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Zeitschriftenartikel zum Thema „Portraiture“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 25. Juli 2025

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1

Ankyiah, Francis. "Mocking the Canon: Irony, Subversion, and Play in Iconoclastic Portraiture." European Journal of Behavioral Sciences 6, no. 4 (2023): 1–10. http://dx.doi.org/10.33422/ejbs.v6i4.1108.

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This qualitative research paper examines how iconoclastic artists use techniques of irony, subversion, and play to undermine the conventions of traditional portraiture. Canonical portraiture aims to convey status and power through dignified representation. Iconoclastic portraiture rebels against this pretense through incongruous, caricatured, and role-reversed depictions designed to mock canonical norms. The paper analyzes selected artworks by Marcel Duchamp, Cindy Sherman, Yue Minjun, and others that exemplify iconoclastic approaches. Visual analysis reveals how incongruity introduces discord

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2

Brown, Maurice, and Richard Brilliant. "Portraiture." Journal of Aesthetic Education 28, no. 2 (1994): 111. http://dx.doi.org/10.2307/3333280.

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3

Hulse, Clark, Richard Brilliant, Richard Wendorf, and Marcia Pointon. "Portraiture." Art Bulletin 75, no. 2 (1993): 327. http://dx.doi.org/10.2307/3045953.

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4

Straka, Annie. "Structuring arts-based analysis in portraiture research." Qualitative Research Journal 20, no. 1 (2019): 76–85. http://dx.doi.org/10.1108/qrj-05-2019-0045.

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Purpose The purpose of this paper is to describe the development of an innovative arts-based analysis process within the framework of portraiture methodology. The paper provides an example of how to incorporate multi-modal forms of analysis within the portraiture framework and offers a fluid, qualitative “recipe” for researchers interested in using portraiture methodology. Design/methodology/approach The study described in this paper explores vulnerability and resilience in teaching, using poetry and visual art as integrated elements of the portraiture process. Portraiture is a qualitative, fe

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Gerstenblatt, Paula, Lisa Luken, and Elizabeth Chalmers. "Life on the Island: Collage Portraiture and Storytelling as Community Building." Journal of Community Engagement and Scholarship 17, no. 1 (2024): 2. http://dx.doi.org/10.54656/jces.v17i1.577.

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This qualitative study explored the experiences of island residents who participated in a collage portraiture workshop. Workshop participants used collage portraiture, an arts-based research method, to tell their stories of island life and engage with fellow community members. Nine island residents participated in the workshop and were interviewed about the experience using a semi-structured interview guide. Interviews were transcribed verbatim, and data analysis revealed three overarching themes: (a) the process of collage portraiture, (b) collage portraiture as storytelling, and (c) future u

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Jackett, Amy Elizabeth. "Australian Portraiture." International Journal of the Arts in Society: Annual Review 6, no. 3 (2011): 67–74. http://dx.doi.org/10.18848/1833-1866/cgp/v06i03/36033.

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7

Hentschel, Klaus. "Spectroscopic Portraiture." Annals of Science 59, no. 1 (2002): 57–82. http://dx.doi.org/10.1080/00033790110034784.

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8

Mudge, Bradford. "On Portraiture." Eighteenth Century 64, no. 1-2 (2023): 119–47. http://dx.doi.org/10.1353/ecy.2023.a937918.

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Abstract: This essay considers the large and unwieldy question—"What is portraiture?"—in order to understand more clearly the achievements in sculpture, painting, and print that characterize a period art historians have described as the "golden age" of the British portrait. The essay redefines portraiture to include all of the major and minor portrait types across media; it devises corresponding rhetorical modalities for those different material environments; and it proposes a system of dynamic interplay rather than one of static taxonomy. Crucial to this effort is the reconceptualization of t

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Peterson, Christian A. "Home Portraiture." History of Photography 35, no. 4 (2011): 374–87. http://dx.doi.org/10.1080/03087298.2011.606727.

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10

Wade, Nicholas J. "Binocular portraiture." i-Perception 14, no. 2 (2023): 204166952311651. http://dx.doi.org/10.1177/20416695231165142.

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Pictorial portraits are viewed with two eyes despite the fact that they are mostly monocular: they have been produced from a single viewpoint (either by painters or photographers). The differences between the images on each eye are a consequence of the separation between them rather than differences in two pictorial images. Viewing with two eyes detracts from the monocular cues to depth within the singular portrait because of information for the flatness of the pictorial surface. Binocular portraits, on the other hand, incorporate differences between two pictorial images producing perceptual e

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Noriega, Chon A. "Environmental Portraiture." Aztlán: A Journal of Chicano Studies 38, no. 1 (2013): 1–10. http://dx.doi.org/10.1525/azt.2013.38.1.1.

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12

Jacob, John P. "Spirit Portraiture." American Art 39, no. 1 (2025): 100–129. https://doi.org/10.1086/734856.

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13

Costamagna, Philippe. "De l'idéal de beauté aux problèmes d'attribution. Vingt ans de recherche sur le portrait florentin au XVIe siècle." Studiolo 1, no. 1 (2002): 193–220. http://dx.doi.org/10.3406/studi.2002.1099.

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From the ideal of beauty to issues of attribution. Twenty years of research on 16th century Florentine portraiture. Considered too familiar in its overall evolution or not eminent enough in relation to Quattrocento portraiture, 16th century Florentine portraiture has become a topic of research only since the 1980s, thanks to important exhibitions on art in Tuscany during the Medici rule and to studies on Medicean portraiture. The latter's magnitude, along with ancient sources, bear witness to the genre's success amongst painters. However, the recent and abundant bibliography reveals the diffic

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Murphy, Siobhan. "Screendance Portraiture: Truth, Transaction, and Seriality in 52 Portraits." Dance Research Journal 52, no. 3 (2020): 42–57. http://dx.doi.org/10.1017/s0149767720000376.

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The article examines the hybrid genre of screendance portraiture through the example of 52 Portraits by Jonathan Burrows and collaborators (2016). It unpacks three concepts that are foundational to visual art portraiture and suggests how each might apply to screendance portraits: the truth seeking impulse of portraiture; the portrait transaction, and the relationship between likeness, type and seriality. The article shows how 52 Portraits both relies on and departs from the productive counterpoints found within the portraiture tradition. In so doing, the article builds toward an emergent frame

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Sun, Yu, and Rixiao Zhang. "Peep the trend of painting academy with traditional portrait development." Highlights in Art and Design 2, no. 2 (2023): 80–82. http://dx.doi.org/10.54097/hiaad.v2i2.6986.

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The characteristics of portraits should have commonness and individuality: portraits can be non-specific, typical characters or typical significance; It can also be a specific, portraiture character, and the character image presents the specific person. Since ancient times, portraiture has been evolving in our country, absorbing a variety of foreign cultures and techniques, and the development of portraiture is still continuing today.

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Schwerda, Mira Xenia. "Visualizing Kingship in a Time of Change." Manazir Journal 5 (October 9, 2023): 177–205. http://dx.doi.org/10.36950/manazir.2023.5.9.

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Despite artistic engagement with photography in Iran almost immediately after the invention of the daguerreotype in 1839, the field of Islamic art history has had difficulty accepting the modern period and the medium of photography as part of its discipline. Studies on painted Iranian portraiture have often stopped before the introduction of photography, and only in more recent years has photographic portraiture and its influence on painting been examined. Due to this nascent state of the field, large gaps exist even on more traditional topics, such as the question of royal portraiture. This a

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Knoppers, Laura Lunger. "The Politics of Portraiture: Oliver Cromwell and the Plain Style*." Renaissance Quarterly 51, no. 4 (1998): 1283–319. http://dx.doi.org/10.2307/2901968.

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AbstractLong dismissed as aping monarchical forms, Cromwellian portraiture has been neglected by art historians, historians, and literary critics alike. But rather than simply mimicking monarchical iconography, Cromwellian portraiture reflected the character — and contradictions — of Cromwell's own plain style. Paintings by Robert Walker, Samuel Cooper, and Peter Lely all drew upon and significantly revised courtly and idealized Van Dyck portraiture. During the protectorate, Cromwellian portraiture became less, not more, courtly, and the final portrait of Cromwell by Edward Mascall was the mos

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Abramova, Marianna. "Modern Forms of Portraiture asan Instrument for Creating a Banner Memory." ARTISTIC CULTURE. TOPICAL ISSUES, no. 18(2) (November 29, 2022): 55–61. http://dx.doi.org/10.31500/1992-5514.18(2).2022.269782.

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At the turn of the 21st century, portraiture underwent significant transformations. While there were many attempts to “reinvent” the portrait as a genre, it has been flourishing in a new status—now as an instrument for image creation. Being one of the important forms of preservation and transmission of the memory of an individual, portraiture isinfluenced by the algorithms of advertisement. At present, the fixation of our memories through portraiture becomes the vehicle of the image ideology that changes perception and a general understanding of the role and place of man both in history and in

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Cohen, Paul. "Stein’s Postmodern Portraiture." Interdisciplinary Literary Studies 9, no. 2 (2008): 17–28. http://dx.doi.org/10.2307/41210292.

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20

Sellin, Paul R. "Uses of Portraiture." Dutch Crossing 23, no. 2 (1999): 163–89. http://dx.doi.org/10.1080/03096564.1999.11784114.

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21

Grootenboer, H. "Portraiture as Encounter." Oxford Art Journal 37, no. 2 (2014): 211–15. http://dx.doi.org/10.1093/oxartj/kcu008.

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22

Borgatti, Jean M. "Portraiture in Africa." African Arts 23, no. 3 (1990): 34. http://dx.doi.org/10.2307/3336827.

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23

Bush, Stephen. "Portraiture and Anthropocentrism." De Ethica 7, no. 3 (2023): 93–107. http://dx.doi.org/10.3384/de-ethica.2001-8819.237393.

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In an age in which anthropocentrism is increasingly under fire, the investment of the artistic tradition in that paradigm deserves particular attention. Portraiture is especially significant, as it seems to be the anthropocentric art form par excellence. It seems to reinforce key features of anthropocentrism: the distinction of the human from the nonhuman and the superiority of the former over the latter. We can pursue these questions most effectively if we distinguish descriptive (“weak”) anthropocentrism from normative (“strong”) anthropocentrism. The former involves some sort of focus on hu

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Wango, Kamau. "The Role of Hyperrealism in Painted Portraiture –Engaging Culture: Analysis of Portraiture by Eddy Ochieng." East African Journal of Interdisciplinary Studies 2, no. 1 (2020): 157–79. http://dx.doi.org/10.37284/eajis.2.1.246.

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Portraiture remains one of the most fascinating genres of Art; it is engaging, intriguing and often, perhaps, a little controversial. Portraiture has been executed through the centuries in a variety of styles and media and for different purposes, from the ancient Egyptian cave paintings, through the medieval civilisations to the renaissance, new world, the great divide, modern era and ultimately to post-modernism pop art portraiture. One question that has always resurfaced in the interrogation of portraiture is what is the role of portraiture. There have also been incessant questions about the

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Kellett, Heidi. "‘Skin Portraiture’ in the Age of Bio Art." Body & Society 24, no. 1-2 (2018): 137–65. http://dx.doi.org/10.1177/1357034x18766288.

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In this article, I consider ‘skin portraiture’: a mode of representation that privileges quasi-anonymous, fragmented, magnified and anatomized images of skin. I argue that this mode of representation permits a heightened awareness of embodied experiences such as reflexivity, empathy and relationality. Expanding understandings of difference through its engagement with haptic imagery and visuality, skin portraiture reorients the boundaries between ‘I’/‘not I’ and subject/object – often through touch – and challenges the cultural commitment to traditional notions of bodily autonomy. By doing so,

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Chapman, Thandeka K. "Interrogating Classroom Relationships and Events: Using Portraiture and Critical Race Theory in Education Research." Educational Researcher 36, no. 3 (2007): 156–62. http://dx.doi.org/10.3102/0013189x07301437.

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This article explores the use of the methodology of portraiture and the analytic framework of critical race theory (CRT) to evaluate success and failure in urban classrooms. Portraiture and CRT share a number of features that make the two a viable pair for conducting research in urban schools. In combination, portraiture and CRT allow researchers to evoke the personal, the professional, and the political to illuminate issues of race, class, and gender in education research and to create possibilities for urban school reform as social action.

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Brunker, Nicole. "Stepping off the drunkard’s path to walk the “wild side”." Qualitative Research Journal 19, no. 2 (2019): 104–20. http://dx.doi.org/10.1108/qrj-d-18-00025.

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Purpose Working creatively as a researcher should be a core foundation in doctoral studies, though it may be an isolating, even risky, endeavour. The purpose of this paper is to share the author’s journey through the “darkness” of innovation in research methodology. Design/methodology/approach At the heart of this research journey was Portraiture (Lawrence-Lightfoot, 1983), which emerged early in the post-modern evolution of qualitative research. While exploring Portraiture, the author found researchers used this methodology in varying ways: application, appropriation and interpretation. In st

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Wango, Kamau. "Personal Style in Portraiture Painting – ‘Visual Dialogues with Water’ Analysis of the Portraiture by Eddy Ochieng." East African Journal of Arts and Social Sciences 2, no. 1 (2020): 134–53. http://dx.doi.org/10.37284/eajass.2.1.220.

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Portraiture is arguably one of the most celebrated genres of art and artistic expression through the ages. Artists have always sought to create depictions of themselves in self-portraits as well as the depiction of sitters through in-person posed sessions, referencing, or imagination. They have also used portraiture for artistic expression particularly when aiming to depict human feelings and emotions for the practical reason that human expression itself is synonymous with facial expression. It is only through the study of physical facial expression that an artist is able to derive artistic ex

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Van Alphen, Ernst. "Reflections on Portraiture: Unifying the Face and Pluralizing Personality." Artium Quaestiones, no. 35 (December 31, 2024): 167–85. https://doi.org/10.14746/aq.2024.35.8.

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Two assumptions play an important role in the study of portraiture 1) Studies of the portrait are usually based on the idea that the face that is shown in the portrait is also a portrait in its own right, namely, a portrait of the soul of the portrayed person. 2) The main function of portraiture is to portray or even capture the unique, personal identity of a person; that identity is an essential and stable entity. In this paper, both assumptions will be challenged. As a result, portrait and face should not be conflated and arguments on the face have a quite different status than those on port

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f, f. "Portraiture: Looking Through the Eyes of a Painter." Asian Qualitative Inquiry Association 2, no. 2 (2023): 95–108. http://dx.doi.org/10.56428/aqij.2023.2.2.95.

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Qualitative research includes a variety of well-known methodologies, including phenomenology, case study, ethnography, grounded theory, and narrative research. One less-known and underused qualitative research method is Essentialist Portraiture. An earlier methodology, Portraiture, was developed by Lawrence-Lightfoot. Essentialist portraiture was created and introduced to qualitative researchers by Klaus Witz. As the name might suggest, portrait methodology is a qualitative study in which a researcher observes the object and describes the essence of the object in detail as a painter draws a po

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Puczydłowski, Miłosz. "Theodicy as God's portraiture." Studia Philosophiae Christianae 55, no. 1 (2019): 27. http://dx.doi.org/10.21697/2019.55.1.02.

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Stirton, Paul. "SCOTTISH PORTRAITURE IN CONTEXT." Scottish Economic & Social History 14, no. 1 (1994): 99–102. http://dx.doi.org/10.3366/sesh.1994.14.14.99.

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Chadwick, Esther. "Portraiture in Indigenous London." American Art 36, no. 2 (2022): 20–26. http://dx.doi.org/10.1086/720912.

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Brett, David. "The Possibility of Portraiture." Circa, no. 57 (1991): 32. http://dx.doi.org/10.2307/25557623.

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Welliver, Gwen. "Self-Portraiture/Self-Prompt." PAJ: A Journal of Performance and Art 40, no. 2 (2018): 38–41. http://dx.doi.org/10.1162/pajj_a_00420.

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Kemp, Martin. "Fresh formulae for portraiture." Nature 460, no. 7252 (2009): 179. http://dx.doi.org/10.1038/460179a.

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Levin, Brooke. "Portraiture and social understanding." Advances in Autism 1, no. 1 (2015): 30–40. http://dx.doi.org/10.1108/aia-05-2015-0004.

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Purpose – The purpose of this paper is to discuss the possible explanations for deficits in social understanding evident in individuals with autism spectrum disorder (ASD). A potential intervention technique is proposed that has not yet been examined in this population: viewing and drawing portraits. This portraiture-based intervention seeks to address some of the core issues set forth in each of the theories explaining impaired social functioning. Furthermore, this intervention is intended to specifically increase exposure to facial stimuli in a safe and controlled environment. Instructions a

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Borgatti, Jean M. "African Portraiture: A Commentary." African Arts 23, no. 4 (1990): 38. http://dx.doi.org/10.2307/3336942.

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Keyes, George. "Portraiture—Mirror or Mask?" Bulletin of the Detroit Institute of Arts 83, no. 1-4 (2009): 4–11. http://dx.doi.org/10.1086/dia23183268.

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Kim, Jeehey. "KOREAN FUNERARY PHOTO‐PORTRAITURE." Photographies 2, no. 1 (2009): 7–20. http://dx.doi.org/10.1080/17540760802696906.

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Smalls, James. "African‐American self‐portraiture." Third Text 15, no. 54 (2001): 47–62. http://dx.doi.org/10.1080/09528820108576899.

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Olds, Marshall C. "Future Mallarmé (Present Picasso): Portraiture and Self-Portraiture in Poetry and Art." Romance Quarterly 45, no. 3 (1998): 168–77. http://dx.doi.org/10.1080/08831159809603857.

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LIU, PEI PEI. "After Words: Negotiating Participant and Portraitist Response in the Study “Aftermath”." Harvard Educational Review 90, no. 1 (2020): 102–26. http://dx.doi.org/10.17763/1943-5045-90.1.102.

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In this essay, Pei Pei Liu identifies the act of unveiling a completed portrait to solicit participant response as central to the conceptualization of portraiture. While this explicit extension of research relationships into the study “aftermath” distinguishes portraiture from many other qualitative methods, little practical guidance exists for portraitists striving to navigate this process, as published portraits and methodological writings rarely depict the event. To address this gap, Liu shares case studies from her own work that illustrate the inherent tensions stemming from multiple and s

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Cui, Shuqin. "Wrapped Body and Masked Face." positions: asia critique 28, no. 1 (2020): 207–36. http://dx.doi.org/10.1215/10679847-7913119.

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Taking Liu Manwen’s self-portraiture series, especially her Ordinary Life and Monologue, as examples, this article argues that the self-subject via self-portraiture comes to terms through social-cultural constitution and visual articulation. With face masked and body wrapped, Liu Manwen’s self-portraiture locates a troubled self against familial relations and social-cultural confinement and searches for self-expression through mirror reflection and spatial articulation. Issues specific to the discussion include spatial anxiety, where the self reconciles familial place and social space; psychol

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Lawrence-Lightfoot, Sara. "Commentary: Portraiture Methodology: Blending Art and Science." LEARNing Landscapes 9, no. 2 (2016): 19–27. http://dx.doi.org/10.36510/learnland.v9i2.760.

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In this interview, Sara Lawrence-Lightfoot describes the genesis of the portraiture methodology and how it has developed over the past three decades. Portraiture seeks to blend art and science, bridging empiricism and aestheticism. It draws from a wide variety of phenomenological and narrative traditions. One of the ways in which it is distinct from other research methodologies is in its focus on "goodness"; documenting what is strong, resilient, and worthy in a given situation, resisting the more typical social science preoccupation with weakness and pathology. Dr Lawrence-Lightfoot also expl

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ANKYIAH, FRANCIS. "Riding against patriarchy." Sexuality and Gender Studies Journal 1, no. 2 (2023): 11–23. http://dx.doi.org/10.33422/sgsj.v1i2.478.

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Equestrian portraiture has historically upheld gender norms by depicting powerful men and excluding women artists. 17th and 18th-century equestrian portraits of women depicted them as passive objects, often overshadowed by their male counterparts. These portraits reinforced traditional gender roles and upheld the patriarchal hierarchy prevalent during that time. This paper examines how Ghanaian contemporary artist Sarfowaa challenges patriarchal traditions through feminist self-portraiture in appropriated historical equestrian paintings. Through visual analysis of composition, techniques, symb

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Cui, Wenxin. "The peculiarities of theoretical and practical teaching of portrait in the dialogue of the traditions of Western and Chinese painting when training future painters in modern universities and colleges in China." Pedagogy. Theory & Practice 10, no. 1 (2025): 71–78. https://doi.org/10.30853/ped20250009.

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The purpose of the study is to identify and characterize the role of portraiture in the system of training future artists in modern Chinese universities and colleges. The article examines the theoretical part of the training of future artists that is the introducing students to the history of portraiture, the specificity of which is to identify the difference in "eastern" and "Western" approaches, as well as their transformation over time. In the framework of practical classes, students practice in the field of compositional portraiture, taking into account the peculiarities of Western Europea

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Wango, Kamau. "Stylistic Approaches in Portraiture Painting: Analysis of Selected Portraiture by Contemporary Kenyan Artists." East African Journal of Arts and Social Sciences 5, no. 1 (2022): 48–74. http://dx.doi.org/10.37284/eajass.5.1.601.

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Portraiture painting remains an important and popular sub-genre in art where artists paint portraits as a response to various motivations. Some artists paint for the fun of it, or what is often referred to as art for art's sake, where they are more captivated by the flow of vivid colours, tones and textures which they capture with their brushstrokes to study pertinent aspects of the face; others wish to study the likeness of their subjects in detail as they appear on the reference photographs; others are interested in the narrative that they perceive to be apparent in the portrait; others are

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Junu Maiya Basukala & Sanjeep Maharjan. "Animal Portraiture in the Shah and Rana Era." SIRJANĀ – A Journal Of Arts and Art Education 10, no. 1 (2024): 48–63. http://dx.doi.org/10.3126/sirjana.v10i1.68691.

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In the art history of Nepal, the portrayal of animals was never the primary subject until the late medieval period. But animals were depicted as mount of gods and goddesses incommon practice. Independent animal portraitures are seen for the first time in the Shah period. In the National Art Museum of Bhaktapur, a collection of forty-eight distinct animal portraits has been available. There are two types of animal portraiture: mythical creatures and natural fauna. Mythical beings are śārdūla, simha, śarabha, and vyāla, whereas natural fauna are wild animals available in Nepal. Mythical creature

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Wong, Yoong Wah Alex, and Ernesto Carlos Pujazon Patron. "A Review of the Interrelationships between Painting, Photography, Facial Recognition, and Artificial Intelligence Technologies in Portraiture Aesthetics." Athens Journal of Τechnology & Engineering 11, no. 2 (2024): 167–86. http://dx.doi.org/10.30958/ajte.11-2-4.

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We see faces every day, and all of them leave us with different impressions. Our brains also respond emotionally to new and familiar faces we find in non-animated objects, paintings, and sculptures. To retain such memory of a face or express our feelings, we create portraits. Portraits have fascinated us for millennia. This paper reviews the interrelationships between painting, photography, facial recognition, and artificial intelligence technologies in portraiture aesthetics. The importance of portraits as a subject in artistic creation, studies, and research has led to various advancements i

APA, Harvard, Vancouver, ISO und andere Zitierweisen

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