This book investigates the pictorial figurations, aesthetic styles and visual tactics through which visual art and popular culture attempt to appeal to all of us. One key figure these practices bring into play-the everybody (which stands for all of us and is sometimes a new man or a new woman)-is discussed in an interdisciplinary way involving scholars from several European countries. A key aspect is how popularisation and communication practices-which can assume populist forms-operate in contemporary democracies and where their genealogies lie. A second focus is on the ambivalences of attraction, i.e. on the ways in which visual creations can evoke desire as well as hatred.