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"Cartographers History."
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Lies of the Land
Lies of the Land examines the often-overlooked artistic
roots of mapmaking practice in early modern France, offering an
original perspective on discourses of accuracy and their
relationship to the pictorial origins of modern mapmaking.
Until the seventeenth century, most mapmakers in France were
painters. Schooled in techniques of drawing and perspective-and in
the careful study of nature that we associate with early
modernity-they also learned the more expressive and imaginative
Mannerist forms that dominated French painting in this period.
Their maps draw on conventions of both painting and mapmaking to
create beautiful, informative, and persuasive images for a wide
variety of contexts and purposes. In this book, Camille Serchuk
explores the strategies these cartographers deployed to weave
together accuracy, ornament, and artifice in maps at all scales.
Looking beyond the techniques of measurement and perspective,
Serchuk shows how painterly interventions framed and manipulated
the appearance and reception of cartographic objects.
Lies of the Land is an important new
assessment of the character and status of early modern cartography
that challenges binary distinctions between art and science and
between decorative and epistemic images. It will appeal especially
to art historians and historians of sixteenth-century France as
well as scholars of map history.
eBook
Towards an atlas of the history of interpreting : voices from around the world
This book engages in the historical analysis of interpreters (of both language and cultures) in multiple interpreting settings and places, including in zones which are less frequently studied in specialized literature, in different historical periods and at various scales.
eBook
Mapping the world : stories of geography
Looks at the history of cartography, from the first crude drawings to the satellite imagery of today.
Book
Scotland's Pariah
Scotland's Pariah is the first book to examine the remarkable life of John Pinkerton: antiquarian, poet, forger, cartographer, historian, serial adulterer, bigamist, and religious skeptic. A pugnacious and persistent man of letters who knew and was admired by literary masters such as Edward Gibbon, Horace Walpole, and William Godwin, Pinkerton's life was full of personal and professional misadventures.Patrick O'Flaherty's biography presents an engrossing account of Pinkerton's life and works from his early years in Scotland to his Parisian exile, covering his major editorial, antiquarian, and geographic works. Examining Pinkerton's involvement in the London literary scene, his conflicted relationship with the rise of Celtic nationalism, and his response to early literary romanticism, Scotland's Pariah is a shrewd and compassionate evaluation of an astonishing literary life.
eBook
Is that Western Australia on a mysterious map of the Portuguese empire dated 1573?
There is nothing novel about finding old maps, and copies of old maps, in unusual places. Some of the world's best-known maps were found in the strangest of locations. The famous Cantino planisphere, for example, disappeared when the palace holding it was ransacked in a riot, only to reappear in a butcher's shop in Modena, Italy; and hitherto unknown maps have turned up, without fanfare, in auction houses, museums and elsewhere, as evidenced by the extensive addenda and corrigenda to Shirley's Mapping of the World (2001).
Journal Article
A Black Cartographer of the Long Eighteenth Century: Anastácio de Sant’Anna’s Guia de Caminhantes
From 1816 to 1817, Anastácio de Sant’Anna, a pardo (mixed-race) artist and cartographer active in Salvador, Bahia, Brazil, produced the Guia de Caminhantes, a manuscript atlas of Brazil and the Americas. Sant’Anna’s Guia is one of the few extant cartographic works produced by a Black artist during the slavery era. Discussing the Guia in English for the first time, this essay positions Sant’Anna’s work inside of the emergent subfield of Black Geographies. It argues that Sant’Anna used the Guia to advocate for the place of Black and Indigenous histories in Brazil’s nascent, post-colonial national identity, while also interrogating the history of cartography and landscape painting in colonial Brazil.
Journal Article