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Academic literature on the topic 'Polish Portrait painting'
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Journal articles on the topic "Polish Portrait painting"
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Piccolo, Olga. "The Portrait of an Italian Woman by Olga Boznanska Exhibited at the Venice Biennale in 1938: New Elements from a Stylistic and Archival Perspective." Perspektywy Kultury 30, no. 3 (December 20, 2020): 211–28. http://dx.doi.org/10.35765/pk.2020.3003.14.
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This targeted stylistic, bibliographical, and archival investigation casts a major light on a relevant portrait of a woman by the Polish painter Olga Boznanska, highlighting its rich exhibition and collection. The recent appearance in a Polish auction of a similar painting by Boznanska leads to the hypothesis that the subject of the painting—whose identity still remains a mystery—is the same in both paintings.
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Agafonov, Anatoly I. "Armorial Images on Portraits of the Military Ataman of the Don Army D. E. Efremov and Features of the Formation of the Southern Russian Nobility in the 18th Century." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 2 (210) (June 28, 2021): 23–34. http://dx.doi.org/10.18522/2687-0770-2021-2-23-34.
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The article is devoted to the study of the coat of arms on the portraits of the military ataman of the Don ar-my Danila Efremovich Efremov, the formation of the nobility in the southern outskirts of Russia. The first portraits of D. Efremov were painted in the Kiev-Pechersk Lavra and on the Don under the influence of the Polish, Malorussian and Russian artistic traditions. The painting of the coat of arms was based on the status of the military ataman D. E. Efremov, the award of the ranks of Major General and privy councilor, the acquisition of the nobility. The author characterizes the controversial issues of the origin of the portrait gallery of D. E. Efremov, and suggests a new dating of its painting based on the study of imperial grants, military and political events on the Don and in Russia. The composition and symbolism of the portraits are revealed, some anthropometric data of the military ataman are described, it is shown that the portraits of D. E. Efremov and his armorial images had a huge impact on the development of the Don ceremonial ataman and senior (starshina) portrait. It is stated and argued that the portrait from the Kiev-Pechersk Lavra in 1752 was preceded by other, not preserved works, from which “freeˮ copies were made. The latter can be independent creations. The author examines the government's attitude to the Don elder, the legal framework that regulated the sta-tus of the regional elite, individuals and positions.
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Kudelski, Jarosław Robert. "WILANÓW WORKS OF ART IN THE GERMAN CATALOGUE SICHERGESTELLTE KUNSTWERKE IM GENERALGOUVERNEMENT." Muzealnictwo 60 (August 7, 2019): 189–98. http://dx.doi.org/10.5604/01.3001.0013.3341.
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Before the outbreak of WW II, the works of world art collected at the Wilanów Palace were considered to be the largest private collection in the Polish territories. Just the very collection of painting featured 1.200 exhibits. Apart from them the Wilanów collection contained historic furniture, old coins, textiles, artistic craftsmanship items, drawings, and prints, pottery, glassware, silverware, bronzes, sculptures, as well as mementoes of Polish rulers. Already in the first weeks of the German occupation, assigned officials selected the most precious art works from the Wilanów collections, and included them in the Sichergestellte Kunstwerke im Generalgouvernement Catalogue. The publication presented the most precious cultural goods secured by the Germans in the territory of occupied Poland. It included 76 items: 29 paintings and 47 artistic craftsmanship objects. In 1943, the majority of the works included in the quoted Catalogue were transferred to Cracow. A year later, the most valuable exhibits from Wilanów were evacuated to Lower Silesia. What remained in Cracow was only a part of the collection relocated from Wilanów. The chaos of the last weeks preceding the fall of the Third Reich caused that many art works from the Wilanów collection are considered war losses. Among many objects, included in the above Catalogue, there are several Wilanów paintings: Portrait of a Man by Bartholomeus van der Helst, Portrait of a Married Couple by Pieter Nason, Allegory of Architecture, Painting, and Sculpture by Pompeo Batoni, Allegorical Scene in Landscape by Paris Bordone, and The Assumption of Mary by Charles Le Brun.
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Petrus, Jerzy Tadeusz. "Monachijski portret króla Zygmunta Augusta i uwagi o ikonografii ostatniego Jagiellona." Artifex Novus, no. 4 (March 9, 2021): 24–43. http://dx.doi.org/10.21697/an.7924.
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W zbiorach Bayerische Staatsgemäldesammlungen w Monachium jest przechowywany portret króla Zygmunta Augusta, który po ponad pół wieku poszukiwań przez polskich historyków sztuki został niedawno odnaleziony i zidentyfikowany. Ma on ogromne znaczenie dla ikonografii ostatniego Jagiellona bowiem, jak dotąd, jest jego jedynym znanym malarskim przedstawieniem w całej postaci, powstałym za życia modela. Wizerunek pozostaje w związku z miniaturowym portretem monarchy w popiersiu, dawniej w kolekcji arcyksięcia Ferdynanda II Tyrolskiego w Ambras, obecnie w Münzenkabinett w wiedeńskim Kunsthistorisches Museum. Oba obrazy, tego samego autora, powstały na polskim dworze tuż przed połową XVI stulecia. Ich twórca był dobrze obeznany ze stosowanymi wówczas we Włoszech i cieszącymi się uznaniem kompozycjami portretowymi. Monachijski obraz trafił do bawarskich zbiorów Wittelsbachów, jak wszystko na to wskazuje, wraz z wyprawą ślubną królewny Anny Katarzyny Konstancji Wazówny, w roku 1642 wydanej za mąż za księcia neuburskiego Filipa Wilhelma. Należał do zespołu wizerunków członków rodziny Jagiellonów, zabranych do Bawarii przez Wazównę, lecz powstał w okolicznościach innych niż pozostałe portrety i jest dziełem o odmiennej genezie artystycznej.
Ujawniony w zbiorach monachijskich portret nie tylko w istotny sposób wzbogaca ikonografię ostatniego Jagiellona, lecz ma również znaczenie dla wiedzy o królewskim mecenacie.
Summary:
The Bayerische Staatsgemäldesammlungen collection in Munich houses a portrait of King Sigismund Augustus, which was recently discovered and identified by Polish art historians following a quest lasting more than half a century. It sheds important light on the iconography of the last Jagiellonian, as it remains to date the only known representation in pictorial form of the model during his lifetime. It is related to a bust portrait miniature of the monarch, formerly found in the collection of Archduke Ferdinand II of Tirol in Ambras, and nowadays on show in the Münzenkabinett in the Kunsthistorisches Museum in Vienna. Both paintings by the same artist were produced at the Polish court just before the mid-16th century. Their creator was well acquainted with the highly regarded compositional techniques used at the time in portraiture in Italy. All the evidence suggests that the Munich painting found its way into the Bavarian Wittelsbach collections as part of the trousseau of Princess Anna Catherine Konstancja Wazówna, who in 1642 married the Neuburian prince Philip Wilhelm. It was included in the collection of portraits of members of the Jagiellonian family, that Wazówna took with her to Bavaria. However, it was painted in circumstances different from other portraits and is a work with a different artistic genesis.
This portrait unearthed in the Munich collection not only greatly enriches the existing iconography of the last Jagiellonian, but it also makes a significant contribution to our knowledge of royal patronage.
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Egorova, Kseniia. "Jozef Oleszkiewicz as a Participant of an Academic Exhibition in 1814." Slavic World in the Third Millennium 18, no. 3-4 (2023): 66–74. http://dx.doi.org/10.31168/2412-6446.2023.18.3-4.04.
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Jozef Oleszkiewicz, a native of the Polish-Lithuanian lands, was a talented portrait painter who settled on the banks of the Neva at the beginning of the 19th century and was elected academician of the Imperial Academy of Arts. Oleszkiewicz was known to the Polish community of St. Petersburg not only as an artist who had his own unique painting style and gained popularity among the fair sex for his ability to create inspired portraits of women, but also as a mystic, philosopher, and inspired poet. Now Oleszkiewicz is known primarily as the hero of Adam Mickiewicz’s poem “Dziady”. Part III of the poem, completed in 1832, contains the “Oleszkiewicz” section. On the eve of the famous St. Petersburg flood of 1824, the artist uttered a prophecy that correlated with the biblical plot and marked the beginning of the formation of an apocalyptic myth about the death of the city from the Neva waters. Despite the major historical and cultural significance of Oleszkiewicz’s personality and work for Polish culture in the first quarter of the 19th century, the artist’s biography needs additional study, and there are no special research works devoted to his artistic career. The personality of the artist received a mythological interpretation in historiography; the real person disappeared into the artistic image created by Mickiewicz. It seems necessary to fill the gaps that exist in our knowledge about the life and work of this Polish-Lithuanian artist, to con-duct additional archival research, which will help not only to clarify some details of his biography, but also in the future to find and attribute his paintings. The article is devoted to Oleszkiewicz’s participation in the academic exhibition of 1814 and to establishing the names of the paintings that were exhibited by Oleszkiewicz in that year. The study was conducted on archival materials (Russian State Historical Archive).
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Malkina, Victoria. "Landscape, Still Life, and Portrait as Titles of Poems." Slavic World in the Third Millennium 14, no. 1-2 (2019): 186–205. http://dx.doi.org/10.31168/2412-6446.2019.14.1-2.12.
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This paper is devoted to the problem of visual aspect in literature. We study one of the aspects of the visual in a lyrical poem: the representation of painting genres in the titles of the poems, as well as the interaction between the visual and the verbal in lyrical texts. The goal of the paper is to analyze the semantics of such a title and its influence on both the unfolding of the lyrical plot and the figurative system of the poem, also on the strategy of the perception of such text by a reader. To do this, we solve several problems. First of all, we define the concept of the visual in literature; the concepts of the visuality and the visualization are delimited. Secondly, we consider the main ways of representing of the visual in a lyrical text (taking into account the specifics of the lyric as a kind of literature): lyrical plot, image, compositional forms (a description, a dream, an ekphrasis), and allusions to the genres of painting. Thirdly, the importance of analyzing the title for a lyrical poem is justified. Finally, the most representative texts are analyzed from the specified point of view: we examine how the allusion to the painting is manifested in the title.The material of the paper is the number of poems by the Russian and the Polish poets of the nineteenth – twentieth centuries. Their titles coincide with the main genres of paintings, for example, “Landscape”, “Portrait” and “Still Life (nature morte)”. But at the same time, they are not considered to be ekphrasises. That means there is no any description of a real or imaginary picture there, but there is a recreation of the visual imaginative system by the verbal means; and the poems appeal to the reader's viewing experience. In particular, we analyze the poems of A. Maikov, I. Selvinsky, Y. Levitansky, B. Akhmadulina, L. Martynov, J. Przyboś, A. Pushkin, V. Khodasevich, D. Kedrin, Y. Hartwig, I. Brodsky, A. Svershchinskoy.
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Gołubiew, Zofia. "THE POET OF ART – JANUSZ WAŁEK." Muzealnictwo 59 (October 5, 2018): 215–18. http://dx.doi.org/10.5604/01.3001.0012.6141.
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On the 8th of July 2018 died Janusz Wałek, art historian, museologist, pedagogue, born in 1941 in Bobowa. He graduated from the Jagiellonian University, the history of art faculty. In 1968, he started working in the Czartoryskis’ Museum – Branch of the National Museum in Krakow, where some time after he became a head of the European Painting Department for many years. He was a lecturer at the Fine Arts Academy, the National Academy of Theatre Arts and the Jagiellonian University in Krakow. He wrote two books and numerous articles about art. He was also a poet, the winner of the Main Prize in the 1997 edition of the General Polish Poetry Competition. He was a student of Marek Rostworowski, they worked together on a number of publicly acclaimed exhibitions: “Romanticism and Romanticity in Polish Art of the 19th and 20th centuries”, “The Poles’ Own Portrait”, “Jews – Polish”. Many exhibitions and artistic shows were prepared by him alone, inter alia “The Vast Theatre of Stanisław Wyspiański”, presentations of artworks by great artists: Goya, Rafael, Titian, El Greco. He also created a few scenarios of permanent exhibitions from the Czartoryskis’ Collection – in Krakow and in Niepołomice – being a great expert on this collection. “Europeum” – European Culture Centre was organised according to the programme written by him. He specialised mostly, although not exclusively, in art and culture of the Renaissance. Janusz Wałek is presented herein as a museologist who was fully devoted to art, characterised by: creativity, broad perception of art and culture, unconventional approach to museum undertakings, unusual sensitivity and imagination. What the author of the article found worth emphasising is that J. Wałek talked and wrote about art not only as a scholar, but first of all as a poet, with beauty and zest of the language he used.
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Chrzanowska-Kluczewska, Elżbieta. "Crossing the textual frame and its transmedial effects." 24, no. 24 (October 16, 2022): 9–21. http://dx.doi.org/10.26565/2218-2926-2022-24-01.
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The year 2022 marks the 100th anniversary of Juri Lotman’s birth. On this occasion, I propose to return to one of Lotman’s concepts, namely that of frame. The term was proposed in The structure of the artistic text (1970/1977), in the traditional understanding of a limit that separates a text produced in any kind of medium from extra-textual structures (other texts) or non-text (real-life contexts). This notion of frame comes close to its understanding in literary studies, as well as the theory and philosophy of art and should not be confused with a well-known concept of frame propagated in AI Studies (Minsky 1975; Petöfi 1976) and which refers to a global cognitive pattern of storing common-sense knowledge about particular concepts and situations in memory. Lotman returned to the discussion of the textual frame in Universe of the mind (1990), mainly in application to the fine arts. He also elaborated there a more inclusive concept of boundary (proposed in Lotman 1984/2005) as a demarcation of the semiosphere and of its internal subsystems, which necessitates constant translations between particular codes and languages. Lotman dubbed transgressions of textual borders transcoding, which in contemporary parlance is a clear manifestation of transmediality. Therefore, I propose to analyse the concept of frame in relation to Intermedial Studies (cf. Elleström, 2014). Such crossings of boundaries between different media/modes/modalities are simultaneously creative and potentially confusing, in that they display a semiotic collision of artistic codes and require a heightened processing effort on the part of the addressee. My vantage point is basically semiotic, with the focus of interest going less to verbal texts and more to the issues of frame in the visual arts. Semiotic considerations on the problem of boundaries are complemented with brief phenomenologically-oriented ponderings on aesthetic and cognitive import of framing devices (Crowther, 2009) that emphasize their antithetical function as: a) devices with their own artistic value, even complementing the text vs. b) “defences against the exterior” and hindrances to creative liberty. First, I turn to two areas of interest of Lotman himself: 1) the extension of artistic media in Baroque art and 2) collages, which I treat as transmediality through surface. Lotman perceived collages as a collision of the fictitious with the real, referring to their doubly figurative nature (metonymical and metaphorical). Next, I complement this discussion with examples taken from 20th-century painting and sculpture, e.g. Spatialism, Minimalism, and Hyperrealism. Of particular interest is the situation in which the frame becomes a text commenting on its content or plays a metatextual function. Another game worthy of attention is embedding of frames. The discussion closes with the case of transmedial effects between painting and theatre, illustrated by Polish painter and stage-director Tadeusz Kantor’s theatrical experiments in Cracovian Cricot 2 Theatre: a) Velázquez’s Infanta Margarita entering Kantor’s self-portraits and a photo-portrait frame in the performance Today is my birthday (1990); b) Kantor stepping out of the frame of his own self-portrait on the illusory boundary between real life, painting and theatre. The article posits to treat frame and multiple ways of transgressing it as an integrational phenomenon that opens a path for further interdisciplinary studies across the borders of artistic semiotics, Intermedial Studies, literary theorizing and the theory and philosophy of art.
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Wałczyk, Krzysztof. "Biblical Inspirations in Nikifor’s Paintings." Perspektywy Kultury 26, no. 3 (October 1, 2019): 31–46. http://dx.doi.org/10.35765/pk.2019.2603.05.
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Nikifor Krynicki (Epifaniusz Drowniak, 1895-1968) was one of the most popular non-academic Polish painters worldwide. To show the biblical inspiration in his creative output I chose two categories from various thematic aspects: self-portraits and landscapes with a church. There are plenty of Nikifor’s paintings showing him as a teacher, as a celebrating priest, as a bishop, or even as Christ. A popular way to explain this idea of self-portraits is a psychological one: as a form of auto-therapy. This analysis is aims to show a deeper explanation for the biblical anthropology. Nikifor’s self-portraits as a priest celebrating the liturgy are a symbol of creative activity understood as a divine re-creation of the world. Such activity needs divine inspiration. Here are two paintings to recall: Potrójny autoportret (The triple self-portrait) and Autoportret w trzech postaciach (Self-portrait in three persons). The proper way to understand the self-identification with Christ needs a reference to biblical anthropology. To achieve our real-self we need to identify with Christ, whose death and resurrection bring about our whole humanity. The key impression we may have by showing Nikifor’s landscapes with a church is harmony. The painter used plenty of warm colors. Many of the critics are of the opinion that Nikifor created an imaginary, ideal world in his landscapes, the world he wanted to be there and not the real world. The thesis of this article is that Nikifor created not only the ideal world, but he also showed the source of the harmony – the divine order.
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Lehedza, Anna. "Boims’ epitaph from the chapel of the Holy Trinity and the Passion of the Lord in the context of the evolution of memorial plastic between the 16th and 17th centuries." Bulletin of Lviv National Academy of Arts 49, no. 49 (December 25, 2022): 26–42. http://dx.doi.org/10.37131/2524-0943-2022-49-3.
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Basing on the use of principles of a system approach, comparative and historical, semiotic, iconographic, iconic, formal and stylistic methods it has been defined the place and the meaning of Boims’ epitaph from the chapel of the Holy Trinity and the Passion of the Lord in Lviv dealing with the topology of memorial plastics and sculptural portrait’s evolution in the modern West-Ukrainian lands at the border of the 16th and 17th centuries; the paper characterizes image-thematic and artistic peculiarities of a landmark and points out identifications of separate personalities among those who have been specified. The study stresses on the fact that the epitaph combines the features of memorial compositions of family prayer kneeling that was popular in the Polish-Lithuanian Commonwealth of the 1550–1575s, and the adoration of the sacred scene by spouses that is presented as iconographic type developed in the 1600–1625s as the imitation of monumental tombstones of noble families’ representatives. The author suggests that except for J. Pfister's desire to avoid usual decisions, lack of space to place sculpture and customers’ wishes to immortalize all representatives of the genus, the composition tiering has been inspired with single tiered family bourgeois epitaphs in the Polish-Lithuanian Commonwealth and the sculptor's tendency to develop multi-level structures. The research demonstrates the portrait’s development in Lviv sculpture that has proved the subordination of the heraldic program to the psychological features of the depicted personalities, its shift from the reproduction as a part of the ancestral organism (the epitaph of the Sholts-Volfovychs’ family) to the creation of the family image as an emergent unity of individuals, and is a characteristic of Boim’s epitaphs. The author highlights the development of Lviv sculptural portrait presented with the visualization of psychological interconnections of Boim’s family representatives, the expression of the essential one at the moment, the depiction of individual one in the associations with generally cultural and over-timed one. The paper focuses on “a-tectonicity”, “belonging to painting”, and dynamic development of the epitaph’s form especially noticed in a group of “Pieta”. The study highlights the integrity of a composition provided with zigzag baroque rhythm, outlining imaginative triangle with prayerfully folded palms of George and Yadviga Boim and the head of the Mother of God, the contrast of white alabaster and black marble background, stressing on central axis with fragmented Crucifixion, cartouche scrolls, the figure of the blessing Christ. The author suggests the statement about the picture at the second level of the composition that is the first from the inscription, not of the son, but of Pavel Georgy Boim’s brother, and in the series as a whole is the adoration of the Pieta by the sons of the family protoplast. The author points out the deformation of the epitaph’s reception under the conditions of its probable transferring from the original surrounding.
Books on the topic "Polish Portrait painting"
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Axentowicz, Teodor. Axentowicz: Malarstwo = painting. Olszanica: Wydawnictwo BOSZ, 2021.
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Rzeszowie, Muzeum Okręgowe w. Malarstwo portretowe XVIII-XIX w.: Katalog zbiorów. Rzeszów: Muzeum Okręgowe w Rzeszowie, 2001.
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Kamińska-Krassowska, Halina. Miniatury znanych osobistości polskich. Warszawa: Krajowa Agencja Wydawnicza, 1985.
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Holeczko-Kiehl, Andrzej. Wizerunek artysty polskiego: Między romantyzmem a modernizmem. Katowice: Muzeum Śląskie, 2006.
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Laurentowicz-Granas, Małgorzata. Matki, żony i-- modelki: Kobiety w twórczości wielkich malarzy polskich : 100 lat wizerunku kobiety--od romantyzmu do współczesności. Łódź: Muzeum Historii Miasta Łodzi, 2005.
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Poland), Zamek Królewski (Warsaw, ed. Uroda portretu: Polska od Kobera do Witkacego : katalog wystawy. Warszawa: Zamek Królewski, 2009.
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Pocheć-Perkowska, Teresa. Wilanów: Galeria Portretu Osobistości Polskich = the Polish Personalities Portrait Gallery. Warszawa: Voyager, 1995.
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Barbara, Modrzejewska, ed. Puolalaisia edustus- ja hautajaismuotokuvia: Näyttelyluettelo. Helsinki: Opetusministeriö/Museovirasto, 1986.
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Silvestre, Louis de. Między światem mitów i legend a współczesnością: Louis de Silvestre - nadworny malarz królów Polski z dynastii Wettynów. Warszawa: Muzeum Pałacu Króla Jana III w Wilanowie, 2015.
Find full textBook chapters on the topic "Polish Portrait painting"
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Ansell, Joseph P. "Creating Arthur Szyk." In Arthur Szyk, 243–48. Liverpool University Press, 2004. http://dx.doi.org/10.3828/liverpool/9781874774945.003.0017.
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This chapter creates a portrait of Arthur Szyk through his life and works. Significantly, there were a number of instances throughout his career when Szyk acted on his own to enhance his standing — as a Pole, as a Jew, as a Polish Jew, and as an artist. In some cases, it is not clear how carefully and deliberately he was directing the public's perceptions of him. In others, one can see him seizing an opportunity and acting to establish himself in a role he wished to inhabit. The chapter goes on to show how the various personal activities from throughout his life and career show Szyk as an artist with a clear belief in himself as a major participant in the myriad social and political issues of his day. He created himself in the same way that he created a drawing or painting.
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Noë, Alva. "Faces and Masks." In Learning to Look, 67–70. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190928216.003.0020.
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This chapter begins by addressing Mozart's Don Giovanni. The word “person comes from the Latin persona, meaning “mask,” as in the mask worn by actors on the classical stage. A person, then, in the original meaning of the term, is not the player, not the living human being, but rather the role played. By changing hat and cloak, the Don and his manservant Leporello exchanged the trappings of their different social roles and so, at least for limited purposes, they really did exchange identities. The modern conception of the person is poised awkwardly between these two poles: at one extreme, the roles we play, and at the other, the living human being who appears in these roles. One can see the tension between these different conceptions working itself out in the history and development of portrait painting. The chapter then looks at two paintings from the permanent collection of the Städel museum in Frankfurt, Germany: Cranach the Younger's 1550 portrait of Martin Luther and Rembrandt's 1633 portrait of Maertgen van Bilderbeecq.
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Wendorf, Richard. "Hogarth’s Dilemma." In The Elements of Life, 170–88. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198119791.003.0006.
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Abstract It is surely one of the ironies-and, as I have suggested, one of the weaknesses-of Roger North’s biographical work that, despite the high value he placed on family relations, he rarely drew his brothers together for a group portrait. There was, of course, no existing biographical form on which North could have drawn, and it is also understandable that he modelled his lives of his brothers on his own experiences with them, experiences that were to a large extent separate from each other. His brother John was closest to him while Roger was still his pupil; Francis helped him to advance at the bar; whereas Dudley, with whom Roger enjoyed his most festive relationship, shared with Roger in high-spirited forays about London and in relaxed, intimate interludes with Dudley’s family in the country. But if North had chosen to draw these often diverse strands together, he would have found an analogous form of portraiture emerging in England during the years of his retirement. The ‘conversa-tion’, a group portrait depicting family members or close friends engaged in a common activity, was import d from the Continent by Philippe Mercier, a Frenchman whose polished work was soon absorbed by the more traditionally middle-class character of native English (and Dutch) painting.
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Fend, Mechthild. "Hermetic borderline." In Fleshing Out Surfaces. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719087967.003.0007.
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This chapter focuses on a set of nudes and portraits by Jean-Auguste-Dominique Ingres. It engages with the artist's ambivalent relationship with artistic anatomy and demonstrates the artist's increasing attention to the body's surface achieved through a reduction of modelling of the physical forms. Ingres changed the terms of the fabrication of flesh tones – carnations – and skin became deliberately non-physiological. Critics registered Ingres's peculiar handling of skin and flesh as one of the artist's idiosyncrasies and their writings manifest a gradual shift in the understanding of the body in paint. In Ingres‘ paintings themselves, the established association of flesh and paint was replaced by the alignment of the skin with the images‘ ground, be it canvas or paper in the case of drawings, and of the depicted skin with the polished painterly surface. The final section argues that the suppression of anatomical detail is pushed to the extreme in Ingres‘ portraits of women, resulting in a renunciation of physiognomic paradigms in which a person's exterior is meant to refer to internal qualities and character. Like in his Valpinçon Bather, the concealment of skin goes along with the closure of the interior space.