The defining moment in the development of the pictorial tradition was Dûrer’s great Apocalypse cycle, published in 1498. Apocalyptic imagery was quickly appropriated as a vehicle for propaganda and satire, becoming secularised at the hands of artists such as the late eighteenth-century satirist James Gillray. Gillray’s contemporary William Blake evolved a concept of Apocalypse and Judgement that responded to the millenarian currents and revolutionary upheavals of his time.
In our own century, apocalyptic metaphor has been a powerful vehicle for many writers, artists, and film directors to convey their visions of worldly and spiritual destruction and regeneration.
|Publisher:||British Museum Press|
|Product dimensions:||8.66(w) x 11.02(h) x (d)|
About the Author
Frances Carey is Deputy Keeper in the Department of Prints and Drawings, British Museum. Her publications include Modern Scandinavian Prints and (with Anthony Griffiths) The Print in Germany 1880-1933, Avant-Garde British Printmaking 1914-1960, and German Printmaking in the Age of Goethe.