🎧 Episode 01 The Lady Vanishes | Revisionist History

Listened to Episode 01 The Lady Vanishes from Revisionist History

In the late 19th, a painting by a virtually unknown artist took England by storm: The Roll Call but after that brilliant first effort, the artist all but disappeared. Why?

The Lady Vanishes explores the world of art and politics to examines the strange phenomenon of the “token”—the outsider whose success serves not to alleviate discrimination but perpetuate it. If a country elects a female president, does that mean the door is now open for all women to follow? Or does that simply give the status quo the justification to close the door again?

The roll call
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2016

I can tell that I’m going to love this series already. Strong and interesting theses melded with some great stories.

What does it mean to be the first of something? Does it improve things for those who come (or don’t) after?

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Attributes in Paintings May Stem from Mnemotechnics Dating from Ancient Greece

As I delve into the history of mnemotechnics, I suspect that attributes in paintings originally stem from memory techniques that date from Simonides of Ceos (c. 556 – 468 BCE) and potentially earlier through the oral tradition.

As I delve further into the ancient history of mnemonics and mnemotechnics, I  strongly suspect that attributes in paintings (like those frequently seen in depictions of Christian saints) originally stem from memory techniques that date from Simonides of Ceos (Σιμωνίδης ὁ Κεῖος; c. 556 – 468 BCE) and potentially earlier by means of the oral tradition.

The National Gallery has a short little primer on paintings of saints and recognizing them by means of their attributes. As an example, in the painting below Saint Genevieve of Paris holds the candle which she miraculously relit. On the brooch at her neck are the alpha and omega signs. Saint Apollonia of Alexandria’s brooch shows pincers: she was tortured by having her teeth extracted.

Lucas Cranach the Elder, 1472 - 1553 Saints Genevieve and Apollonia 1506 Oil on lime, 120.5 x 63 cm Bought, 1987 NG6511.1 This painting is part of the group: 'The St Catherine Altarpiece: Reverses of Shutters' (NG6511.1-NG6511.2) http://www.nationalgallery.org.uk/paintings/NG6511.1
Lucas Cranach the Elder, 1472 – 1553
Saints Genevieve and Apollonia (1506) Oil on lime, 120.5 x 63 cm
Bought, 1987; NG6511.1
This painting is part of the group: ‘The St Catherine Altarpiece: Reverses of Shutters’ (NG6511.1-NG6511.2)
http://www.nationalgallery.org.uk/paintings/NG6511.1
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