the Type: Fashioning a ‘Border’ Aesthetic