To see the other types of publications on this topic, follow the link: Photographs: portraits.
Dissertations / Theses on the topic 'Photographs: portraits'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Photographs: portraits.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Supartono, Alexander. "Faces and Places: Group Portraits and Topographical Photographs in the Photo Albums of the Sugar Industry in Colonial Java in the Early Twentieth Century." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1282929717.
Full text
2
Kowsar, Shabahang. "L'Art de Paraître dans le Portrait Photographique sous le Second Empire." Thesis, Versailles-St Quentin en Yvelines, 2015. http://www.theses.fr/2015VERS006S.
Full textAbstract:
L’essor de la photographie au milieu du 19ème siècle est contemporain de changements importants survenus au sein de la société française. A Paris sous le Second Empire, la forte hausse du pouvoir d’achat, due en grande partie aux travaux haussmanniens, influence l’image publique des citadins. La ville et ses grands boulevards offrent aux plus privilégiés la possibilité de se promener, de s’exhiber, de paraître selon certaines normes pour se mettre en lumière. Représentations qui seront ensuite fixées par les artistes : écrivains, peintres, sculpteurs, caricaturistes et photographes, ils concourent tous à immortaliser ce nouveau mode de vie et ses acteurs.Le portrait, ce moyen de représentation par excellence auparavant réservé à l’aristocratie, deviendra finalement accessible aux autres milieux sociaux. En comparaison avec les autres techniques, le portrait photographique gagnera davantage de succès et ce, grâce à de multiples critères : la baisse progressive de son coût, sa vitesse d’exécution, sa véracité reconnue par le public, sa capacité d’être reproduit à l’identique en grand nombre depuis l’invention du procédé collodion humide, sans oublier la naissance du portrait-carte de visite qui accélère sa démocratisation.Notre recherche repose sur un dépouillement minutieux d’archives photographiques. Elle aura comme objectif d’analyser le rôle joué par la photographie dans la procédure de représentation sous le Second Empire en répondant à un certain nombre de questionsWhen portraiture was made accessible to French citizens in the nineteenth century, someconservative critics did not consider all individuals to be “portrayable”. This did notprevent people of means from hiring portrait painters to create their own “visiblememory”. In the process, they redefined the nature of the artist’s model. These newsitters, who were employers rather than employees, were not obedient: they insisted uponimposing their individual style and references. Photographic artists, on the other hand,persisted in directing their sitters—as artists did their paid academic models—and had toseek compromises that, without relinquishing their favoured styles, would satisfy theirdemanding clients. Some photographers published manuals and treatises explaining howto produce a good portrait without being unduly disturbed by the model’s whims andfancies. Furthermore, self-proclaimed experts in modern “etiquette” taught people how totalk, how to walk and how to appear in society. A careful examination of the conditionsbehind the production of photographic portraits, especially those representing fashionablecitizens taken during the era of the carte-de-visite, reveals the importance of the rolesplayed respectively by the model, the portrait photographer and the social codes ofconduct of the day
3
Magnatta, Sarah J. "Portraits of the Dalai Lama in Tibet and Beyond." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1396265966.
Full text
4
Temuulen, Bataa. "Das Recht am eigenen Bild rechtshistorische Entwicklung, geschützte Interessen, Rechtscharakter und Rechtsschutz." Hamburg Kovač, 2006. http://www.verlagdrkovac.de/3-8300-2354-5.htm.
Full text
5
Munsie, Richard. "Intimation of life : photographic portraiture in art." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/719.
Full textAbstract:
Photographic artists have a continuing desire to express intimately aspects of their social world through the genre of portraiture. However, in attempting to make known the lives of those around them, portraitists encounter a range of complexities inherent in the representation of the human subject in a two-dimensional visual field. Portraits were initially an indicator of social class until the introduction of photography, when more and more people became involved in their production and ownership. It was at its inception that the photographic portrait assumed conventions consistent with those of the painted portrait in Western art and its social use. These conventions have persisted and, along with the accumulation of conventions specific to the medium, have come to define photographic portraiture as a genre. It is either from within the limitations of the genre, or through the challenging of its authority, that artists seek to portray issues relevant to contemporary life. This endeavour is affected by certain concerns associated with a person's photographic representation. These include issues pertaining to notions of likeness, identity, subjectivity, and realism. A photographic image of someone has traditionally been perceived to convey a realistic impression of that person's identity, however, concepts of identity and realism have come under increasing scrutiny, contesting the authority of the photographic representation. The portrait's verisimilitude is also undermined by limitations in photographic processes and technology, and the manipulation and control exercised by the photographer who can frame, filter, crop, and enlarge the image at will. In considering the inadequacies of the medium, the fragmentation of identity and subjectivity, and threats concerning the demise of the genre, a further concern to contemporary portraiture is the status of the psychological interaction between photographer and subject. For many participants this exchange is an important aspect of the portrait transaction in which rituals of pose and performance are enacted, and feeling states or emotional truths are sought out. Kozloff (1994, p. 4) considers stilt portraits to be scanty objects in which the intricacies of human experience are inadequately represented, yet they remain as a site for the documentation of experiences that are to become memories. The increasing influence of digital media in photography presents an opportunity for the re-evaluation of these concerns, and new creative and expressive possibilities.
6
Carmignac, Ariane-Esther. "Passer le temps. Vies d'une archive photographique contemporaine : l'archivio Graziano Arici." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSES044/document.
Full textAbstract:
L’Archivio Graziano Arici est une archive photographique d’un genre résolument singulier ; elle réunit des enjeux et ou assemble des finalités qui ne se rejoignent que partiellement. Archive courante des photographies de Graziano Arici (photographe né en 1949 à Venise, résidant actuellement à Arles, et toujours en activité), fonctionnant comme une base d’images permettant au photographe d’accumuler et de vendre ses productions, elle est aussi, dès le départ, conçue comme une forme-conservatoire destinée, dans son ensemble, par son auteur même, à représenter une époque, à rester comme un témoignage porté par un regard sur une époque. Par l’acquisition de fractions d’archives photographiques, la mise en place d’une politique de préservation des images, et par ses créations, son travail plastique, le photographe se fait tout à la fois héritier d’un domaine précaire, mais aussi son passeur. Dans ce cas particulier, en effet, le rassemblement qu’est l’archive photographique se trouve être, non seulement, un lieu d’origine, premier, mais également l’endroit et le moment d’une recomposition, d’un remontage de productions antérieures, donnant ainsi naissance à un art consommé de l’assemblage, dans un lieu devenu paradoxalThe Archive Graziano Arici is a definitely unique photograph Archive of its kind. It concentrates issues, or combine objectives which only partially meet. The standard Archive of Graziano Arici’s photograph (Arici is a photographer born in Venice, now living in Arles and still working) first acting as a picture-base which enables the photographer to gather together and sell his productions, is also, from the outset, designed as a conservation device, and by its author himself intended in its entirety to represent particular times and bear testimony to individual perceptions of those times ; by acquiring fractions of photograph archives, and setting up a picture-conservation policy, but through his own creation and plastic work as well, the photographer becomes heir to a fleeting world, and his go-between, too, giving birth to an art of assembling, and his archive becoming a paradoxical place
7
Herrerias, Cuevas Vesta Mónica. "Le masque social ou la representation de la bourgeoisie mexicaine dans le portait photographique (1854-2008)." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030058.
Full textAbstract:
Loin de la dénonciation sociale ou d’un exercice strictement historique, le présent travail cherche à comprendre comment se construit l’image du personnage bourgeois à travers l’étude de portraits de la bourgeoisie mexicaine entre 1854 et 2008. Le concept de masque permet de rendre compte du portrait en tant que construction d’un modèle de représentation sociale. La première partie propose un aperçu général des origines et de l’évolution du portrait pictural, de son influence sur le portrait photographique, des conséquences des idées humanistes sur l’art, enfin de l’histoire de la bourgeoisie mexicaine et du portrait photographique bourgeois au Mexique. La deuxième partie s’intéresse au phénomène de la carte-de-visite en tant que source et modèle du portrait photographique de la bourgeoisie mexicaine, avant d’examiner la question de la figure : l’interprétation de la pose et du visage en tant qu’éléments constitutifs de la construction d’une identité sociale. La troisième partie étudie le fond, c'est-à-dire les différents espaces dans lesquels le personnage bourgeois se fait photographier, les objets qui l’entourent et son rapport à eux. Cette recherche s’appuie sur les contributions théoriques de philosophes, d’écrivains, d’historiens et de photographes tels qu’André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Parmi les photographes mexicains abordés dans cette étude, l’on citera les frères Valleto, Cruces et Campa, les Archives Casasola, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell et Ivonne VenegasFar from social condemnation or a strictly historic review, this work seeks to understand the construction of the bourgeois personage through the study of Mexican bourgeoisie portraits between 1854 and 2008. The “mask” concept allows us to explain the portrait as the construction of a model of social representation. Part I offers an overview of the origin and evolution of the pictorial portrait and its influence on the photographic portrait, as well as the consequences of humanist ideas on art, the history of Mexican bourgeoisie and the bourgeois photographic portrait in Mexico. Part II analyses the carte-de-visite phenomenon as origin and model for the photographic portrait of the Mexican bourgeoisie, to later study the figure, the interpretation of posture, stance and facial expression as components of the construction of social identity. Part III studies depth: different spaces where the bourgeois character is photographed, the objects around him and his relation to them. Taken into account are the theoretical contributions of philosophers, writers, historians, and photographers, like André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Among the Mexican photographers studied are the Valleto brothers, Cruces y Campa, the Casasola Archive, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell and Ivonne Venegas
8
Skidmore, Colleen Marie. "Women in photography at the Notman Studio, Montreal, 1856-1881." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq46921.pdf.
Full text
9
Pelser, Monique Myren. "Roles : "I am as intently observed as the people photograph"." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1007647.
Full textAbstract:
With this dissertation I propose an investigation of how the photographic portrait attempts to construct and confirm identity through the representation of types. Drawing from theoretical texts by Roland Barthes and Robert Sobieszek and engaging with my own process of self-portraiture, as a means of troubling the usual power relations involved between the photographer and the sitter, I will demonstrate the dialectical nature of these roles involved in photographic portraiture. Looking at Pieter Hugo's portraits of judges in Botswana permits me to deal with issues of masquerade and how fashions and uniforms mask an individual allowing him/her to perform roles and stereotypes in society. Referring to another set of Hugo's images from his ongoing series Looking Aside, I will explore the paradoxical nature of the portrait through the dialectic of the 'self 'and 'other' subject and object split through an exploration of notions of skin and prosthetic skin and the relationship to the liminal space 'opened' between subject and object, or viewer and image.
10
Makun, Adetoun Jones. "International passports : portrait of the Nigerian diaspora." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002226.
Full textAbstract:
International Passports: Portraits of the Nigerian Diaspora considers notions of 'alienation‘ and 'nation-hood‘ through the lens of portraiture. This dissertation addresses issues of identity and representation in a contemporary cultural context as they pertain to the concerns presented through my current visual practice. The paintings that I have produced from 'real‘ life are primarily depictions of Nigerian individuals, friends and acquaintances (professionals and students) residing in Grahamstown, South Africa as temporary or permanent migrants. I reference the mug shot pose of identity documents and passport photographs and render them in such a way that ideas of their persona are subject to the viewer‘s gaze and deliberations, thus provoking the spectator to consider questions of 'otherness‘ and 'stereotypes‘. This provocation is subtle and complex, and in many ways I am offering the viewer a 're-looking‘, an opportunity to examine one‘s moral position and subsequent implication within the act of stereotyping an 'other‘ individual. The initial idea within this body of work was to paint images of Nigerian nationals exclusively, yet the restrictive nature of such categorization pushed me to complicate certain nationalist ideologies through the inclusion of non-Nigerian individuals. I look specifically at notions of the 'other‘ and 'strangeness‘ in a contemporary South African context and how this connects to the concept of portraiture and not simply portraiture theory but also the social theory in relation to how people are 'imaged‘. Throughout this thesis I consider several theoretical concerns in portraiture practice and discourse whilst simultaneously unpacking the psychological and social contexts that influence my practice.
11
Tran, Michelle. "Standing in the shadow of the moon : a diaristic encounter with identity through my everyday /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/8531.
Full textAbstract:
Art and lived experience are the key to my work. Standing in the Shadow of the Moon – A Diaristic Encounter With Identity Through My Everyday is an inquiry into the various possibilities for photography as a diaristic medium that blends the concepts of documentary and tableau photography, whilst exploring my identity. In this mode of expression, my project is an investigation into concepts of self-representation and subjectivity. What does it mean to create an enigmatic series of 'self-portraits' that are focused on those around me, those whom reflect me, but are not me?
12
Choi, Bong-lim. "Portraits de mains dans la photographie." Paris 1, 1998. http://www.theses.fr/1998PA010662.
Full textAbstract:
Mes études concernent deux problèmes à travers les portraits de mains dans la photographie : l'un théorique l'autre historique. Le premier qui a, pourtant, une réelle validité historique consiste à savoir comment la figuration de mains peut entrer dans la définition du genre portrait, en d'autres termes, comment la main peut se substituer au visage. Le second pourrait se formuler de la façon suivante : à quelles conditions historiques et à quelles adhésions de systèmes iconographiques les portraits de mains peuvent-ils se produire? Mes études essaient d'abord de reconstituer la signification des affirmations de soi par les artistes eux- mêmes en donnant à chaque autoportrait de mains un caractère d'évènement et en voulant déterminer l'horizon esthétique dont son émergence dépend. Elles examinent ensuite des modalités de la fonction commémorative de notre objet, lesquelles ont pour conséquence de considérer la figuration de mains en tant que paradigme du portrait. En dernier, on analyse, à travers la « main du banquier d***, étude chirographique » de Nadar, les conditions externes de possibilité de l'apparition du portrait documentaire qui s'accompagne de la perte totale des valeurs commémoratives inhérentes au portrait, et élucide le propre du portrait documentaire. Le portrait de mains apparaissait au XIXe siècle au moment où les valeurs de la main étaient dépréciées profondément dans la production iconographique : l'académisation des arts visuels procédait à la démarcation entre l'esprit et la main à partir de laquelle s'est établie toute la hiérarchie des arts du dessin. À l'époque ou l'esprit s'est réservé le droit exclusif d'assumer les actes signifiants de l'homme, l'acte photographique a continué de valoriser la main humaineMy studies concern two problems through the portraits of hands in the photography : one is theoretical, the other is historical. The first which has yet a real historical validity consists in knowing how the figuration of hands can enter into the definition of the portrait, in other words, how the hand can be a substitute for the face. The second can be formulated the following way : at which historical conditions and in which implications of iconographic systems the portraits of hands can be producted? My studies try first to constitute the meaning of the assertions of the self by the artists themselves, in giving to each self-portrait of hands the characteristic of an event, and in trying to determine the esthetic frame on which its emergence depends. They examine next the modalities of the commemorative function of our object, which have as consequence to consider the representatin of hands as paradigm of the portrait. Lastly, we analyse, through the « hand of banker d***, study of chiromancy » by Nadar, the external conditions of the possibility of appearance of the documentary portrait which is accompanied by the total loss of the commemorative values, inherent to the portrait, and clarify the proper of the documentary portrait. The portrait of hands appeared in the 19th century, at the time when the values of the hand were deeply undervalued in the iconographic production : the academic process of the visual arts proceeded to reinforce a boundary line between the spirit and the hand on which the whole hierarchy of the arts of drawing was established. At the time when the spirit reserved the exclusive right of assuming the meaningful acts of the human being, the photographic act has continued to restore the values of the human hand
13
Ibrahim, Carla Jacques. "As retratistas de uma epoca : fotografas de São Paulo na primeira metade do seculo XX." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284778.
Full textAbstract:
Orientador: Roberto Berton de AngeloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-05T07:50:47Z (GMT). No. of bitstreams: 1 Ibrahim_CarlaJacques_M.pdf: 30265765 bytes, checksum: 5605685ac14d4e0551309ea6bd729dd1 (MD5) Previous issue date: 2005
Resumo: Esta dissertação tem como objetivo analisar o panorama da fotografia na primeira metade do século XX, na cidade de São Paulo, no tocante à produção fotográfica desenvolvida pelas mulheres, proprietárias e gerentes dos próprios estabelecimentos. A abertura do trabalho cabe à pioneira Gioconda Rizzo, que abriu seu ateliê por volta de 1914, prosseguindo com a análise do percurso de nove fotógrafas, considerando que algumas dispunham de maior oferta de informações biográficas e de imagens por elas produzidas em detrimento de outras que deixaram pouquíssimos vestígios. O retrato fotográfico, o gênero mais utilizado por todas, funcionava como uma inserção inicial no mercado fotográfico, onde, com o passar do tempo, cada uma desenvolveu sua carreira, por longo ou curto espaço de tempo, sempre buscando alternativas na prestação de serviços para sobreviver num mercado já naturalmente competitivo, sem considerar as dificuldades acrescidas pela guerra. Pelo panorama apresentado, percebe-se a inexistência da memória do trabalho da mulher, especificamente das fotógrafas, que, apesar da produção de registros fotográficos de toda espécie e para todas as ocasiões, não conseguiram registrar a própria carreira na memória do trabalho de uma metrópole como São Paulo. Perdem-se os retratos, perde-se a memória
Abstract: This essay¿s objective is analyze the photographic scene in the first half of 20th century in the city of São Paulo regarding the photographic production developed by the women, owners and conductors of theirs establishments. The opening of the work fits the pioneer Gioconda Rizzo, who opened it¿s atelier in 1914, and continues analyzing the trajectory of nine photographers, considering that some offer more biographical information and images produced from them, in detriment of those very little vestiges had left. No doubt, the portrait was the style more used by all women and men, functioning as an initial insertion in the photographic market, as times went by, each one developed its career, longer or shorter, always searching alternatives rendering services to survive in a competitive market, without considering the difficulties increased by the war. For the presented panorama, it¿s perceived the inexistence of memory of women¿s work, specifically from photographers, despite their wide photographic production had not been capable to register their own career in the labor¿s memory of a city like São Paulo. Lost pictures, lost memory
Mestrado
Multimeios
Mestre em Multimeios
14
Delbard, Nathalie. "Par la force des choses : photographies." Paris 1, 2002. http://www.theses.fr/2002PA010634.
Full textAbstract:
À travers l'analyse d. 'oeuvres personnelles (portraits et installations photographiques), cette thèse se propose de reconsidérer à1a fois l' autonomie de l'objet photographique et sa force de présence dans le monde, indépendamment de la fonction analogique - l'image en tant que miroir fidèle du Réel - que d'aucuns lui prêtent souvent. Au sein des pratiques actuelles la photographie est notamment envisagée dans sa capacité à mettre à malles systèmes traditionnels de représentation, au profit de l'avènement de la "force des choses " : au coeur même de l'ordinaire - dans la force contenue par les choses elles- mêmes - les images offrent au regard des visages assoupis et énigmatiques. Ainsi que des corps couverts d'infimes troubles épidermiques, ou porteurs d'étranges accessoires. Absents et impénétrables, les modèles présentés échappent à toute interprétation, constituant ainsi de nouvelles formes d'existence. Dans une telle perspective, l'image photographique s'inscrit dans un processus de résistance, qui tente de rendre sa place à. L'individu à travers son altérité même. A. La suite de nombre de postures contemporaines, l'enjeu artistique devient celui d'une véritable éthique du visible, où l'image se donne avec d'autant plus de force qu'elle ne comble jamais le désir du regardeur. De la représentation à la présence, il s'agit finalement de penser d'autres modalités d'apparition pour la photographie, répondant à l' accélération généralisée des visibilités
15
Hacking, Juliet Louise. "Photography personified : art and identity in British photography 1857-1869." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266787.
Full text
16
Rowell, Spencer. "An exploration of pathography within phototherapy : an analysis of the photographic self-portrait." Thesis, London Metropolitan University, 2017. http://repository.londonmet.ac.uk/1264/.
Full textAbstract:
This thesis presents and develops an advanced method of self-exploration for artists. The method, which incorporates the process of self-representation, enables a more authentic identification of the psyche of the artist to be created. The objective of the research is to develop a restorative and valid therapeutic process that artists can apply to achieve further authenticity in terms of the work that they conduct. The process that is developed as a product of this research is an advancement of ‘pathography’, a term used by Sigmund Freud in 1910 in the final chapter of Leonardo da Vinci and a Memory of His Childhood, to describe the psychoanalytic study of an artist through the works produced by the artist. The specific method employed in the research involved myself as artist creating a photographic self-portrait, sharing this image with two psychoanalytic psychotherapists, who each then responded with their written analysis of the image. This led to the creation of a series of twenty-four images, informed by the written interpretations provided by the analysts, at approximate intervals of once a month over two years. This method allows the interaction of artist, artworks and analysts to develop dynamically. This collaborative process where the written word is generated from the viewing of visual information, allows patterns or themes relevant to the research to be identified. The research findings contribute to the existing body of knowledge by revisiting of ‘pathography’ and developing a new method within phototherapy, and, in doing so, provide a material progression in the context of the artist as a photographer. Recommendations are also made in respect of the implementation of this new method. Guidance is provided for researchers who wish to further investigate this area, particularly in terms of the research processes that can be adopted. I conclude that making photographic self-portraits in this way can be a restorative and valid therapeutic process.
17
Shtonda, A. O. "Great Contemporary Photographers." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8399.
Full text
18
Jambard-Sweet, Carolyn. "Carte-de-visite culture in Manchester NH a case study /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162753708.
Full text
19
Luong, Alec Anh. "The Houston Center for Photography." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/34665.
Full textAbstract:
This building is about the moment. It is about the moment when the image and the viewer begin a dialogue of existence. It is about the moment when a photographer and a model begin a relationship that is as intimate as that between a mother and child. It is about the creation of space to house those moments. It is about the creation of the image from light to negative to print to viewer.
This building is about light. it is about the way light is framed. It is about the way photographs are records of light. It is about how humans see light and experience light and live in the light. It is about controlling and channeling the power of light. It is about harnessing the awesome power of light.
This building is about growth. It is about a place from my past growing into an idea for the future. It is about my own growth as a person - physically, intellectually, and professionally. It is about the growth of a passion for photography and architecture in a way that I can share.Master of Architecture
20
Aufraise, Marc. "Salvador Dali et la photographie : portraits du surréalisme (1927-1942)." Phd thesis, Université Panthéon-Sorbonne - Paris I, 2013. http://tel.archives-ouvertes.fr/tel-01001654.
Full textAbstract:
L'étude intitulée Salvador Dali et la photographie: portraits du surréalisme (1927-/942) montre comment l'image photographique se situe chez l'artiste au carrefour entre théorie et pratique, entre création et vie quotidienne. Elle propose de réévaluer la place du médium dans l'élaboration et la pratique de la théorie surréaliste en décrivant comment ce projet de libération de l'homme est utilisé pour exacerber l'individualisme. Dans un premier temps, Dali utilise l'image photographique comme une instance médiatrice qui lui permet de contrôler ses pulsions et de définir précisément les objets. Elle alimente ensuite son activité paranoïaque-critique et favorise son exploitation du concept de comestibilité. Elle assure enfin la réification de l'artiste et la diffusion de son image théâtralisée dans la presse. Les photographies, au service de la construction de l'identité comme de l'art de Dali, acquièrent ainsi une valeur, concrète ou métaphorique, de portraits.
21
Micheli, Christian Angelo. "Double et gémellité : une approche des portraits photographiques de studio en Afrique de l’Ouest." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20046/document.
Full textAbstract:
Malgré des différences culturelles, d’importantes similitudes peuvent êtres notées dans plusieurs pays d’Afrique de l’Ouest. En effet, les doubles portraits - photographies de deux figures semblables ou identiques - sont fréquents sur les présentoirs des studios et répandus depuis plusieurs décennies. Semblables, les figures de deux personnes distinctes sont intentionnellement unies par une ressemblance gémellaire. Identiques, elles sont les figures d’une personne unique, reproduite deux fois, comme si elle était à côté de son jumeau. Bien connus des recherches des anthropologues et des historiens sur la photographie, les doubles n’ont pourtant jamais été traités sous l’angle d’une production esthétique spécifique. Plus qu’une mode passagère ou une stratégie commerciale, et suggérant des liens avec des significations culturelles, ils constituent un phénomène artistique que cette thèse se propose d’explorer dans les cadres de l’histoire de l’art. Elle est basée sur un ensemble de trois cents doubles portraits réalisés entre la fin des années 1960 et nos jours, recueillis auprès de cent photographes rencontrés dans quatre pays d’Afrique subsaharienne : Togo, Bénin, Burkina Faso et Mali, et renseignés par des clients des studios, des anonymes et des protagonistes de la vie culturelle. Les doubles portraits sont ainsi analysés dans les contextes de leur production et de leur réception. Il sont étudiés comme des indices et des icônes, soulevant les questions de la représentation, de la ressemblance et des valeurs esthétiques propres à l’art des doubles. Ils sont abordés en fonction des définitions locales de la personne, puis insérés dans une histoire des créations d’Afrique occidentale (des sculptures aux photographies) et situés dans une histoire plus large des doubles portraits gémellaires entre l’Afrique et l’Europe. Ils sont enfin mis en perspective avec un imaginaire - dont ils sont les germes et les fruits - inspiré par les mythes et les pratiques de la gémellité, dans ces pays qui connaissent le taux de naissances gémellaires le plus élevé au mondeDespite evident cultural differences, we can nevertheless notice great similarities in many West African countries. In studio windows, double portraits - photographs of two similar or identical figures - are often displayed. In the case of the similar figures, an attempt is made to create a twin-like resemblance between two different people. When the figures are identical, one person has been reproduced twice on the same print as if he or she was next to a twin. Though acknowledged to some extent by anthropologists and historians, research on West Africa studio photography has never approached double portraits in photography as a specific aesthetic production. Widespread for several decades, more than mere entertainment, a passing fad or a commercial strategy and suggesting links with cultural meanings, they are an artistic phenomenon worthy of historical art analysis. This thesis explores the subject. It is based on a collection of three hundred photographs dating from the 1970s up to the present day, collected from a hundred photographers in four sub-Saharan countries (Togo, Benin, Burkina Faso and Mali), and informed by studio customers, locals, and people involved in the cultural life. The double portraits are thus analyzed in regard to their contexts of both production and reception. They are also studied as index and icons, raising questions on representation, likeness and aesthetic values, which are the specific issues of the art of the double. They are discussed according to the local definitions of beings, then situated within a history of African sculpture and photography and in a more comprehensive history of double and twin portraits between Europe and Africa. They will finally be contextualized through a collective imagination of “twinness” of which they are the seeds and fruits ; an imagination - as a whole range of visual and conceptual images - inspired by myths and practices related to twinship in these countries where the twin birth rate is the highest in the world
22
Moreno, Jérôme. "Émergence et retrait de la figure humaine : pour une anthropologie de l’image." Toulouse 2, 2009. http://www.theses.fr/2009TOU20022.
Full textAbstract:
Une pratique plastique de la figure engendre des images complexes. Cette thèse propose une exploration d'images figuratives sur la base d'une approche anthropologique. Une première catégorie d'images envisage la figure comme un élément soumis aux aléas de l'histoire. L'image peut être soit un objet de propagande soit l'objet d'une destruction qui peut aller jusqu'à la mort. La Shoah symbolise cet effacement de la figure et révèle une image en retrait. À l'inverse, par une pratique gestuelle où se mêlent avec paradoxe la déformation, la défiguration, l'altération mais aussi la re-figuration, la figure émerge. L'image envisage parfois la figure comme une trace : une empreinte gestuelle. Les principes de l'accumulation, de l'entrelacs et de la série la font surgir. L'image naît par le geste. Cependant il existe une troisième catégorie d'images qui peut parfois révéler une figure qui hésite. Dans la photographie par exemple, cette figure joue sur la fine frontière entre représentation et abstraction. Entre retrait et émergence, apparition et disparition figurative, l'image oscille. L'oscillation démontre, selon le principe de la survivance, que les images figuratives ont la capacité de resurgir par-delà le temps et l'espace. Leur pouvoir provient du fait que la figure est mémoireFace plastic practice generates sensible images. This thesis proposes an exploration of figurative images based on anthropological approach. In a first category of images, face proceeds from vagaries of History. It could be alternately propaganda and destruction. Shoah symbolizes the face obliteration and reveals an image in the very back. Conversely, the face could rise from the melting pot of distortion, disfigurement and representation. The image envisages face like a trace: a gesture print issued from accumulation, interlace or series principle. In this case, image awakes from the gesture. However, a third set of images could also reveal a hesitant face. For example, in photography, this face plays on the thin frontier between representation and abstraction. Image waves between retreat and emergence, figurative appearance and disappearance. According to survival principle, this oscillation indicates the capability of figurative images to resurface time and space, beyond. They have a power : the power to remember
23
Phillips, Michael. "The family album : an extended portrait /." Online version of thesis, 1987. http://hdl.handle.net/1850/8851.
Full text
24
Heyligers, Alice. "Révélation du visage et de la présence par la photographie : contribution à une réflexion sur l'éthique." Nice, 1992. http://www.theses.fr/1992NICE2005.
Full textAbstract:
Un portrait photographique implique avant tout la relation du modèle et du photographe. Cette relation s'inscrit tantôt sous le signe de la peur, tantôt sous celui de l'étonnement devant la présence d'autrui. Si la photographie dévoile la manière dont voit le photographe, elle ne révèle pourtant pas toujours la personnalité du modèle. Le visage ne se laisse voir qu'à certaines conditions sinon il se fait masque. La condition d'accès à la présence est celle de l'étonnement qui est une manière d'innocence. La peur, au contraire, oblige le photographe à aller vers autrui avec un projet. Il transforme son modèle en image, en idole. Le portrait photographique est la matérialisation de la rencontre du photographe et du modèle. Une simple photographie est l'équivalent de l'ombre projetée sur la paroi de la caverne ; c'est une empreinte, un indice ne dévoilant pas la présence. De ce point de vue être photographe serait, tantôt accepter de voir autrui et le monde, tantôt aller au-devant d'eux en refusant le dialogue. La responsabilité éthique du regard réside dans l'acceptation du face à faceA photographic portrait implies, first of all, the relationship between the model and the photographer. In this realtionship, the prevailing feeling is sometules fear, sometimes wonder in front of "the other". If the picture reveals the photographer's vision, yet it does not always reveal the model's personality. The face lets itself seen, but under certain conditions ; otherwise it becomes a mask. Only wonder, which is a sort of innocence, can give access to "the other" 's presence. Fear, on the contrary, makes the photographer move towards "the other" with a plan. He transforms his model into an image, an idol. In the photographic portrait, the meeting between the photographer and the model has materrialized. A mere phototraph is like the shadow cast on the side of the lave ; it is a print, a sign, which does not reveal the presence. From this point of view, being a photographer would be sometimes accepting to see "the other" and the world, sometimes maring towards them and refusing any dialogue. The ethical responsibility of the eye lies in the full acceptance of the face-to-face
25
Hess, Jean-Louis. "D'un sujet à l'autre : le retour photographique : théorie et pratique du portrait photograpique, à partir de la réception, par le modèle de sa propre image." Université Marc Bloch (Strasbourg) (1971-2008), 2008. http://www.theses.fr/2008STR20028.
Full textAbstract:
Cette thèse part d’un constat simple: tout photographe pratiquant le portrait renvoie à son modèle une image, et ce retour du portrait photographique n’a fait jusqu’ici l’objet d’aucune étude. Pourtant cette question du retour est constitutive du portrait photographique: dès la prise de vue, le modèle «se donne» ou ne se donne pas, en anticipant une image qui lui reviendra, et qui sera bien souvent différente de celle qu’il imaginait. C’est à partir de ce constat que je parcours tant l’histoire de la photographie que ma propre expérience, notamment dans le domaine de la photographie sociale pour déterminer, à la lumière de ce questionnement, les interactions entre le photographe et ses modèles. La photographie, par nature indifférente, ne se révèle que dans la relation intersubjectiveThis thesis is based on a very simple evidence: any portrait photographer sends an image back to his model, and no investigation has been done yet on this subject of the feedback of photographic portrait. But this question of the feedback is a constitutive part of of the photographic portrait: while sitting, the model surrenders or not, anticipating a feedback image that will often be sensibly differnet of the one he expected. Starting from this evidence, I revisit history of photography, as well as my own experience as a social photographer, to determine the interactions between photographer and models from this point of view. Photography, by itself indifferent, is revealed only in the stream of intersubjective relationship
26
Spenny, Anne M. "Portrait of a young woman /." Online version of thesis, 1989. http://hdl.handle.net/1850/11529.
Full text
27
Cleveland, Larissa. "Collector : collection/possession/persona /." Online version of thesis, 2008. http://hdl.handle.net/1850/6186.
Full text
28
Fonseca, Raquel. "Portrait et photogénie, photographie et chirurgie esthétique." Paris 8, 2009. http://www.theses.fr/2009PA083107.
Full textAbstract:
Ce travail est inséparable d'une longue pratique du portrait et a été fédéré par le concept esthétique fondateur de photogénie. Ceci nous a conduit à chercher en dehors de la photographie, plus précisément en chirurgie esthétique, les applications possibles de ce concept esthétique là où l'art n’existe pas. Le problème qui détermine cette réflexion est fondé sur le désir de transformation de l'apparence animé par le concept de photogénie. Le portrait photographique permet de centrer la réflexion sur la photogénie comme valeur esthétique de l'image photographique et, plus précisément, sur ses rapports à la vérité du sujet représenté. La réponse qui se déploie tout au long de ce travail est celle d'une esthétique de la visibilité. La photogénie vient donc expliquer la visibilité des corps dans l'art contemporain et dans le non-art qu'est la chirurgie esthétique. La photogénie en tant qu'objet d'étude permettra d'embrayer sur d'autres problématiques propres à l'image (le statut, l'esthétique, l'art, le signe, la trace…) et à l'être (l'existence, l'apparence, l'image de soi, le regard de l'autre, les cultures et l'effacement des apparences ethniques au détriment d'un modèle imposé, le désir, l'insatisfaction, les méandres et la sortie du narcissisme dans le rapport du sujet à son identité intime). Le croisement de l'art, de la science et de la technologie comme partenaire de la création contemporaine nous a montré que de nouvelles formes de représentation du corps se multiplient, le corps lui-même est devenu le support de l'art. Par tant d'images et de visibilité, une question se précise étape après étape : vers quelle autre esthétique allons-nous ? L'impossibilité d'y répondre nous oblige peut-être à affiner nos regards afin de considérer les fonctions et les rôles nouveaux de l'inesthétique au sein même du régime esthétiqueThis work is inseparable from a long practice of portrait photography and revolves around the aesthetic and fundamental concept of "photogénie". Such an approach prompted me to look for the possible applications of this aesthetic concept where art does not exist, i. E. , outside photography and in aesthetic surgery to be more precise. The question that determines this reflection is based on the desire to transform appearance which is spurred by the concept of "photogénie". Photographic portrait allows us to focus the reflection on "photogénie" as the aesthetic value of the photographic image and, especially, its relationship to the truth of the represented subject. The answer to this question that is deployed throughout this research work is the aesthetics of visibility. "Photogénie" provides the explanation for the visibility of the body in contemporary art and in the non-art that is plastic surgery. "Photogénie" as object of study helps us expand on other issues specific to image (status, aesthetics, art, sign, trace…) and to being (existence, appearance, image of the self, the other's gaze, cultures and the erasure of ethnic appearances in favour of an imposed model, the desire, the dissatisfaction, the twists and turns and the way out of narcissism in the subject's relation to his or her intimate identity). The junction of art, science and technology as partner of contemporary creation has shown us that new forms of representing the body are multiplying and that the body itself has become a canvas for art. Thanks to so many images and so much visibility, one question gets sharper and sharper stage after stage. Towards which aesthetics are we moving? The inability to come up with a full-fledged reply to this question obliges us to refine our gaze in order to take into consideration the new roles of non-aesthetics at the heart of aesthetics
29
Grant, Catherine. "Different girls : performances of adolescence in contemporary photographic portraits." Thesis, Courtauld Institute of Art (University of London), 2006. http://research.gold.ac.uk/18382/.
Full textAbstract:
This study considers five contemporary women artists whose work focuses on the adolescent model. Framed by the trend for large-scale colour photography, the depiction of adolescence was a recurring theme in the mid- to late-1990s. The artists – Sarah Jones, Anna Gaskell, Collier Schorr, Hellen van Meene and Amy Adler – are examined through their engagement with the history of the photographic portrait, with the room-sized space in front of the camera theorised as a performance space in which the identifications of the photographer, model and viewer are staged. Adolescence as a cultural and psychic identity is explored through psychoanalytic concepts of hysteria, sibling relations and narcissism, examining the performances of adolescence as disrupting heteronormative presentations of female identity and sexuality. The ‘queerness’ of adolescence and the potential this allows in the construction of alternative viewing positions and identifications is a concern that runs throughout the study. In each chapter the contemporary work is considered alongside examples from the history of the photographic portrait. The conventions of studio portraiture developed in the mid- to late-nineteenth century through the commercial carte-de-visite photograph, experimental amateur photography and scientific applications of photography form key points of dialogue with these contemporary stagings. The figure of the adolescent girl focuses attention on narratives of anxiety around uncontrollable sexuality, one that can be seen in the work of artists, writers, psychoanalysts and filmmakers, from the favourite hysteric at the Salpêtrière, Augustine, to Vladimir Nabokov’s Lolita. Broader issues around the photographic portrait are also considered in relation to these performances: the ambiguous presence of the model as a subject or object; the effect of repetition and ideas of performativity on the portrait’s traditional aim to present an individual subjectivity; and dialogues with postmodern ideas of appropriation and authorship in the quotations from historical sources. By considering this work primarily through a history of the photographic portrait, the depiction of the adolescent model can be contextualised as part of an ongoing critical engagement with the conventions of presenting a performance for the camera.
30
Savale, Christophe. "Les galeries de portraits en photographie au XIXe siècle /." Paris : C. Savale, 1995. http://catalogue.bnf.fr/ark:/12148/cb358422725.
Full text
31
Blanvillain, Caroline. "Portrait photographique et schizophrénie." Paris 8, 2012. http://www.theses.fr/2012PA083662.
Full textAbstract:
Nous nous posons des interrogations sur les écarts et les liens entre la folie et la photographie, en empruntant une voie centrale : celle du portrait photographique et de la schizophrénie. Le nombre croissant de portraits photographiques représentant des visages raturés ou escamotés nous a alerté. L’image du visage ou du corps est l’objet de toutes les altérations. De plus, les technologies actuelles ont permis de donner à voir, non seulement des visages retouchés ou modifiés, mais des visages falsifiés. Or, la représentation du visage humain est le reflet d'un questionnement quant à la place de l'homme dans nos sociétés, aussi nous avons pensé qu'il était important de s'interroger. Nous tentons de mettre au jour les problématiques en jeu entre le portrait photographique et la schizophrénie. Le corpus défini est vaste, il parcourt le temps des origines de la photographie à aujourd'hui, afin de montrer les concordances entre portrait photographique et schizophrénie, au-delà du symptôme qui nous a point dans les portraits contemporains. L’emploi du terme schizophrénie précipite dans la maladie mentale et fait appel à une nosographie psychiatrique bien définie. La clinique schizophrénique porte des interrogations, qui se superposent étonnamment aux questions qui peuvent naître devant un portrait photographique, trop parfaitement pour ne pas les explorer. Aussi avons-nous choisi d'emprunter cette voie afin d'articuler la recherche en trois moments. Elle se déploie en trois moments : le face-à-face, le trouble du rapport au réel et le trouble du rapport à l'identité. Finalement, nous proposons le terme de schizophrénie comme notion théorique afin de travailler la photographieWe send questions on the distances and the links between the madness and the photography, by borrowing a central way : photographic portrait and schizophrenia. The increasing number of photographic portraits representing crossed off or skipped faces notified us. The image of the face or the body is the object of all the changes. Furthermore, the current technologies allowed to give to see, not only retouched or modified faces, but falsified faces. Yet, the representation of the human face is the reflection of a questioning as for the place of the man in our societies, also we thought that it was important to wonder. We try to bring to the light problems in play between the photographic portrait and the schizophrenia. The defined corpus is vast, it goes through the time of the origins of the photography in today, to show the concordances between photographic portrait and schizophrenia, beyond the symptom which has us in the contemporary portraits. The use of the term schizophrenia precipitates into the mental illness and appeals to a well defined psychiatric nosography. The schizophrenic private hospital carries questioning, which overlap strangely in the questions which can be born in front of a photographic portrait, too perfectly not to investigate them. So we chose to borrow this way to articulate the research at three moments. It spreads (deploys) in three parts: the encounter, the confusion of the report in the reality and the confusion of the report in the identity. Finally, we propose the term of schizophrenia as theoretical notion to work the photography
32
Sowers, Roy. "People as the ultimate subject matter /." Online version of thesis, 1989. http://hdl.handle.net/1850/11469.
Full text
33
Lau, Sin-tung Ellen, and 劉倩彤. "Ethics of seeing: when life meets death in Annie Leibovitz's photography." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46724266.
Full text
34
Schmollinger, Carlyle Delia. "Vestiges of Vulnerability: Helen Post's Photographs of 20th Century Navajo." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6077.
Full textAbstract:
Helen Post (1907-1978) was a twentieth century American photographer, whose images of the Navajo offer sensitive insight into the lives of individuals residing on the reservation from 1938-1942. An employee at the time for the Bureau of Indian Affairs, Post traveled to the West on numerous excursions, each time gaining perspective and understanding into the intricacies of Native life. Her ability to portray the Navajo in unguarded and intimate moments stands as a significant contribution to discourse on visual records of American Indians. Examining Post's work provides an opportunity to not only reexamine her work, which has largely been overlooked, but also acknowledge misrepresented facets of the Navajo. Unlike other well-known white photographers working prior to and concurrent with Post, she avoided portraying her sitters in the common tropes, instead choosing to humanize the Navajo. Theoretically this examination utilizes Post-colonial theory in order to better understand Post's position as both outsider and friend to her sitters. It also explores the social interactions and cultural differences between photographer and subject. She emphasized rather than neglected the many complexities evident among the Navajo in the late 1930s to early 1940s. Post documented the effects of crucial reform policies and by so doing comprised a poignant collection of images. In her photographs of the Navajo, one sees a celebration of character and emotion, underscored by the simplicity of Post's thoughtful compositions. As stated by John Collier, Sr., Post's employer and former commissioner of the Bureau of Indian Affairs, Post was one who, "willed above all that the Indian spirit... should live on."
35
Olsen, Claire. "Photographic estrangement the measure of distance in photographic relationships : this exegesis is submitted to AUT University for the degree of Master in Art Design (Visual Arts) programme, October 2007 /." Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1384/.
Full text
36
Lefèbvre, Patrice. "Portraituration /." Paris : [P. Lefèbvre], 1988. http://catalogue.bnf.fr/ark:/12148/cb35461831q.
Full text
37
Blazy, Diane. "Repose /." Online version of thesis, 1990. http://hdl.handle.net/1850/11320.
Full text
38
Palmer, Erik Arthur. "Seeing Richard Avedon /." Connect to title online (ProQuest), 2008. http://proquest.umi.com/pqdweb?did=1537006421&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2008.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 307-321). Also available online in ProQuest, free to University of Oregon users.
39
Gautreau, Marion. "Les photographies de la Révolution Mexicaine dans la presse illustrée de Mexico (1910-1940) : de la chronique à l’iconisation." Paris 4, 2007. https://hal-univ-tlse2.archives-ouvertes.fr/tel-01656902.
Full textAbstract:
La présente recherche se fonde sur le constat suivant : les photographies de la Révolution Mexicaine qui continuent à circuler abondamment aujourd’hui sont peu nombreuses et peu représentatives de la réalité et la complexité du conflit. L’objectif de ce travail est de comprendre comment s’est opérée la décantation du corpus originel de photographies de la Révolution Mexicaine à travers l’étude d’un des supports de diffusion de cette iconographie, la presse illustrée. À partir d’une analyse comparée des photographies de la guerre civile publiées pendant la Révolution (1910-1920) puis lors de la Post-Révolution (1921-1940), nous tentons d’expliquer la disparition progressive de certains types d’images et, parallèlement, la transformation de photographies très spécifiques en « images-icônes ». Nous mettons ainsi en lumière le rôle de la presse illustrée dans la consolidation de l’idéologie post-révolutionnaire, grâce à une iconographie ciblée et symbolique qui rend uniquement visible au public certains événements et personnages clefs de la RévolutionThis study is based on the following observation : among the few photographies of the Mexican Revolution that still circulate abundantly nowadays, most are hardly representative of the events’ complexity. Our aim is to understand how the original corpus of photographies has been constantly reduced. In the present work, we analyze one of the main vectors of this iconography : the illustrated press. Comparing photographies of the Civil War published during the Revolution (1910-1920) with photographies of the Post-Revolution (1921-1940), this study shows how certains types of images disappeared while others became « imagesicons». Emphasizing selected key events and figures of the evolution, the illustrated press actually reinforced post-revolutionnary ideology through a well-targeted and symbolic iconography
40
Solinas, Stéphanie. "Photographie et identité : images du corps surveillé." Paris 1, 2008. http://www.theses.fr/2008PA010709.
Full textAbstract:
Et si la photographie avait inventé l'identité ? Le corps, au moment de sa transformation en image, devient le lieu d'un affrontement entre le général et le particulier afin de définir l'identité. Il est interrogé, interprété, et remis en question, dans la perspective de ses rapports à l'Homme moyen. Mais l'individu, en cela même qu'il est un et irréductiblement différent de tous les autres, n'est jamais l'identité modèle que la société voudrait lui attribuer ou dont il se désirerait porteur. Ces « individus », dont l'identité est dissoute et irréductible dans le même temps, ces « singularités quelconques » sont la matière de mes travaux. J'interroge le rapport de forces qui se joue dans l'identité représentée, entre volonté de contrôle et libération de l'individu, entre clichés et singularités. Le portrait photographique révèle ses composantes politiques et artistiques indissociablement mêlées, au coeur d'une réflexion sur l'image et sur la société de surveillance qui l'élabore.
41
Bridges, Jennifer T. "From Typologies to Portraits: Catherine Opie's Photographic Manipulations of Physiognomic Imagery." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1080.
Full textAbstract:
This thesis proposes that California contemporary photographer Catherine Opie's Being and Having series (1991) and her Portrait series (1993-1996) parody the constraining binary gender discourse and stereotypes that emanate from it. In her art Opie uses familiar codes and identity discourses associated with traditional portrait photography and typological photographs to promote a postmodern and fluid model of gender identity. Her manipulation of photographic technique and subject matter validates cultural stereotypes of gender at the same time that it destabilizes them. Opie also simultaneously highlights fallacies such as the presumed objectivity and evidential force that is associated with the discourse of portrait photography as a documentary field. By presenting her portraits of lesbians to broad-based audiences in such a blatant and stylized manner, Opie comments on the limitations of society's continued reliance on gender non-nativity and physiognomic modes of identifying communities.
42
Sheehan, Tanya. ""Doctor photo" : the cultural authority of portrait photography as medicine in nineteenth-century America /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174673.
Full text
43
Baggaley, Jonathan. "Figuring the photographic portrait studio as a psychic apparatus." Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/7db6e7c0-8ffe-42d9-86e4-39c14ca3a077.
Full textAbstract:
This research project makes use of photographic art practice as an investigative tool, through which a variety of strategies have been employed in order to picture the traditional photographic portrait studio. The thesis provides both a context within which to understand this art practice and expands upon and develops the themes proposed by it. The history of the photographic studio is presented in traditional narrative form and as a discursive formation; being analysed at two specific junctures within this narrative. This historical and cultural contextualisation allows the studio to be viewed in terms of a space and apparatus that embody particular characteristics. It is suggested that whilst these characteristics are explicitly located within discourses relating to class and aesthetics they also incorporate an implicit psychical dimension. The studio as an apparatus is analysed as constituting particular subject positions. These are discussed in relation to ideas drawn from film theory that utilise Lacanian psychoanalytic concepts. The studio is considered as a space in which the presence of the Lacanian Gaze becomes suggested with particular prominence. As an architecture that embodies the presence of the gaze, the studio is discussed in relation to a number of theories around the nature of space and modernity. The possibility of transference as an element of the studio encounter is also posited. Four artists (Helmut Newton, Jemima Stehli, Broomberg and Chanarin and Christopher Williams) are identified as producing work that critically engages the space of the studio. Analysis of this work serves to develop the arguments made so far and provides an extended consideration of the particular subject object relationships that become played out in the studio. This becomes developed further in relation to commercial portrait practices and is demonstrated through analysis of portraits by Mike Disfarmer and Suresh Punjabi both of whom have been the subject of significant theoretical discussion. The thesis concludes with a reflection on how the practice produced for this research has both been conceived and executed in relation to theory but also on how it can be thought of as providing, in itself, a unique and valuable contribution to knowledge. It is argued that the practice not only makes visible a coercive discourse and psychic economy implicit within the studio but that it also promotes a particularly compelling and pertinent consideration of how the two might be related.
44
Saurisse, Pierre Lascault Gilbert. "Le portrait composite : une approche photographique des types physionomiques à la fin du XIX ème siècle /." Paris : Université Paris-I Panthéon-Sorbonne, 1992. http://catalogue.bnf.fr/ark:/12148/cb37063155v.
Full text
45
Louis-Joseph-Dogue, Christine. "La photographie orientaliste de nus, scènes de genre et portraits entre 1850 et 1880 /." Paris : Université de Paris IV, 1998. http://catalogue.bnf.fr/ark:/12148/cb370682978.
Full text
46
Lahaie, Audrey. "Portrait-paysage : rencontre, évènement, affects." Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/29478.
Full textAbstract:
La série Portrait-paysage : rencontre, évènement, affects s’intéresse à la représentation de mon regard sur les liens tissés avec les personnes photographiées et explore la synthèse de deux images ayant leur langage et univers propre ; un dialogue entre un portrait et un paysage choisi. Par le portrait-paysage, je veux témoigner des expériences partagées avec les personnes ayant participé à ma recherche-création. C’est à l’occasion d’une série de rencontres dans lesquelles l’autre me donne accès à son intimité que se développe une complicité. Le portrait est créé dans le chez-soi des personnes, ouvrant à des mises en scène spontanées et intimes. Le point de vue large de mes photographies octroie une grande place à la gestuelle de la personne qui laisse transparaitre un rapport entre le photographe et la personne représentée qui marquera nécessairement l’image. Le paysage quant à lui témoigne plus directement de ma perception et de mon regard, il est une interprétation et une transposition des affects vécus avec les personnes représentées. J’aime penser qu’il se crée des ponts sensibles, des rapprochements entre les différents caractères d’un lieu et les sentiments humains. La composition portrait-paysage fusionne deux regards issus d’une même relation et laisse place à l’imagination en invitant le regardeur à créer des correspondances entre les deux photographies. La série Portrait-paysage : rencontre, évènement, affects favorise une lecture active et mène à des perspectives interprétatives ouvertes.
47
Cailler, Julie. "L'autoportrait en photographie et la mélancolie." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080029.
Full textAbstract:
Cette recherche s'articule autour de trois pôles : Autoportrait, Photographie et Mélancolie et questionne les enjeux de la mélancolie dans les dispositifs de création des images de soi et de son expression au sein de l'autoreprésentation photographique. La mélancolie est ici pensée comme rapport singulier à l'image de soi, une définition qui prend appui sur des théories de la psychanalyse – bien que notre réflexion demeure esthétique – mais qui s'inscrit aussi dans l'histoire de la mélancolie, une histoire médicale, artistique et philosophique. Le corpus est constitué d'artistes dont le parcours est jalonné d'autoportraits ou bien, dont l'œuvre photographique se compose essentiellement ou exclusivement d'autoportraits. Trois artistes principaux sont ainsi convoqués : Kimiko Yoshida, Marie L. et David NebredaThis research articulates three axes : Selfportrait, Photography and Melancholia. It questions Melancholia's issues under the devices of pictures of the self creation and their expressions within photographic selfrepresentation. Melancholia is here thought as a singular relation to the picture of the self, a definition that is supported on psychanalysis theories – although our reflexion remains aesthetic – but which also fits within history of melancholia, history of medicine, art and philosophy. The corpus is made with artists who deal with selfportraits or else, whose photographic work consists essentially or exclusively of selfportraits. Three mains artists will be summoned : Kimiko Yoshida, Marie L. and David Nebreda
48
Sotteau, Stéphanie. "Appert, photographe parisien (1860-1890) : atelier et actualité." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040113.
Full textAbstract:
E. Appert (1831-1890) est un photographe essentiellement connu pour ses portraits d’insurgés dans les prisons versaillaises après la Commune de Paris et pour ses photomontages des Crimes de la Commune. Cependant, sa carrière débuta à Paris bien avant 1871 et se poursuivit sur une trentaine d’années. Ce photographe se révéla être un véritable « reporter » attentif à illustrer l’actualité. Tissant des liens utiles avec la Justice et la Préfecture de Police, ses portraits et ses photomontages se firent l’écho des événements politiques. Alors réputé pour être un photographe partisan de Thiers ou proche des bonapartistes, Appert photographiait en fait l’élite politique, religieuse et militaire sans parti pris. Il mit rapidement en pratique un portrait dépouillé de décor, où l’homme politique, à l’instar du détenu, posait assis sur une chaise devant un fond uni. Ses photomontages réalisés avec beaucoup de soin étaient principalement des portraits de groupe reflétant l’actualité politique et judiciaire. Le photographe développa des liens étroits avec la presse illustrée et publia dès le début des années 1860 des portraits dans le Monde Illustré et dans l’Illustration. Cette collaboration suivie lui donna l’occasion de faire connaître sa production au grand public. Issu d’un milieu modeste, la photographie permit à Appert de s’élever dans la société. Son opportunisme commercial fut un moyen de survivre aux aléas politiques de la fin du Second Empire, du siège de Paris, de la guerre civile et de l’instabilité de la Troisième RépubliqueE. Appert (1831-1890) is a photographer known for his prisoners’ portraits after the Commune of Paris and for his photomontages of Crimes de la Commune. Meanwhile, he has begun his career before 1871 and for nearly thirty years. This photographer was in fact like a “reporter” looking after events of the moment. Weaving useful links with the Justice and the Paris police headquarters, his portraits and montages reflected political occurrences. Considered as a supporter of Thiers and closed to imperial family, Appert photographed above all the pick of Politic, Army and of the Church without choosing any side. He made a type of portrait, pure without any ornament: the model, politic or prisoner, seated on a simple chair in front of a plain background. His photomontages made carefully were mostly group portraits for political and judiciary actuality. The photographer developed narrowed links with illustrated press and has published portraits as early as the beginning of 1860 portraits in Le Monde Illustré and L’Illustration. This followed collaboration was an opportunity to be known by the public. From a modest social sphere, photography was a way for Appert to rise himself into the society. His commercial opportunism allowed the photographer to survive to economic and political difficulties throw the end of the Second Empire, siege of Paris, civil war and Third Republic
49
Lienhard, Arnaud. "Estimation automatique des impressions véhiculées par une photographie de visage." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAT104/document.
Full textAbstract:
Avec le développement des appareils photos numériques et des sites de partage de photos, nous passons une part croissante de notre temps à observer, sélectionner et partager des images, parmi lesquelles figurent un grand nombre de photos de visage. Dans cette thèse, nous nous proposons de créer un premier système entièrement automatique renvoyant une estimation de la pertinence d'une photo de visage pour son utilisation dans la création d'un album de photos, la sélection de photos pour un réseau social ou professionnel, etc. Pour cela, nous créons plusieurs modèles d'estimation de la pertinence d'une photo de visage en fonction de son utilisation. Dans un premier temps, nous adaptons les modèles d'estimation de la qualité esthétique d'une photo au cas particulier des photos de visage. Nous montrons que le fait de calculer 15 caractéristiques décrivant différents aspects de l'image (texture, illumination, couleurs) dans des régions spécifiques de l'image (le visage, les yeux, la bouche) améliore significativement la précision des estimations par rapport aux modèles de l'état de l'art. La précision de ce modèle est renforcée par la sélection de caractéristiques adaptées à notre problème, ainsi que par la fusion des prédictions de 4 algorithmes d'apprentissage. Dans un second temps, nous proposons d'enrichir l'évaluation automatique d'une photo de visage en définissant des modèles d'estimation associés à des critères tels que le degré de sympathie ou de compétence dégagé par une photo de visage. Ces modèles reposent sur l'utilisation d'attributs de haut niveau (présence de sourire, ouverture des yeux, expressions faciales), qui se montrent plus efficaces que les caractéristiques de bas niveau utilisées dans l'état de l'art (filtres de Gabor, position des points de repère du visage). Enfin, nous fusionnons ces modèles afin de sélectionner automatiquement des photos de bonne qualité esthétique et appropriées à une utilisation donnée : photos inspirant de la sympathie à partager en famille, photos dégageant une impression de compétence sur un réseau professionnelPicture selection is a time-consuming task for humans and a real challenge for machines, which have to retrieve complex and subjective information from image pixels. An automated system that infers human feelings from digital portraits would be of great help for profile picture selection, photo album creation or photo editing. In this work, several models of facial pictures evaluation are defined. The first one predicts the overall aesthetic quality of a facial image by computing 15 features that encode low-level statistics in different image regions (face, eyes and mouth). Relevant features are automatically selected by a feature ranking technique, and the outputs of 4 learning algorithms are fused in order to make a robust and accurate prediction of the image quality. Results are compared with recent works and the proposed algorithm obtains the best performance. The same pipeline is then considered to evaluate the likability and competence induced by a facial picture, with the difference that the estimation is based on high-level attributes such as gender, age and smile. Performance of these attributes is compared with previous techniques that mostly rely on facial keypoints positions, and it is shown that it is possible to obtain predictions that are close to human perception. Finally, a combination of both models that selects a likable facial image of good aesthetic quality for a given person is described
50
Bresnahan, Krystal M. "From Portraits to Selfies: Family Photo-making Rituals." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6472.
Full textAbstract:
From family-style portraits to selfies, who is photographer and/or photographed varies as families engage, stage, and interpret the visual. How families participate in photo-making changes how individual family members feel about and relate to not only their photographs, but also each other. In this dissertation, I examine photographs as visual and material objects, and include the communication processes and ritual practices of producing, consuming, curating, viewing, and circulating these photos. By framing family photo-making as ritual, I explore how families do photo-making in everyday life, and identify the patterns of choice embedded in the genre of family photography, which symbolically and socially construct family.
My methodological approach moves from analyzing images to the lives of photos and spaces in which photos are represented and shared, observing visible practices and the traces – photographs and photo displays – they produce. I ask questions about communicative acts of performing rituals and negotiating family memory in the public space of the Easter Bunny Photo Hut, the personal and domestic space of a mother’s home, and the digital space of the social media app Snapchat. Each site provides a unique access point to study family photo-making ethnographically. Combining my ethnographic observations with photo elicitation interviews, I study the symbolic value of photographs negotiated by and between family members.