Disability and Art History from Antiquity to the Twenty-First Century
- Available for pre-order. Item will ship after September 5, 2021
This volume analyzes representations of disability in art from antiquity to the twenty-first century, incorporating disability studies scholarship and art historical research and methodology.
This book brings these two strands together to provide a comprehensive overview of the intersections between these two disciplines. Divided into four parts:
- Ancient History through the 17th Century: Gods, Dwarfs, and Warriors
- 17th-Century Spain to the American Civil War: Misfits, Wounded Bodies, and Medical Specimens
- Modernism, Metaphor and Corporeality
- Contemporary Art: Crips, Care, and Portraiture
and comprised of 16 chapters focusing on Greek sculpture, ancient Chinese art, Early Italian Renaissance art, the Spanish Golden Age, nineteenth century art in France (Manet, Toulouse-Lautrec) and the US, and contemporary works, it contextualizes understandings of disability historically, as well as in terms of medicine, literature, and visual culture.
This book is required reading for scholars and students of disability studies, art history, sociology, medical humanities and media arts.
Table of Contents
Part 1: Ancient History through the 17th Century: Gods, Dwarfs, and Warriors
Chapter 1: Hephaestus Represented: Metis-Based Inquiry
Chapter 2: The Role of Dwarfs in Tang Postmortem Elite Life
Chapter 3: Disability and Poverty at the Brancacci Chapel
Stephanie R. Miller
Chapter 4: Disability at the Edge of War: Gendered Violence in the Graphic Practice of Urs Graf
Part 2: 17th-Century Spain to the American Civil War: Misfits, Wounded Bodies, and Medical Specimens
Chapter 5: Destierro and Desengaño: The Disabled Body in Golden Age Spanish Portraiture
Chapter 6: An Inartistic Interest: Civil War Medicine, Disability, and the Art of Thomas Eakins
Jessica A. Cooley
Chapter 7: Empty Sleeves and Bloody Shirts: Disabled American Civil War Veterans and Presidential Campaigns, 1864-1880
Erin R. Corrales-Diaz
Part 3: Modernism, Metaphor and Corporeality
Chapter 8: Deaf Gain: Toulouse-Lautrec’s Early Training with René Princeteau
Alexandra Courtois de Vicose
Chapter 9: Manet’s Syphilis: Debility and Adaptation in the 1880s
Chapter 10: Facially Disfigured Veterans of World War I in Present Art—an Art Historical Analy-sis against the Background of Medical History
Chapter 11: Disability Metaphor and American Individualism: Beyond the Glass Menagerie
Chapter 12: "Building the World of Tomorrow": Disability, Eugenics, and Sculpture at the 1939 New York World’s Fair
Chapter 13: Aesthetics of Disability and the Hybrid Body in Louise Bourgeois’s Femme Maison
Lynn M. Somers
Part 4: Contemporary Art: Crips, Care, and Portraiture
Chapter 14: Listening to the Queer-Crip Body in Derek Jarman’s Blue
Chapter 15: Collaborative Portraiture: A Feminist Disability Studies Approach to the Work of Riva Lehrer and Tanya Raabe-Webber
Chapter 16: On Carolyn Lazard’s Support System (for Tina, Park, and Bob): An Account
Julia Pelta Feldman
Ann Millett-Gallant, PhD received her PhD in Art History in 2005 and serves as Senior Lecturer for the Bachelor of Arts in Liberal Studies Program at the University of North Carolina at Greensboro, USA. She designs and teaches interdisciplinary online Art History, Visual Culture, and Women’s and Disability Studies courses. Her research bridges the disciplines of Art History and Disability Studies. She is co-editor, with Elizabeth Howie, of Disability and Art History (Routledge, 2016). She has also published essays and reviews of art and film, and she enjoys painting and composing mixed-media collages.
Elizabeth Howie is Professor of art history at Coastal Carolina University in Conway, South Carolina, USA. She specializes in modern and contemporary art with an emphasis on history and theory of photography. She received her Ph.D. from the University of North Carolina at Chapel Hill in 2007. Publications include "The Dandy Victorian: Yinka Shonibare’s Allegory of Disability and Passing," in Disability and Art History (Routledge, 2016) coedited with Ann Millett-Gallant.