The colored vignette is over 15 inches high, centered on a page with generous borders. So why is the subject of the “meaty” detail in the middle of the foreground so hard to identify? It is small, but not that small. And might this illegibility actually promote rather than impede the process of interpretation? That is what I am suggesting in this brief examination of a prominent but hard to decipher detail of Joseph Kidd’s Palm and Banana Trees, a plate from his lithographic series Illustrations of Jamaica in a Series of Views Comprising the Principal Towns, Public Buildings, Estates, and Most Picturesque Scenery of the Island (London, 1838–40).
Paul Coldwell: Temporarily Accessioned
- by Stephan Doering
- On Paul Coldwell's work "Temporarily Accessioned"
Hidden Lights: Sir John Soane’s Piranesis
- by Owen Hopkins
- Owen Hopkins on the effect of four Piranesi prints on the elusive architecture of Sir John Soane.
- by Roger Kneebone
- Surgeon Roger Kneebone examines the depiction of medical care in Barbara Hepworth’s Concourse 2 (1948)
On Louise Bourgeois’ The Reticent Child and Shame
- by Tanja Staechler
- Tanja Staehler and Phineas Jennings on Louise Bourgeois
Recommended Reading for the Print-Curious PART II
- by Susan Tallman
- Part II of our recommended books on prints