Volume 8 Number 4

Studies in Visual Communication Volume 8 Issue 4 Fall 1982 10-1-1982 Volume 8 Number 4 This paper is posted at ScholarlyCommons. http://repository.upenn.edu/svc/vol8/iss4/1 For more information, please contact . Article 1 Volume 8 Number 4 This full issue is available in Studies in Visual Communication: http://repository.upenn.edu/svc/vol8/iss4/1 ation ISSN 0276-6558 Editors: Larry Gross and Jay Ruby Associate Editor: Tobia L. Worth Business Manager: Christopher Wessel Graphic Designer: Penelope Malish Society for the Anthropology of Visual Commun ication President Assistant: Janice Fisher Editorial Secretary: Anne Evans Editorial Board: Howard S. Becker (Northwestern University) Steven Fe ld (University of Pennsylvania) Jay Ruby (Temple University) Larry Gross (University of Pennsylvania) Carroll Williams (Anthropology Film Center) Review Editors: Paula Ben-Amos (University of Pennsylvania) George Custen (Cedar Crest/Muhlenberg) Dan Schiller (Temple University) Consulting Editors: Robert Plant Armstrong (University of Texas at Dallas) Howard S. Becker (Northwestern University) Peter Burke (Cambridge University) James Carey (University of Illinois) Richard Chalfen (Temple University) William Davenport (University of Pennsylvania) Phoebe Ellsworth (Stanford University) Howard Gardner (Harvard University) Henry Glass ie (University of Pennsylvania) Erving Goffman (University of Pennsylvania) Nelson Graburn (University of California at Berkeley) Julian Hochberg (Columbia University) Elihu Katz (Hebrew University) John Katz (York University) John Kennedy (University of Toronto) Rhoda Metraux (Museum of Natural History) Linda Nochlin (City University of New York) John Reilly (Global Village) Jean Rouch (Centre National de Ia Recherche Scientifique) Gavriel Salomon (Hebrew University) Allan Sekula (New York , N.Y.) Joel Snyder (University of Chicago) Amos Vogel (University of Pennsylvania) Annette Weiner (New York University) Cover: Richard Lawson , "The Joliet Prison Photographs, " p . 46. Carroll Williams (Anthropology Film Center) ... ·.:.~~~=--·:.x ... .:= Studies in Visual Communication continues Studies in the Anthropology of Visual Communication (Volumes 1 through 5) , founded in 1974 by Sol Worth . . . . . Studies in Visual Communication is a multid iSC iplinary journal drawing on the many areas of scholarship that focus upon aspects of visual communication. The editors welcome theoret ical and empirical contributions devoted to Significant problems and issues in the study of visual communication . Manuscripts should follow the style of Studies and should be submitted typed , double-spaced , and in duplicate . Unsoli c ited manuscripts will not be returned unless accompan ied by an addressed and stamped envelope . Studies assumes no responsibil ity for the safety of manuscripts . All manuscripts , books for review , and communications concerning editorial matters should be sent to Editor, Studies in Visual Communication , The Annenberg School of Communications , University of Pennsylvan ia, 3620 Walnut Street, Ph iladelphia , PA 19104. Inquiries and al l correspondence regard ing advertising should be sent to Bus iness Manager, Studies in Visual Communication , The Annenberg School of Communications , University of Pennsylvania, 3620 Walnut St. , Philadelphia, PA 19104. Studies is printed at Consolidated/Drake Press , 5050 Parkside Avenue , Philadelphia, PA 19131 Studies in Visual Communication subscription rates are $18.00 for one year , $34.00 for two years , and $48.00 for three years. There is no additional charge for institutions (libraries) or for foreign surface mail. Single copies are $5 .00. Checks should be made payable to : Studies in Visual Communication and sent to Studies in Visual Communication , P.O. Box 13358, Philadelphia , PA 19101 , U.S.A. 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Box 13358, Philadelphia, PA 19101. studies in __________________ Visual Communication Contents Volume 8 Number 4 Autumn 1982 2 The Technique of Originality: "Innocence" and Artifice in the Painting of Corot, Monet, and Cezanne Richard Shiff 33 Phillips, Good, Bonfils, and the Human Image in Early Holy Land Photography Yeshayahu Nir 46 The Joliet Prison Photographs (Photo Essay) Richard Lawson 62 Some Observations about Contemporary Cuban Photography: The The Technique of Originality Union of Cuban Writers and Artists (UNEAC) Amy Conger Reviews and Discussion 81 Hinz Art in the Third Reich Review Essay I Amos Vogel 84 Frassanito Antietam: The Photographic Legacy of America's Bloodiest Day I James Borchert 87 Adams, ed. The Human Image in Early Holy Land Photography Ethnologische Zeitschrift Zurich, 1, 1980 I Simon Ottenberg 88 Berger and Mohr Another Way of Telling I HowardS. Becker 89 Cardwell and Schwarz, eds. The Fabrics of Culture: The Anthropology of Clothing and Adornment I Lisa Aronson 92 Cumulative Index for Studies in Visual Communication, Volume 8 The Joliet Prison Photographs The Technique of Originality: "Innocence" and Artifice in the Painting of Corot, Monet, and Cezanne Richard Shill Received opin ion suggests that painting , as an art of depiction, serves as a vehicle of imaginative invention, a means of representing not only how the world appears but how one might desire the world to appear. Painting shows things as they are or, alternatively, as they might be. It is also often stated that arts of depiction do more than represent an external world of nature, whether real or imaginary; they reflect back on their authors and express, even identify, the character of the artist. Whenever one says without qualification that a painting represents a naive vision, one may be making any of three assertions: (1) that the image depicted is naive (true-to-nature); (2) that its creator is naive (innocent, childlike) ; (3) that the element of mediation, the technique, is naive (primitive, untrained). And there is still another possibility: in the representation of a naive vision , the painter's technique may merely signify naivete without itself being unlearned. Such generalized signi (...truncated)