Academic literature on the topic 'Portrait painter'
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Journal articles on the topic "Portrait painter"
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Popica, Radu. "Portretul librarului Németh – o lucrare inedită din creația timpurie a lui Székely Bertalan." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (2020): 33–38. http://dx.doi.org/10.24193/subbhistart.2020.02.
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"The Portrait of the Bookseller Németh – an Unknown Artwork from the Early Creation of Székely Bertalan. The study presents an unknown portrait from the early years of Székely Bertalan’s creation. The arguments on which the identification of the painter and the sitter’s portrait were based are presented. Also, the context in which the portrait was painted at Brașov in 1856 is presented and data are provided on the personality of the model, Wilhem Németh, bookseller. Keywords: painter, unknown portrait, Székely Bertalan, Brașov "
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Ekkart, Rudolf E. O. "De Rotterdamse portrettist Jan Daemen Cool (ca. 1589 -1660)." Oud Holland - Quarterly for Dutch Art History 111, no. 4 (1997): 201–20. http://dx.doi.org/10.1163/187501797x00230.
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AbstractUntil now, the Rotterdam portraitist Jan Daemen Cool was known in the literature only as the maker of a group portrait painted in 1653 of the governors and administrator of the Holy Ghost Hospital at Rotterdam, and of a portrait of Piet Hein, which is dated 1629. Closer scrutiny of his activities reveals that the artist, who never signed his work, was Rotterdam's leading portrait painter in the second quarter of the 17th century. Jan Daemen Cool was born in Rotterdam in 1589 or thereabouts. He may have studied with Michiel Jansz. van Mierevelt in Delft, where he married Agniesje Jaspersdr. in 1613 and was admitted to the guild in 1614. He probably returned to Rotterdam in 1614 and spent the rest of his life there. After his first wife's death in 1622 he married again in 1623, this time to Lijsbeth Cornelisdr., the widow of Lowijs Porcellis. Many archive records indicate that Cool was a very prosperous man. After the death of his second wife in 1652. he bought himself a place in the Rotterdam almshouse; he also pledged to paint a group portrait of the governors. He died in 1660. An important starting point in reconstructing the artist's oeuvre is the portrait of the governors of 1653 (cat.no. 28), the authorship of which is substantiated by archive records. However, the portrait of Piet Hein, painted in 1629 (cat.no. I, 1st version), attributed on the basis of the inscription on Willem Hondius' print, is not an authentic Cool but probably an old copy after a portrait which he had painted a few years earlier. A systematic investigation of Rotterdam portraits from the period between 1620 and 1660 has yielded a closely related group of portraits which may be regarded as the work of one man and which include the 1653 governors piece. Combining this information with additional data and further indications has facilitated the reconstruction of Jan Daemen Cool's oeuvre. Pride of place in that oeuvre is occupied by a group of four family portraits painted between 1631 and 1637 and now in the museums at Lille (cat.no. 4), Edinburgh (cat.no. 6), Rotterdam (cat.no. 16) and Brussels (cat.no. 19). Hitherto these portraits have usually been assigned to Jacob Gerritsz. Cuyp. They are all situated in a landscape and represent an important step in the development of this type of family group in Dutch portraiture. A series of portraits of individual sitters painted be-for 1640, including companion pieces, some them identifiable a people who lived in Rotterdam, arc entirely consistent in style and execution with the aforementioned g group portraits. Elements in the portrait of Johan van Yck with his wife and son, painted in 1632 (cat.no. 5), correspond very closely with these works, but there are also discrepancies which suggest cooperation with another painter or later overpaints. A series of individual portraits dating to 1640 - 1654 link the first group of paintings and the late governors piece, the composition of which is quite exceptional in the entire production of such paintings in 17th-century Holland. Here, as in his early family groups, the artist shows himself to be quite an adroit arranger of f gures. Although this painting and two others of 1654 clearly show that he continued to paint after enterning the almshouse, ture is no extant work from the last years of his life. Along the Rotterdam portraits of the rest ched period are a few - likewise unsigned - family groups which are strongly influenced by Cool but are obviously the work of a less proficient hand (figs. 5 and 6). Comparison with a signed portrait of 1649 (fig. 7) enables them to be assigned to the painter Isaack Adamsz. de Colonia (ca. 1611-1663), presumably a pupil of Cool's. Although the work of Jan Daemen Cool bears a resemblance to that of such artists as Michiel van Mierevelt and Jan Anthonisz. van Ravesteyn, his oeuvre has a distinctive character that is most in evidence in his group portraits. There are obvious correspondences with painters such as Jacob Gerritz. Cuyp of Dordrecht, to whom various works by Cool were hitherto attributed, and Willem Willemsz. van Vliet of Delft - artists who likewise developed their own characteristic styles.
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Keshavmurthy, Prashant. "Bīdil’s Portrait." Philological Encounters 1, no. 1-4 (2016): 313–46. http://dx.doi.org/10.1163/24519197-00000009.
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In 1704 the Indo-Persian Sufi and poet Mirzā ʿAbdul Qādir ʿBīdil’ completed an autobiography entitled The Four Elements (Chahār ʿunṣur). Into the fourth “Element” of this text he set an account of a portrait of himself painted around 1677 by Anūp Chhatr, a painter famous for his portraits in the imperial Mughal ateliers of the time. Initially refusing his painter-acquaintance permission to paint him, Bīdil finally yields and is astonished at how the resulting portrait duplicates him like a mirror. After marveling at it for a decade, he falls ill. His friends visit him in his sickbed and one of them, leafing through his anthology of texts, comes upon the painting. He exclaims at how faded it is. Bīdil himself can barely make it out on the page. When he recovers his health, he opens the anthology to examine the faded portrait and is astonished and shocked, as his friends are, to see that it has recovered its brilliant colors. He tears the painting up.This essay reads this ekphrastic account of self-transformation as an autobiographical and iconoclastic interpretation, playing on philosophical, literary and painterly traditions of visuality, in particular Ibn ʿArabi’s (d. 1240, Andalusia) theory of the imagination. Among the questions that will be pursued are: what understandings of self and self-transformation did Bīdil renew by this interpretation? How is this episode a focusing of concerns that pervade all of The Four Elements? What kind of reader and reading practices did this autobiography assume? And, finally, does an understanding of Bīdil’s iconoclastic self-transformation—turning on this episode—prepare us to better understand his works in other genres?
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Amstutz, Nina. "A Self-Portrait as Landscape Painter: Caspar David Friedrich and Phrenology." Zeitschrift für Kunstgeschichte 79, no. 1 (2016): 72–91. http://dx.doi.org/10.1515/zkg-2016-0005.
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Abstract A Self-Portrait as Landscape Painter: Caspar David Friedrich and Phrenology The article explores a precocious moment of interest in how the brain mediates aesthetic perception. Around 1810, Caspar David Friedrich drew himself with several features that deviate from his earlier self-portraits, including two bumps between the brows at the root of the nose. These cranial protuberances were associated with a cognitive faculty that the phrenologist Franz Joseph Gall insisted is common among landscape painters: Ortssinn, characterized by a heightened ability to remember places and to measure distance and perspective. I argue that Friedrich’s drawing is a self-portrait as landscape painter, where the signifiers of identity are no longer conventional artistic or sartorial attributes but rather the contours of the cranium and, by implication, the fabric of the artist’s mind.
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Peklar, Barbara. "The Imaginary Self-portrait in the Poem Roman de la Rose." Ars & Humanitas 11, no. 1 (2017): 90–105. http://dx.doi.org/10.4312/ah.11.1.90-105.
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“Every portrait that is painted with feeling is a portrait of the artist, not of the sitter…It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself,” explains the painter who created the evolving portrait of Dorian Gray. Guillaume de Lorris, the author of the medieval poem Roman de la Rose, also presents his soul through the character of the ideal lover, so Amans is a kind of self-portrait. But unlike an ordinary self-portrait, this one does not present the author’s personality. It is painted with words, and such an ekphrastic image is universal or influences the reader in ways that can be explained by the Iser’s reader-response theory. The poem enables the reader to feel love, and transforms him into the ideal courtly lover. As distinct from a painting, the invisible ekphrastic image in this text surpasses appearances and presents the reader with a hidden side of his soul. The object represented by ekphrasis does not exist in the outer world, therefore in the example examined here the reader’s other self is brought into existence. In contrast to a painted self-portrait, which represents the identity of the author, since the picture and the pictured are identical, a word is a sign which refers to something else. A verbal self-portrait which expresses the author’s feelings opens itself up to the reader, who has to complete the image with his imagination. This imaginary image then differs from the external appearance, because it reveals the associated feelings, enables the reader to feel what the author feels, and presents the reader with his other self. The imaginary self-portrait thus does not represent the actual self, but the self that is transformed or improved by the art of love.
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Peklar, Barbara. "The Imaginary Self-portrait in the Poem Roman de la Rose." Ars & Humanitas 11, no. 1 (2017): 90–105. http://dx.doi.org/10.4312/ars.11.1.90-105.
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“Every portrait that is painted with feeling is a portrait of the artist, not of the sitter…It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself,” explains the painter who created the evolving portrait of Dorian Gray. Guillaume de Lorris, the author of the medieval poem Roman de la Rose, also presents his soul through the character of the ideal lover, so Amans is a kind of self-portrait. But unlike an ordinary self-portrait, this one does not present the author’s personality. It is painted with words, and such an ekphrastic image is universal or influences the reader in ways that can be explained by the Iser’s reader-response theory. The poem enables the reader to feel love, and transforms him into the ideal courtly lover. As distinct from a painting, the invisible ekphrastic image in this text surpasses appearances and presents the reader with a hidden side of his soul. The object represented by ekphrasis does not exist in the outer world, therefore in the example examined here the reader’s other self is brought into existence. In contrast to a painted self-portrait, which represents the identity of the author, since the picture and the pictured are identical, a word is a sign which refers to something else. A verbal self-portrait which expresses the author’s feelings opens itself up to the reader, who has to complete the image with his imagination. This imaginary image then differs from the external appearance, because it reveals the associated feelings, enables the reader to feel what the author feels, and presents the reader with his other self. The imaginary self-portrait thus does not represent the actual self, but the self that is transformed or improved by the art of love.
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Ekkart, Rudolf E. O. "Jan Cornelisz. van 't Woudt als portretschilder." Oud Holland - Quarterly for Dutch Art History 103, no. 4 (1989): 223–42. http://dx.doi.org/10.1163/187501789x00176.
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AbstractIn 1986 B. W. F. van Riemsdijk published an article on the painter/draughtsman Jan Cornelisz. van't Woudt, better known as Woudanus. As well as providing biographical particulars, the article dwelt on some of the artist's paintings and various copper engravings after his designs. Archive research enables us to supplement these biographical details. Jan Cornelisz. is thought to have been born around 1565-1570 in Het Woudt, a village near Delft. He was probably a pupil of the Delft artist Jacob Willemsz. Delff the Elder, whose influence is most apparent in his work. Shortly after his marriage in 1594, Woudanus moved to Leiden, where his bride came from and where Isaac Claesz. van Swanenburg 1537-1614) was a leading painter of the day. For some tweny years Woudanus worked as a painter and print designer in Leiden, where he died in 1615. Of the engravings after his designs, four depicting university institutions - executed by Willem van Swanenburg - are best known. One signed painting by Woudanus is extant: The Surrender of Weinsberg of 1603, in the Lakenhal Museum in Leiden (fig. 1). This large painting corresponds remarkably with the stage directions for a play on the same subject written by Jacob Duym for the local dramatic society, or rederijkerskamer, published three years previously. Woudanus' painting was undoubtedly influenced by the directions in Duym's play. Among the figures in the foreground (figs. 2 and 3) are several portraits, including likenesses of the painter, Dirck Volckertsz. Coornhert and, presumably, Jacob Duym. The rendering of The Surrender of Weinsberg displays a number of special characteristics, such as the use of light and dark patches and the depiction of the hands. There are strong grounds for attributing the blazon of the Leiden Chamber of Rhetoric, D'Oraigne Lelie, of 1606 (fig.4), to Woudanus. Archivalia (see the Appendix) and prints (figs. 5 and 6) show that the artist also painted portraits. A systematic investigation into Leiden portraiture of the late 16th and early 17th century yielded portraits with the same characteristics as The Surrcnder of Weinsberg and which can duly be attributed to Woudanus. The portraits in question are of the Leiden merchant and regent, Huyg van Nes, and his wife, painted in 1606 (figs. 7 and 8), and of another citizen of Leiden, a dyer and former mayor, Claes Willemsz. van Warmondt, and his wife, painted in 1607 (figs. 9 and 10). In view of the discrepancy in size, the latter two portraits are not companion pieces; each is probably half of another pair painted that year in a different format but otherwise identical. The four portraits bear a strong stylistic resemblance to the work of Woudanus' putative teacher Delff. A fifth portrait of 1596, very likely a female member of the Stalpert van Wiele family (fig. 11), may be added to the group with certainty. Differently set up but technically entirely in keeping with Woudanus' work is the profile portrait of the famous scholar Josephus Justus Scaliger in the Leiden Senate Room, dating from 1608 or 1609 (fig. 12). Although not a particularly important artist, Jan Cornelisz. van 't Woudt played a significant role in Leiden between 1596 and 1615 as a history and portrait painter and as a designer of prints depicting a variety of subjects.
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Stauffer, John. "Daguerreotyping the National Soul: The Portraits of Southworth and Hawes, 1843–1860." Prospects 22 (October 1997): 69–107. http://dx.doi.org/10.1017/s0361233300000053.
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In 1837, two years before the nation began its exuberant love affair with daguerreotype portraits, Nathaniel Hawthorne made a prophetic observation about Americans' problematic obsession with “true” likenesses. In his story, “The Prophetic Pictures,” an unnamed, colonial Boston portrait painter portrayed not merely a man's features, “but his mind and heart.” The painter, as Walter Ludlow tells his fiancée Elinor, “catches the secret sentiments and passions, and throws them upon the canvas, like sunshine – or perhaps, in the portraits of dark-souled men, like a gleam of infernal fire. It is an awful gift.” Other colonists deemed the painter's gift “an offense against the Mosaic law, and even a presumptuous mockery of the Creator,” and still others considered him “a magician, or perhaps the famous Black Man, of old witch times, plotting mischief in a new guise.”
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Priever, Andreas. "Liesborn in Amsterdam. Jacob de Wits Porträt des Liesborner Abtes Gregor Waltmann von 1716." Oud Holland - Quarterly for Dutch Art History 121, no. 4 (2008): 245–55. http://dx.doi.org/10.1163/187501708788426666.
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AbstractIn 1971 the Museum Abtei Lieborn of the Warendorf area came into possession of a remarkable and qualitative Portrait of Gregor Waltmann (1661-1739), who had been the abbot of the Benedictine Abbey of Liesborn between 1698 and 1739. During its restoration, the portrait could be identified as a signed work of the Amsterdam painter Jacob de Wit (1695-1754), dated 1716. To this day the only known portrait of De Wit was the Portrait of Pater Aegidius de Glabbais of 1718 (collection Commissie Monumentenzorg Minderbroeders Franciscanen Nederland).This article reconstructs the provenance of the Portrait of Gregor Waltmann, which was most likely assigned to Jacob de Wit by Gregor's brother Jan Woltman in Amsterdam. Most likely the abbot himself never saw his portrait; there is no account of a journey to Amsterdam in 1716, nor is there evidence that Gregor Waltmann knew the catholic painter personally. De Wit returned to Amsterdam from Antwerp in 1715 and devoted himself with success to portrait painting and was initially supported by the catholic community.In the early nineteenth century the portrait was still owned by the Woltman family, who had emigrated to Amsterdam from Lüdinghausen, Westfalen in the 1690s and who over generations had run the soap factory De Vergulde Hand. While the name of the painter over the course of time became forgotten, the catholic family kept the memory of the in 1739 deceased abbot alive with a memorial note.Hardly known outside the county of Münster the signed and dated portrait is an important prerequisite for the determination of further, possibly still preserved portraits of Jacob de Wit.
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Meijer, Fred G. "De portretten van Jan van Huysum door Arnold Boonen en anderen." Oud Holland - Quarterly for Dutch Art History 108, no. 3 (1994): 127–36. http://dx.doi.org/10.1163/187501794x00440.
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AbstractThe Ashmolcan Museum in Oxford owns a portrait of Jan van Huysum, thc famous painter of still lifes and landscapes, which has always been considered a self-portrait (fig. 1). Stylistic comparison, however, justifies the attribution of this portrait to Arnold Boonen. As early as the mid-eighteenth century the artist and writer Jan van Gool mentioned and illustrated a portrait of Van Huysum by Boonen (fig. 3). That picture can very probably be identified with a painting which was on the London art market in 1981, allegedly as a self-portrait of Jan's father, Justus van Huysum (fig.4). In an Amsterdam auction of 1773 a third, smaller, portrait of Van Huysum by Boonen came up for sale, and in recent decadcs a (studio) version of the Oxford painting has been on the market (fig. 5). From old catalogues it would appear that still more portraits of the painter by Boonen have existed. Printed portraits of Jan van Huysum, among them illustrations in biographical works, were apparently all derived, one way or another, from portraits by Boonen (figs, 3 , 6 and 8-10); even Kremer's romantic representation of the artist known only from a print- appears to be distantly related (fig. 12). The source for a nineteenth-century lithograph remains somewhat uncertain, although it, too, was probably inspired by Boonen (fig. 11). Clearly not a portrait of Jan van Huysum is Heroman van der Mijn's painting at Amsterdam (fig. 13), but a work at Quimper, now considered by the museum to be an anonymous French portrait of an unknown man, might be a fairly early effigy of Jan van Huysum after all (fig. 14).
Dissertations / Theses on the topic "Portrait painter"
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DeWitt, David Albert. "Jan van Noordt (1624-after 1676), famous history- and portrait-painter in Amsterdam." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0021/NQ54408.pdf.
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Sloman, Susan Legouix. "Gainsborough in Bath 1758-1774." Thesis, University of Bristol, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324365.
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Riley, Caroline M. "Portrait of a painter: The double-sided life and works of Jonas W. Holman (1805-1873)." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 28.53 Mb., 233 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435851.
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Hoffman, Rachel Gavronsky. "The Artist and Her Muse: a Romantic Tragedy about a Mediocre and Narcissistic Painter Named Rachel Hoffman." Scholar Commons, 2004. https://scholarcommons.usf.edu/etd/1081.
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Imagine a theater. Build one in your mind. I do not care if it is the largest theater in the universe or if it is the size of a shoebox. The theater can be an elaborate construction with gilded cherubs and priceless jewels. If you would prefer the theater to be a minimal design, imagine it that way. Maybe the theater is made out of glass or crystal. You can be all alone in the theater or maybe you are seated next to an alien, a cave man, or a robot.
As the curtain rises an enormous pipe organ is spewing out J.S. Bach’s Toccata and Fugue in D minor. The sound is colossal. The stage is designed to look like a filthy and bleak art studio. Sculptures that look like decaying flesh hang from the ceiling. Papers and dirty painting rags are scattered all over the floor. A roach crawls towards some moldy food in the wastebasket. A piece of beef jerky sits next to a pile of paint tubes and paintbrushes. Canvases are stacked against the wall. Dried paint is splattered everywhere. A woman enters stage left. As she begins to speak, the music fades…
“My most recent paintings are meant to serve as gateways between daily life and an exotic utopian fantasy. These strange psychological spaces function as portals into a new frontier inhabited with the most stupendous creatures. Active volcanoes, carnivorous plants, terrible lizards, pink Chihuahuas, flesh-eating insects, unidentified flying objects, and a host of other amazing things coexist in this cruel tropical paradise.
“Everything I do is a self-portrait and a disguise. I imagine the characters in my paintings to be mutant clones. The act of painting is like looking in the mirror. I like to spend most of my time doing one or the other. I am driven by an insatiable urge to see what I truly look like. I suffer from an unfulfilled desire to meet myself. I am frustrated with impressions and reflections. These confessions reveal my work as possibly the most disgusting display of narcissism in the entire history of art.
“The act of painting is an absurd and self-indulgent enterprise. I paint with the ridiculous and frivolous purpose of delighting the eye. Nevertheless, my hope is that my paintings capture an important aspect of my utopian fantasy with their sumptuous surroundings embellished with rainbows, natural disasters, butterflies, exotic grasses and bizarre costumes.
“My paintings can be read on many different levels from surface to deep allegory. The finished product is the result of hours upon hours of painting, pondering, and dreaming. Below the surface lies a nauseating abyss.
“My work is a delicious feast for the aesthetic consumer. I am a villainous mad scientist with a hunger for immortality. My eyes are gluttonous fools. I am a mystery and a deception. Vermillion is my opulent fetish. Lemon yellow is my nemesis.”
The music grows louder again. The woman begins to cackle. She then takes a deep breath and a deeper and more dramatic bow. She exits stage right--you find that you want to applaud--but unfortunately, this story is not over. I suggest that you get yourself a snack like some popcorn, chocolate, or gummy bears before reading any further.
The curtain slowly and elegantly comes down.
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Saigne, Guy. "Léon Bonnat (1833-1922) portraitiste : Catalogue raisonné des portraits peints, dessinés et gravés." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040202.
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Léon Bonnat (1833-1922) reçoit sa formation artistique en Espagne, puis dans l’atelier parisien du peintre Léon Cogniet, enfin à Rome. Ses premières grandes compositions religieuses lui apportent très tôt le succès, la renommée, les commandes de l’État, et ses scènes de genre italiennes ou orientalistes sont achetées par la clientèle privée. Vers le milieu des années 1870, il se tourne définitivement vers la peinture de portrait dans laquelle il remporte un immense succès faisant de lui, selon ses contemporains, l’un des plus grands portraitistes de son époque. Il peint les portraits des représentants de la classe dirigeante et fortunée française ou étrangère, en particulier américaine, jusqu’à la Première Guerre mondiale. Il pratique ce genre jusqu’à la fin de ses jours, laissant derrière lui, au-delà des portraits d’amis artistes ou de membres de sa famille, une exceptionnelle « galerie » des personnalités du moment, aristocrates, hommes politiques, grands bourgeois français et étrangers, dont quelques œuvres « iconiques » qui marquent la mémoire collectiveLéon Bonnat (1833-1922) received artistic training in Spain, then in the Parisian studio of the painter Léon Cogniet, and finally in Rome. His early large religious pictures quickly brought him success, fame, and State commissions, while his Italian and Orientalist genres scenes were purchased by private patrons. Around the middle of the 1870s he made a definitive turn toward portrait painting that became immensely successful and made him, according to his contemporaries, one of the greatest portraitists of the wealthy and ruling class in France or abroad, particularly in the United States, before the First World War. He practiced in this genre until the end of his life, leaving behind - except for the portraits of his artist friends and members of his family - an exceptional gallery of personalities of the time, primarily aristocrats, politicians, and French and foreign grands bourgeois, including several iconic works that mark the collective memory
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Barilo, von Reisberg Eugene. "Tradition and innovation : official representations of Queen Victoria and Prince Albert by Franz Xaver Winterhalter /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7154.
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Howard, Samantha. "A new theatre of prospects : eighteenth-century British portrait painters and artistic mobility." Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/2792/.
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The eighteenth century saw the emergence of Britain as a pre-eminent imperial, mercantile and maritime power. At home, the 1707 Act of Union between England and Scotland, and the advances in communications stimulated new opportunities for artists working inside and outside of London. Overseas, the aftermath of the Seven Years War (1756-1763) in particular, saw the spectacular growth of Britain's world-wide interests through imperial expansion. Britain's triumph over France resulted in impressive territorial gains which opened up a wealth of commercial possibilities and generated new markets for artistic goods and a demand for British artists. My approach is focused on the following major hubs of artistic activity in the period: the provinces and London, Edinburgh and America. Through a series of case studies, the different modes of artistic mobility demonstrated by British portrait painters are recovered to explore how they negotiated the location's distinct characters (metropolitan, provincial and colonial) in relation to their respective markets for artistic goods, their cultivation of patron networks, artistic connections and their artistic identity. This thesis, by engaging with the artistic mobility of eighteenth-century British portrait painters, seeks to challenge the standard narratives of the visual arts in this period, which have tended to concentrate on London in isolation. In doing so it raises the question whether our conceptions of the British art produced in the period may be better understood in terms of a broader circulation of artists and goods across and between interconnecting art worlds, and visual cultures.
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Vigroux, Perrine. "Les femmes à l'Académie royale de peinture et de sculpture (1663-1793) : sociabilité, pratique artistique et réception." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30030.
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Quinze femmes artistes seront admises à l’Académie royale de peinture et de sculpture entre 1663 et 1793. Depuis laRenaissance, en Europe et en France, un petit nombre de femmes bénéficie d’une certaine renommée aussi biennationale qu’internationale, dans les arts, la littérature et les sciences, ouvrant ainsi la voie à de nouveaux talents. Cesfemmes sont notamment encouragées par les thèses philosophiques de François Poulain de la Barre (1647-1723) quivont leur permettre d’occuper une place de plus en plus privilégiée au sein d’une société qui se cristallise autour dessalons. Ce sont de petites réunions où savantes et artistes invitent chez elles hommes et femmes pour discuter delittérature, de philosophie, d’art mais aussi de politique. Ces lieux très courus connaissent un grand succès à la fin duXVIIe siècle et tout au long du XVIIIe siècle. La réception des premières femmes à l’Académie se fait dans ce climattout à fait favorable aux femmes tant sur le plan social et culturel, que politique.Mais cette admission n’en reste pas moins précaire. Effectivement après l’entrée de Catherine Perrot, le 31 janvier 1682,il faudra attendre près de quarante ans, soit le 26 octobre 1720, pour que soit à nouveau admise une peintre : RosalbaCarriera. Certes, elles ouvrent les portes de cette institution, mais elles ne restent pas moins exclues de nombreusesactivités et de plusieurs privilèges. Elles n’ont pas le droit d’assister aux cours d’après le modèle vivant – lequel pose nu– leçons pourtant fondamentales dans l’enseignement promu par l’Académie, ni de concourir aux grands prix, pourtantau coeur du système d’émulation, en fait les académiciennes n’auront jamais accès aux postes à responsabilité. Pourtantelles ont contribué à réinventer le paysage artistique français et plus particulièrement le genre du portrait. Prônant lenaturel, elles contribuèrent à renouveler le vestiaire féminin avec des tenues plus légères et vaporeuses. Mal perçues parla critique, ces nouvelles chemises appelées gaules, participèrent à la simplification des portraits officiels. En mêmetemps, la féminisation des portraitistes de cour offre de plus grandes possibilités aux femmes peintres. Poussant leslimites toujours plus loin, elles réussirent par le biais des portraits historiés à investir la peinture d’histoire, genre réservéaux peintres les plus aboutis et qui maîtrisent bien l’anatomie.Leurs contemporains à travers leurs écrits ou leurs oeuvres artistiques proposèrent une image idéalisée, truquée parfoistrompée de ces académiciennes. Femmes de talent, femmes ambitieuses, les académiciennes réussirent malgré tout àimposer une nouvelle vision de la femme peintreFifteen women artists will be admitted to the Royal Academy of Painting and Sculpture between 1663 and 1793. Sincethe Renaissance, Europe and France, a small number of women enjoys a certain reputation both nationally andinternationally, in arts, literature and science, thus opening the way for new talent. These women are particularlyencouraged by the philosophical theses of Francois Poulain de la Barre (1647-1723) which will enable them to occupy amore privileged in a society that crystallizes around lounges. They are small and scholarly meetings where artists invitehome men and women to discuss literature, philosophy, art but also politics. These very popular places with greatsuccess in the late seventeenth century and throughout the eighteenth century. The reception of the first women to theAcademy is in this climate quite favorable to women both socially and culturally, and politically.But this admission only remains precarious. Indeed after the entry of Catherine Perrot, January 31, 1682, it will takealmost forty years, October 26, 1720, that is again admitted a painter Rosalba Carriera. Certainly, they open the doors ofthis institution, but they are nonetheless excluded from many activities and many privileges. They do not have the rightto attend classes of the living model - which poses naked - yet fundamental lessons in teaching promoted by theAcademy, nor to compete with great prices, yet in the heart of the system emulation in fact the academicians will neverhave access to positions of responsibility. Yet they have helped to reinvent the French artistic landscape and especiallythe portrait genre. Advocating natural, they helped to renew the female locker room with more light and gauzy outfits.Badly perceived by critics, these new shirts called saplings, took part in the simplification of official portraits. At thesame time, the feminization of court portraitists offer greater opportunities to women painters. Pushing the limits stillfurther, they succeeded through portraits to invest storied history painting, genre reserved for the most accomplishedpainters and good command of anatomy.Their contemporaries through their writings or artistic works proposed an idealized image, faked sometimes deceivedthese academicians. talented women, ambitious women, academicians still managed to impose a new vision of thewoman painter
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Ryu-Paganini, Naeyoung. "L'oeuvre de Yun Duseo (1668-1715), peintre-lettré coréen à l'époque "prémoderne"." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAG032/document.
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L’œuvre de YUN Duseo (1668-1715), peintre lettré ayant vécu lors de la dernière monarchie coréenne, reflète la forte sinisation de la société de l’époque. Cette œuvre est un fruit de la civilisation du « monde chinois », et interroge les principes esthétiques et le statut de la peinture dérivés de la doctrine néo-confucéenne, doctrine elle-même ici associée à des doctrines souvent considérées comme opposées, le taoïsme et le bouddhisme. YUN Duseo invente une peinture « pré-moderne » qui met en valeur de manière nouvelle des figures humaines, les portraits en particulier, et donne une nouvelle forme à des sujets courants de la peinture chinoise, les natures mortes ou les scènes de la vie quotidienne. La peinture de YUN Duseo, influencée aussi bien par un mouvement de retour aux sources de la culture chinoise que par le contact avec la culture européenne, est étudiée principalement à travers le prisme du rapport entre peinture et écritureThe work of YUN Duseo (1668-1715), a scholar-painter who lived during the last Korean monarchy, reflects the strong sinicization of contemporary Korean society. Indeed, such work is a product of the civilization of the ‘Chinese world’: it questions the aesthetic principles and the status of painting stemming from the Neo-Confucian doctrine, a doctrine itself associated with two often opposed doctrines, Taoism and Buddhism. YUN Duseo invented a ‘pre-modern’ painting that emphasized human figures, and particularly portraits, in a novel way and gave new form to common subjects in Chinese painting, whether still lives or scenes of everyday life.YUN Duseo’s painting, influenced by a return to the sources of Chinese culture as well as by the contact with European culture, is examined here through the prism of the relation between painting and writing
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Tozer, Patricia Ann. "A portrait of the artist in society, Warhol paints Warhol." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ36624.pdf.
Full textBooks on the topic "Portrait painter"
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Akademi, Orissa Lalit Kala, and Working Artists' Association of Orissa., eds. Portrait of a painter. Orissa Lalit Kala Akademi in collaboration with Working Artists Association of Orissa, 2004.
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James, Long. The painter. HarperCollins, 2003.
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Janet, Reberdy, ed. August Benziger: International portrait painter. Sheed & Ward, 1993.
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Lewison, Jeremy. Karl Weschke: Portrait of a painter. Petronilla Silver, 1998.
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Goth, Marie. Marie Goth: Painter of portraits. Nana's Books, 1996.
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Weekley, Carolyn J. Joshua Johnson: Freeman and early American portrait painter. Abby Aldrich Rockefeller Folk Art Center, Colonial Williamsburg Foundation, 1987.
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1788-1857, West William Edward, ed. William Edward West, 1788-1857: Kentucky painter. National Portrait Gallery, Smithsonian Institution, 1985.
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Pennington, Estill Curtis. William Edward West, 1788-1857: Kentucky painter. National Portrait Gallery, Smithsonian Institution, 1985.
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Johnston, George. Carl: Portrait of a painter, Carl Schaefer. Penumbra Press, 1986.
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1688-1751, Smibert John, ed. John Smibert: Colonial America's first portrait painter. Yale University Press, 1995.
Book chapters on the topic "Portrait painter"
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Leonelli, Lisa. "Ancora su Giulio Pignatti ritrattista. Il mondo dei Grand Tourists e degli eruditi a Firenze." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.12.
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Giulio Pignatti or Pignatta (1679-1751), a painter from Modena who specialized in portraiture, arrived in Florence in 1705 and remained there until his death. During the fourty-six years spent in the Tuscan capital, he made contact with the last members of the Medici dynasty and with Grand Tourists as attested by the Portrait of Sir Andrew Fountaine with four friends in the Tribuna of the Uffizi, dated 1715. Pignatti’s oeuvre can now be expanded by another conversation piece commissioned in 1721 by Giuseppe Aversani’s pupils in the University of Pisa on the occasion of the gift of a gold medal, and by the portraits of Ludovico Tempi and Cosimo Del Sera which testifies that Pignatti worked for numerous Florentine noble families. By focusing on these paintings, the paper intends to provide a better understanding of the artist's career and patrons.
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Morelli, Laura. "I ritratti di uomini illustri degli Uffizi dipinti da Carlo Ventura Sacconi, Giovanni Pietro Pollini e Giovanni Berti." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.13.
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Documentary investigations conducted at the Florence State Archives contributed to shed light on eighteenth-century efforts to develop the collection of the Uomini Illustri portraits, exhibited along the walls of the Uffizi Gallery. While the original body of works had been commissioned by granduke Cosimo I to Cristofano di Papi dell’Altissimo, who had copied the series held by Paolo Giovio in his villa in Como, the Florentine collection was later enriched by a massive supply of portraits between 1719 and 1733. The desire to complete the Uffizi ‘gioviana’ series was probably due to Anna Maria Luisa de’ Medici and the artist who followed in Cristofano dell’Altissimo’s footsteps should be identified in Carlo Ventura Sacconi (1676-1762), who painted 159 portraits of illustrious men. Between 1721 and 1727 the painter also completed the so-called ‘serie Aulica’, which was displayed – just like the ‘gioviana’ series – in the corridors of the Florentine Gallery.
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Woods-Marsden, Joanna. "The Meaning of the European Painted Portrait, 1400-1650." In A Companion to Renaissance and Baroque Art. John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch21.
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"Portrait Painter to the Elite." In Art of the Gold Rush. University of California Press, 2019. http://dx.doi.org/10.1525/9780520935150-008.
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Nancy, Jean-Luc. "Character." In Portrait, translated by Sarah Clift and Simon Sparks. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279944.003.0007.
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However the painter, the photographer, or the sculptor also works at pulling the other back from this abyss. But in this case it is a matter of an operation that is entirely different from that of a copy or a cast. The death mask shows nothing more than the look of a dead face—that is, a face that has become a stranger to itself. In certain respects, this look is instructive regarding the look of death—if we disregard the various techniques that must be used to make the cast both possible and acceptable—but it intensifies the enigma of the identity to self....
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Vaughan, Mary Kay. "Introduction." In Portrait of a Young Painter. Duke University Press, 2014. http://dx.doi.org/10.1215/9780822376125-001.
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Vaughan, Mary Kay. "Lupe’s Voice." In Portrait of a Young Painter. Duke University Press, 2014. http://dx.doi.org/10.1215/9780822376125-002.
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Vaughan, Mary Kay. "Enchanting City / Magical Radio." In Portrait of a Young Painter. Duke University Press, 2014. http://dx.doi.org/10.1215/9780822376125-003.
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Vaughan, Mary Kay. "Pepe at School and with God, the Virgin, and the Saints." In Portrait of a Young Painter. Duke University Press, 2014. http://dx.doi.org/10.1215/9780822376125-004.
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Vaughan, Mary Kay. "My Father, My Teacher." In Portrait of a Young Painter. Duke University Press, 2014. http://dx.doi.org/10.1215/9780822376125-005.
Full textConference papers on the topic "Portrait painter"
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DiPaola, Steve, and Graeme McCaig. "Using Artificial Intelligence Techniques to Emulate the Creativity of a Portrait Painter." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.32.
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Manea, Gabriel. "A PORTRAIT OF PATRIARCH JUSTINIAN PAINTED BY RADIO FREE EUROPE." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/2.2/s08.027.
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DiPaola, Steve. "Painterly rendered portraits from photographs using a knowledge-based approach." In Electronic Imaging 2007, edited by Bernice E. Rogowitz, Thrasyvoulos N. Pappas, and Scott J. Daly. SPIE, 2007. http://dx.doi.org/10.1117/12.706594.
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Ahn, Ye Jin. "Amazing portrait [al·la prima]; process of drawing teapot (drawing of oils painterly rendering)." In ACM SIGGRAPH 2006 Teapot. ACM Press, 2006. http://dx.doi.org/10.1145/1180098.1180129.
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Young, Choi So. "A STUDY ON THE ORIGIN OF CHEOYONG: THE ANCIENT CULTURAL EXCHANGE BETWEEN CENTRAL ASIA AND KOREA." In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-18.
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In 879 (or 875), Cheoyong, who appeared with several people wearing unfamiliar appearance and strange clothes, performed singing and dancing in front of the king of Silla. After that, he moved to the capital with the king, and it is believed that he performed there. According to the legend, Cheoyong, who came in late at night after performing, found that the god of smallpox was with his wife, sang and danced without anger. The god, who saw Cheoyong's behavior, said he would not invade the place where his image was painted, so his portrait later served as an amulet to prevent disease and ghosts. After that, Cheoyong has left somewhere and his dances and songs remained as Cheoyongmu(dance of Cheoyong) and Cheoyongga(song of Cheoyoung), settling down as a Korean folk art. Cheoyong is seen as a sogd performer who escaped from the political turmoil in China when looking at his appearance, his profession, and the situation at the time, which was not familiar to Koreans.
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B. Kretchmer, Susan, Rod Carveth, and Karen Riggs. "Panel on: Global Perspectives and Partnership on the Information and Communication Technology Divide." In 2002 Informing Science + IT Education Conference. Informing Science Institute, 2002. http://dx.doi.org/10.28945/2517.
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This paper explores the contours of old age as it meets up with new technologies in contexts of work. Old age is a problematic field, always subject to renegotiation of meaning due to changes in life expectancy and never more so than in the critical first three decades of the 21st century, when the proportion of older people is dramatically increasing, with the West in the lead. I attempt to provide a context in which scholars, activists, and others might begin talking about the changing role of work for older adults in a hightech economy. Instead of offering a statistical breakdown that can be generalized to our entire older adult population, it tells the stories of real people associated with this complex set of concerns, demonstrating how difficult it is to paint any definitive sort of portrait of aging in American culture. Its primary usefulness might be in the recognition it offers for us that, like the rest of us who are reeling from the velocity at which change is arriving in contemporary life, elders are facing myriad tensions, consequences, and challenges and are meeting these with varying outcomes.