The purse on Erasmus’s lap may be included in order to illustrate his generosity. Erasmus and Gillis made a point of informing More that they had split the cost of this gift because they wanted it to be a present from them both.
Compare this suggestion of the purse as an attribute suggesting generosity to Jardine's (1996) suggestion that its meant to place Erasmus in the merchant class.
(Of course it could be doing both.)
https://www.rct.uk/collection/405759/desiderius-erasmus-1466-1536
One ought to notice the shears hanging on a nail or hook on the bookshelf in the background. Presumably these would have been a primary tool for Erasmus' ars excerpendi practice.
Cross reference Lisa Jardine (1996) who calls out the purse on Erasmus' chest which identifies him as part of the merchant class.
Also cross reference Hans Holbein's portraits of Erasmus.
“Raffaella della Olga: Typescripts,” the artist’s first solo museum show brings together her artist’s books, mesmerizing typed paintings, and striking cut-fabric works. Her work is accompanied by rare and artist’s books from the Clark library, spanning the late nineteenth century to the present, which reflect the typewriter’s still-vivid potential as a creative tool. “Raffaella della Olga: Typescripts” is open through May 31, 2026.
including external characteristics, social activities, and mental constitution.
what they include
closely tied to colonization as part of European expansion.
Eckhout's works are examples of this term because they are products of the period in which the genre of the ethnographic portrait was created.
based on observation rather than exoticism ?
Jan., 1911
It's worth noting that this was written in 1911. Technology since then might have proven it to not be Leonello. I should look into it.
elevision andinformation and communications technology were added in the 1980s.
Is this where cave paintings would fit as a cultural technology?