Ape to Apollo is the first book to follow the development in the eighteenth century of the idea of race as it shaped and was shaped by the idea of aesthetics. Twelve full-color illustrations and sixty-five black-and-white illustrations from publications and artists of the day allow the reader to see eighteenth-century concepts of race translated into images. Human "varieties" are marked in such illustrations by exaggerated differences, with emphases on variations from the European ideal and on the characteristics that allegedly divided the races. In surveying the idea of human variety before "race" was introduced by Linneaus as a scientific category, David Bindman considers the work of many German and British thinkers, including J. F. Blumenbach, Georg and Johann Reinhold Forster, and Immanuel Kant, as well as Georges Louis Leclerc Buffon and Pieter Camper. Bindman believes that such representations, and the theories that supported them, helped give rise to the racism of the modern era. He writes, "It may be objected that some features of modern racism predate the Enlightenment, and already existed in the sixteenth and seventeenth centuries; certainly there was deep prejudice, but that, I would argue, is not the same as racism, which must have as a foundation a theory of race to justify the exercise of prejudice."

The first book to examine the iconic depiction of evolution, the “march of progress,” and its role in shaping our understanding of how humans evolved We are all familiar with the “march of progress,” the representation of evolution that depicts a series of apelike creatures becoming progressively taller and more erect before finally reaching the upright human form. Its emphasis on linear progress has had a decisive impact on public understanding of evolution, yet the image contradicts modern scientific conceptions of evolution as complex and branching. This book is the first to examine the origins and history of this ubiquitous and hugely consequential illustration. In a story spanning more than a century, from Victorian Britain to America in the Space Age, Gowan Dawson traces the interconnected histories of the two most important versions of the image: the frontispiece to Thomas Henry Huxley’s Evidence as to Man’s Place in Nature (1863) and “The Road to Homo Sapiens,” a fold-out illustration in the best-selling book Early Man (1965). Dawson explores how the recurring appearances of this image pointed to shifting scientific and public perspectives on human evolution, as well as indicated novel artistic approaches and advancements in technology.

After the discovery of the anthropoid ape in Asia and in Africa, eighteenth-century Holland became the crossroads of Enlightenment debates about the human species. Material evidence about human diversity reached Petrus Camper, comparative anatomist in the Netherlands, who engaged, among many other interests, in menschkunde. Could only religious doctrine support the belief of human demarcation from animals? Camper resolved the challenges raised by overseas discoveries with his thesis of the facial angle, a theory which succeeding generations distorted and misused in order to justify slavery, racism, antisemitism, and genocide. Thanks to his abundant papers in Dutch archives, Camper's ideas are restored to their original state. Eighteenth-century issues differed from those of other centuries: Did orang-utans talk like humans, walk like humans; even rape humans? What was the skin pigmentation of Adam and Eve? Did the spectrum of human physiognomies around the globe reflect the Fall of Man, the Creator's bounty, or merely bizarre beauty practices? Why did the ideal beauty of the Greeks appear to be the reverse of the Hottentots? The book contains some 50 illustrations, including apes with hiking sticks or tea cups, metamorphoses of living forms, and Apollo or Venus icons which titillated the science of man.

Apollo's Song follows the tragic journey of Shogo, a young man whose abusive childhood has instilled in him a loathing for love so profound he finds himself compelled to acts of violence when he is witness to any act of intimacy or affection whether by human or beast. His hate is such that the gods intervene, cursing Shogo to experience love throughout the ages ultimately to have it ripped from his heart every time. From the Nazi atrocities of World War II to a dystopian future of human cloning, Shogo loses his heart, in so doing, healing the psychological scars of his childhood hatred. Master storyteller Osamu Tezuka's Apollo's Song is a lyrical tour-de-force on the human spirit, the destruction of hate, and the triumph of love.

In late nineteenth-century France, when Charles Darwin’s theories of evolution had finally begun to permeate French culture and society, several academic artists turned to a relatively new sub-genre of history painting, the prehistoric-themed subject. This artistic interest in Darwin’s theories was manifested as paintings and sculptures of prehistoric humanity engaged in physical conflict with each other or other animals, struggling for food, or hunting—all nineteenth-century popular understandings of “survival of the fittest.” This book examines how this sub-genre captured the imagination of French Salon painters from the 1880s to early 1900s, in particular that of Fernand Cormon (1845–1924), one of the foremost academic painters during the final quarter of the nineteenth century. A central argument of this book concerns the unique interpretation of prehistoric humanity that Cormon visualized in his paintings. While the vast majority of prehistoric-themed images made by his salon colleagues focused on violence, combat, and sexual conquest, Cormon’s paintings depict a conflict-free humanity, in which collaboration and cooperation dominate, rather than physical struggle. This study probes the French intellectual understanding and appropriation of Darwin’s theories and considers how the French (mis)translation of The Origin of Species by Clémence-Auguste Royer, the first French translator of the text—along with Neo-Lamarckism and republican ideology in Third Republic France—may have collectively shaped Cormon’s representation of early humanity. The art press overwhelmingly favored Cormon’s visualization of the prehistoric world over that of his Salon peers. Through extended analysis of the art criticism concerning Cormon’s work, Shalon Parker argues that critics’ very clear preference for Cormon’s paintings was rooted in their awareness that he utilized the sub-genre of the prehistoric as a forum in which to reimagine and revive academic figurative painting at a time when the critical reception of Salon art had reached its nadir. Additionally, this study provides a broad overview of the visual models, in particular the anthropological and ethnographic texts and imagery, most readily available to Cormon as sources for shaping his vision of the prehistoric world.

A timely and revealing look at the intertwined histories of science, art, and racism. ‘Race Is Everything’ explores the spurious but influential ideas of so-called racial science in the nineteenth and the first half of the twentieth centuries, and how art was affected by it. David Bindman looks at race in general, but with particular concentration on attitudes toward and representations of people of African and Jewish descent. He argues that behind all racial ideas of the period lies the belief that outward appearance—and especially skull shape, as studied in the pseudoscience of phrenology—can be correlated with inner character and intelligence, and that these could be used to create a seemingly scientific hierarchy of races. The book considers many aspects of these beliefs, including the skull as a racial marker; ancient Egypt as a precedent for Southern slavery; Darwin, race, and aesthetics; the purported “Mediterranean race”; the visual aspects of eugenics; and the racial politics of Emil Nolde.

The term “Caucasian” is a curious invention of the modern age. Originating in 1795, the word identifies both the peoples of the Caucasus Mountains region as well as those thought to be “Caucasian”. Bruce Baum explores the history of the term and the category of the “Caucasian race” more broadly in the light of the changing politics of racial theory and notions of racial identity. With a comprehensive sweep that encompasses the understanding of "race" even before the use of the term “Caucasian,” Baum traces the major trends in scientific and intellectual understandings of “race” from the Middle Ages to the present day. Baum’s conclusions make an unprecedented attempt to separate modern science and politics from a long history of racial classification. He offers significant insights into our understanding of race and how the “Caucasian race” has been authoritatively invented, embraced, displaced, and recovered throughout our history.

Dr Erasmus Darwin seemed an innocuous Midlands physician, a respectable stalwart of eighteenth-century society. But there was another side to him. Botanist, physician, Lunar inventor and popular poet, Darwin was internationally renowned for extraordinary poems explaining his theories about sex and science. Yet he became a target for the political classes, the victim of a sustained and vitriolic character assassination by London's most savage satirists. Intrigued, prize-winning historian Patricia Fara set out to investigate why Darwin had provoked such fierce intellectual and political reaction. Inviting her readers to accompany her, she embarked on what turned out to be a circuitous and serendipitous journey. Her research led her to discover a man who possessed, according to Samuel Taylor Coleridge, 'perhaps a greater range of knowledge than any other man in Europe.' His evolutionary ideas influenced his grandson Charles, were banned by the Vatican, and scandalized his reactionary critics. But for modern readers he shines out as an impassioned Enlightenment reformer who championed the abolition of slavery, the education of women, and the optimistic ideals of the French Revolution. As she tracks down her quarry, Patricia Fara uncovers a ferment of dangerous ideas that terrified the establishment, inspired the Romantics, and laid the ground for Victorian battles between faith and science.

Hogarth was one of the great 18th-century painters, a marvellous colourist and innovator at all levels of artistic expression. Art historian David Bindman surveys the works of this artist whose wry humour and sharp wit were reflected in his prolific paintings and prints including The Rakes Progress and Marriage-A-la-Mode. Hogarth was also a master of pictorial satire, highlighting the moral and political hypocrisies of the day with delightful detail and comedy themes that resonate deeply with our times. The artist was a keen observer of class and society; this new edition has been specially updated to include a discussion of Hogarths many representations of Black people in 18th-century Britain, a subject that has long been overlooked. Now revised with additional material and illustrated in colour throughout, this is a vivid and incisive study of the man and his art.