When Otto Neurath died in Oxford some 80 years ago, far away from his native Vienna, he was still finding his feet in exile. Like many a Jewish refugee, the economist, philosopher and sociologist had been interned as a suspected enemy alien on the Isle of Man, along with his third wife and close collaborator Marie Reidemeister, having chanced a last-minute life-saving escape from their interim hideout in the Netherlands across the Channel in a rickety boat in 1940.

Thanks to Neurath’s pioneering use of pictorial statistics – or “Isotypes” as Reidemeister called them, an acronym for “International System of Typographic Picture Education” – he left behind an enormous legacy in the arts and social sciences: it is the language through which we decode and analyse the modern world. But his lasting relevance would have been hard to predict at the time of his death at the age of 63.

Neurath demanded his images ‘show the most important thing about the object at first glance’ At that point, his Vienna Method of Pictorial Statistics had had relatively little impact in the UK (beyond providing strikingly simplified imagery to the public information shorts of leftist film-maker Paul Rotha). Neurath’s “visual autobiography” had been shelved by his publishers, who probably failed to follow the ambitious arc of its title, “From Hieroglyphics to Isotype”.