by Eleanor Russell
This famous sketch of a rhinoceros was created in 1515 by the influential German artist, Albrecht Dürer, reflecting the growing interest in foreign curiosities that had emerged in tangent with the overseas voyages of exploration, commerce and conquest by the Spanish and Portuguese. The rhinoceros had been given as a gift by the ruler of Cambaia to Afonso de Albuquerque, the Portuguese viceroy in India, who in turn gifted it to king Manuel I of Portugal.
While the drawing itself provides a great deal of information about art and Orientalism in the Renaissance, among other things, the backstory of the painting is equally as fascinating. How did Dürer, then living in Nuremberg, ever come to make such a sketch?
Fifty years since the partial decriminalisation of homosexuality in England and Wales, Nailya Shamgunova (@nailyas_) reflects on how public exhibitions have engaged with this event.
This year marks the 50th anniversary of partial decriminalisation of homosexuality in England and Wales. It is an important milestone for queer history, and as such it was commemorated in various forms throughout the country. I attended four different exhibitions in three museums, two in the North and one in the capital, prompting me to think about the ways in which we remember and display queer history. Read more
by Federica Tammarazio
Università degli Studi di Genova, Italy
For LGBT History month, we are happy to host art historian Federica Tammarazio to celebrate the anniversary of “Notes on camp” by Susan Sontag.
Fifty years ago (fifty-one actually) art critic Susan Sontag published “Notes on camp“, a series of reflections on Camp culture. According to her own definition, “Notes on camp” was not meant to be a manifesto, but rather a tool to define and understand ‘camp’ sensitivity, which she thought “more appropriate for getting down something of this particular fugitive sensibility. It’s embarrassing to be solemn and treatise-like about Camp”
What was camp back then? And what is it now?
by Katy Bond
When Cesare Vecellio published his celebrated book of world dress in 1590, the Earth’s horizons must have seemed to the Venetian artist, to be ever-expanding. First published under the title, ‘Degli habiti antichi et oderni di diverse parti del mondo’ (‘Of the clothing, ancient and modern, of diverse parts of the world’), his work claimed to offer its readers an encyclopaedic reference for the appearances and cultural habits of people the world over. Having been republished as a facsimile edition – with English translations – by Thames & Hudson in 2008, Vecellio’s invaluable research is now easily accessible to the historian interested in early modern clothing.