Théodore de Bry. Et Follie Orgville. 1578.

For many the arrival of Christopher Columbus in the Americas is inextricably linked to a particular image: a small group of confident men on a tropical beach formally announcing their presence to the dumbfounded Amerindians. Michiel van Groesen explores the origins of this eurocentric iconography and ascribes it's persistence to the editorial strategy of the publisher who invented the initial design a full century after Columbus' encounter took place.

For many the arrival of Christopher Columbus in the Americas is inextricably linked to a particular image: a small group of confident men on a tropical beach formally announcing their presence to the dumbfounded Amerindians. Michiel van Groesen explores the origins of this eurocentric iconography and ascribes it's persistence to the editorial strategy of the publisher who invented the initial design a full century after Columbus' encounter took place.

For many the arrival of Christopher Columbus in the Americas is inextricably linked to a particular image: a small group of confident men on a tropical beach formally announcing their presence to the dumbfounded Amerindians. Michiel van Groesen explores the origins of this eurocentric iconography and ascribes it's persistence to the editorial strategy of the publisher who invented the initial design a full century after Columbus' encounter took place.

For many the arrival of Christopher Columbus in the Americas is inextricably linked to a particular image: a small group of confident men on a tropical beach formally announcing their presence to the dumbfounded Amerindians. Michiel van Groesen explores the origins of this eurocentric iconography and ascribes it's persistence to the editorial strategy of the publisher who invented the initial design a full century after Columbus' encounter took place.