Fans pick 100 books like Art, Politics, and Development

What ideas do you have about what the first peoples were like, and how human society developed?

Maybe you’ve even read the popular authors on this topic such as Diamond, Harari, Pinker, Hobbes, and Rousseau. Prepare to have all of your notions and received opinions upended and turned to dust by David Graeber (a man universally acknowledged as a genius) and the book he worked on for the last ten years of his life, which brings revolutionary ideas to 30,000 years of civilization.

This is another important work by an anthropologist challenging the genealogy of the West and its ideas and institutions. It exposes the myth of history as a supposed moral success story: ancient Greece… Rome… Christian Europe… Renaissance… Enlightenment… liberal democracy… the pursuit of happiness, etc. Wolf systematically highlights why this is a flawed and fraught notion, especially for those people who do not fit neatly into the schema.

We know that the arrival of Europeans in the Americas had significant impacts, many of them negative, on the peoples of the New World. Encounters with Amerindians were also highly influential in shaping ideas about human development and universal history. It was not a one-way street, however, reports from missionaries, trappers, explorers, soldiers, and settlers about what they saw in the New World served to challenge and shape the thinking of Europe’s intellectual elite, especially concerning Native American ideas about freedom, equality, and community. Thirty-five years after the publication of this book, Graeber and Wengrow returned to the idea of “Indigenous critique” for one of the more contentious sections in their New History. 

It is difficult to settle on just five books; I include Iggers here because this book transcends its primary subject, German historiography. It offers an insight into some of the key thinkers that have helped to shape predominant and pervasive thinking about human progress and socio-political development. Thinkers such as Kant and Herder, Hegel and Schiller. It is important to have a good understanding of the foundations of a train of thought, and Iggers knows his subject matter well and astutely highlights the various strengths and weaknesses. 

Maurice Pirenne was a physiologist who studied vision and was fascinated by the problems of how we see and interpret paintings and photographs. In this book he explains how vision works and uses his own elegant experiments to demystify perspective and visual illusion. What I especially like about this book, is that Pirenne is not content just to explain the theoretical issues, but uses his own skills in photography to explore the issues and provide vivid demonstrations. This is one of the best and clearest books, to my mind, on these tricky questions. 

Perspective is essential for good drawing but something that a lot of people find a struggle. Tim has treated every aspect of perspective in a simple and interesting way so that anyone can understand it. As well as buildings and landscapes, Tim also covers topics not so obvious - people, animals, boats and reflections, and more. He also shows how perspective applies to curved objects and inclined planes, and suggests how to correct common mistakes as well as moving on from rigid rules to a freer and more instinctive way of drawing. 

Martin Kemp is the world's leading expert on the use of perspective, optical tools, and scientific knowledge in art. This encyclopaedic book follows developments from the Italian Renaissance to the nineteenth century, with a great wealth of illustrations, from Brunelleschi and Alberti to the colour theories of Goethe and Chevreul. I re-read and refer to this book repeatedly - as I am sure do many others - and am always finding new insights. Kemp's explanations are always clear and penetrating, even when the writers and artists he is writing about are not.

This is my list so I wanted to include this book that was so key to me. This is an art book, but it's a very math-y art book with very few illustrations and almost no how-to step-by-step illustrations. It has pages and pages of “to draw a line from 30 degrees above the horizon and 15 degrees to the left of center etc. etc. etc.” text. It's a dense read, but it was the book that solved six-point perspective for me, which was a topic I'd been working feverishly on for a solid year and couldn't quite nail on my own. It really opened up my understanding of perspective, especially curvilinear perspective drawing. I owe this book (and Flocon and Barre) a lot.

Ariès was a masterful medieval historian, and in this slim volume, based on a series of lectures he gave at Johns Hopkins University, he traced big cultural shifts in the way Western culture has thought about death and dying.

Medieval traditions lauded a so-called “tame death,” in which the dying person calmly accepted their fate, received visitors at home, and directed the rituals and ceremonies that would accompany their impending demise. Death was a normal part of domestic life, witnessed by young and old alike.

This is eventually contrasted with the modern way of dying, in which people die in hospitals, not at home, hidden away from most of a society that has come to believe people need to be shielded from sad and upsetting matters like illness and death. It is a fascinating work of history and a powerful critique of contemporary mores around mortality.     

Sh*t happens (bad relationships, business failures, burnt toast). That’s OK, says Scanlan, because making garbage is an essential part of any activity. In fact, you can’t get anywhere, or achieve any kind of personal or intellectual growth, without some detritus. To me, this explains why humans make so much trash of the kind that I’ve spent my life digging up in archaeological sites. And it makes me feel quite OK about spending a day writing stuff that might go straight into the shredder tomorrow…