WORD & IMAGE

Portraiture, race, and subjectivity: the opacity of Marie-Guillemine Benoist’s Portrait d’une négresse

Copying images in the archives of the early Royal Society

“Une approche sérielle” to the Theophilus sequence of illuminations in Besançon 551

The star-crossed saints of Seville: typology of secular and sacred in early modern Catholicism

Afterword: Sir William Sanderson and copying for ‘private practice’

Experts versus eyewitnesses. Or, how did conspiracy theories come to rely on images?

Painting, poetry, and immortality in Benedetto Varchi’s sonnets

‘For this is a trait of a rhetorical and double-tongued man’: artifice and ambiguity in Middle Byzantine art

Digital print in the material world: paratext in service of narrative

Jean Dubuffet’s Beautiful People

“ein rise starc unde grôz”: Geographies and temporalities of salvation in St. Jakob in Kastelaz

From nabeeld to kopie: the after-image and the copy in Early Modern Netherlandish art

From Vesalius through Ivins to Latour: imitation, emulation and exactly repeatable pictorial statements in the Fabrica

Broadcast networks and the Early Modern emblem

Moschatel Press: craft, concrete, and constructivism in the Cotswolds

Word, image, and alienated literacies in the graphic novels of Orijit Sen

The original copy shop: eclipses and exemplars

‘The Pictures … Are Even More Stark Than the Prose’ (Sheffield Telegraph, 2 December 1937): word and image in Walter Greenwood and Arthur Wragg’s The Cleft Stick (1937)

Dominus Tonans: the voice and light of Christianity’s tempestuous god in Late Antiquity and the Middle Ages

Baudelaire’s bodies, or redressing the wrongs of nude photography

On being one’s own heir: British portraiture, metaphysical inheritance, and The Picture of Dorian Gray

Divine drawings and godly mothers: Raphael’s study of a Seated Woman with Child and verses on maiolica plates from Deruta

Writing the body: Andrea del Verrocchio’s Measured Drawing of a Horse

Baldassarre Longhena’s funerary monument to Doge Giovanni Pesaro

Courbet’s The Bathers and the “Hottentot Venus”: destabilizing whiteness in the mid-nineteenth-century nude

The case for Kittler: considering ekphrasis as recursion