At the heart of Fyodor Dostoevsky's great, and murky, novel The Idiot lies a painting: Hans Holbein's naturalistic devotional masterpiece Der Leichnam Christi im Grabe (The Corpse of Christ in the Grave, 1521).
To read a picture book for children in the name of the imaginary of childhood is to subscribe to a particular construct of the album de jeunesse, or what in English is called the picture book, which is, after all, just a kind of book marketed to chiIdren.
William Randolph Hearst's art collection is today all but forgotten, and the motion pictures he produced are unknown to all but scholars of the history of film. However, the illustrations for his newspaper’s journalistic pages played an immediate political and historical role and continue to be reproduced.
Henri Christophe was one of Haiti’s most important nationalist and revolutionary figures in the 19th century. His life has been portrayed in different ways by acclaimed writers from the Caribbean such as Cuban Alejo Carpentier, Nobel Prize winner St. Lucian Derek Walcott, and Martinican Aimé Césaire. These acclaimed literary figures transformed this historical figure into the aestheticized protagonist of narratives that represented their own cultural and sociological ideas about the Caribbean.
Benjamin Disraeli remarked in 1833 that a key dereliction of modern belief–systems (such as Utilitarianism in political philosophy and Unitarianism in religion) was to omit the imagination. Why did he and other XIXth century authors turn for remedy in this particular regard to Gothic art?
Virginia Woolf’s novel To the Lighthouse is undeniably her most art-oriented work in its examination of both writing and painting. Many literary critics have rightly and richly contextualized its imagery and philosophy in Woolf’s understanding of contemporary Impressionist and post-Impressionist art through the theories of her friend Roger Fry in his text Vision and Design.