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Relevant bibliographies by topics / Portrait painters Portrait painting Portrait painting

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Academic literature on the topic 'Portrait painters Portrait painting Portrait painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Portrait painters Portrait painting Portrait painting"

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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).

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Keshavmurthy, Prashant. "Bīdil’s Portrait." Philological Encounters 1, no. 1-4 (January 26, 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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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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Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 04 (April 2014): 603–44. http://dx.doi.org/10.1017/s0003161500003588.

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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.

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Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 4 (April 2014): 603–44. http://dx.doi.org/10.1353/tam.2014.0074.

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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.

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Garrard, Mary D. "Here's Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist*." Renaissance Quarterly 47, no. 3 (1994): 556–622. http://dx.doi.org/10.2307/2863021.

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An Unusual Portrait by Sofonisba Anguissola has gained new prominence from its illustration in color in a recent publication. In her Women, Art, and Society (1990), Whitney Chadwick claims of the portrait in question, Bernardino Campi Painting Sofonisba Anguissola (fig. 1), that in presenting herself in the guise of a portrait being painted by her teacher, Anguissola produced “the first historical example of the woman artist consciously collapsing the subject-object position.” Chadwick's succinct observation opens up the possibility of understanding the painting in a new way, for she points to the peculiar conflation of subject and object that uniquely befell women artists in the Renaissance and complicates their art, especially their self-portraits. From this starting point, I will here explore the form of self-presentation offered by Anguissola in the Siena portrait and several other works in the context of what was a fundamental problem for the Renaissance female artist: the differentiation of herself as artist (the subject position) from her self as trope and theme for the male artist (the object position).

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Stone, Ian R. "The Arctic portraits of Stephen Pearce." Polar Record 24, no. 148 (January 1988): 55–58. http://dx.doi.org/10.1017/s003224740002235x.

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AbstractBetween 1851 and 1877 Stephen Pearce (1819–1904) painted, among many other subjects, portraits of most of the distinguished 19th century British Arctic explorers. This article outlines Pearce's life, presents his most celebrated painting ‘The Arctic Council discussing a plan ofsearch for John Franklin’, and catalogues the 25 Arctic portraits held by the National Portrait Gallery. A selection of four portraits spanning the artist's working life is illustrated.

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Kupchynska, Larysa. "A portrait of Klymentii Sheptytskyi by artist Mykhailo Shalabavka." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 12(28) (2020): 382–99. http://dx.doi.org/10.37222/2524-0315-2020-12(28)-13.

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The article covers the life and creative development of one of the little known Ukrainian photographers and painters of the first half of the twentieth century, who was Mykhaylo Shalabavka. In order to disclose his biographical data in more detail, the information provided by modern researchers 399 has been supplemented with archival materials. Due to their analysis, first of all, M. Shalabavka’s letters to Metropolitan Andrey Sheptytskyi presented many new facts that characterize the artist’s participation in public life in the formation of the Ukrainian school of photography first in Lviv, his beliefs about further ways of its development. Emphasizing his active participation in public life, the article stated that he executed hundreds of photographs of national liberation competitions of the Ukrainian people of the early twentieth century, life and way of life of Boykivschyna, Hutsulschyna and Podillya, architecture of Lviv. Particular attention is paid to the photo portraits that brought the author glory. One of his most famous works, Portrait of Oleksa Novakivskyi, and little-known photographs of prominent representatives of the Greek Catholic Church of the twentieth century, discovered in the collections of the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv named after, are analyzed in detail. It is substantiated that by performing portraits, M. Shalabavka worked according to the requirements of the time, which included the use of the traditions of the portrait genre of previous centuries. This has significantly influenced the artist’s works, securing them a proper place in the history of photography. Due to many years of work by photographer M. Shalabavka in the late 1930’s, he turned to painting, performed an oil painting «Portrait of Klymentii Sheptytskyi». He is one of the later artists and sums up his multidimensional experience. Keywords: Mykhaylo Shalabavka, Ukrainian photographers, history, life and way of life, portrait, Klymentii Sheptytskyi.

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Guillen-Nuñez, César. "The Portrait of Matteo Ricci." Journal of Jesuit Studies 1, no. 3 (April 1, 2014): 443–64. http://dx.doi.org/10.1163/22141332-00103005.

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This article discusses a rather unusual portrait that depicts the Italian missionary Matteo Ricci (1552–1610), to be found today in the Gesù church in Rome. When it was first exhibited it aroused such excitement among Jesuits that it was displayed next to the portraits of St. Ignatius of Loyola and St. Francis Xavier. At an uncertain date, a small inscription was attached to the frame with Ricci’s name, his years of birth and death, and a statement that the painting had been exhibited in the vestibule of the Gesù residence in 1617, but that its artist was unknown. Although the painter’s name was disclosed as that of the Chinese-Macanese Jesuit brother You Wenhui (alias Manuel Pereira) in an account by Sabatino de Ursis soon after Ricci’s death, both the painter and his work have remained practically ignored by most researchers. This article studies the portrait and its creator from an art-historical perspective in much greater detail than previously. Stylistic and iconographic influences of Chinese Ming portraiture observable in the style of the work are identified, as are features from late sixteenth-century Counter-Reformation portraits. Certain aspects of Ricci’s contributions to Chinese science are also discussed, along with a number of contemporary theological arguments that tell us much about the nature of the portrait, its subject, its creator, and its deep spiritual significance.

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Subedi, Abhi. "My Understanding of Manuj Babu and his Art." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (December 1, 2018): 6–15. http://dx.doi.org/10.3126/sirjana.v5i1.39737.

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Manuj Babu Mishra (1936-2018) was a modern artist who is mainly known for his paintings and his drawings. Nepali art critic Narayan Bahadur Singh as early as 1976 mentioned about his multiple skills in art. But Mishra was also one of those painters who ushered in an era of modern consciousness shared equally by painters and poets. His contemporaries some of whom are still painting though on a smaller scale, made experiments with their arts in modernist style. An era of distorting forms, breaking the fine figurality and using flatness by shunning the illusion of three dimensional shapes rather than representative forms was seen in Nepali modernist paintings too. Manuj Babu Mishra adopted a method of using figurality in paintings that used semi surrealistic and abstract paintings. Mishra was trained in Dhaka of the then East Pakistan in the late sixties of the last century. Despite his political statements occasionally, he was basically an artist. He was a peaceful man behind the hurricanes of hard times he created. He was also a portraitist who believed that the portrait of a person is also the portrait of the world outside him or her. He had said that to me when he was drawing my portrait.

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Dissertations / Theses on the topic "Portrait painters Portrait painting Portrait painting"

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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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Carlisle, Tara McDermott. "Adélaide Labille-Guiard and Elisabeth Vigée-Lebrun: Portraitists in the Age of the French Revolution." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc332771/.

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This thesis examines the portraiture of Elisabeth Vigée-Lebrun and Adélaide Labille-Guiard within the context of their time. Analysis of specific portraits in American collections is provided, along with an examination of their careers: early education, Academic Royale membership, Salon exhibitions, and the French Revolution. Discussion includes the artists' opposing stylistic heritages, as well as the influences of their patronage, the French art academy and art criticism. This study finds that Salon critics compared their paintings, but not with the intention of creating a bitter personal and professional rivalry between them as presumed by some twentieth-century art historians. This thesis concludes those critics simply addressed their opposing artistic styles and that no such rivalry existed.

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Terndrup, Alison Paige. "Cross-Cultural Spaces in an Anonymously Painted Portrait of the Ottoman Sultan Mahmud II." Scholar Commons, 2015. https://scholarcommons.usf.edu/etd/5583.

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This thesis analyzes an anonymous portrait painting of the Ottoman Sultan Mahmud II (r. 1808-1839), called by its descriptive title Seated Portrait of Mahmud II, within the context of the extensive portrait campaign commissioned by the sultan. Surviving examples from this series of diplomatic portraits share a unique set of intercultural iconographic vocabularies as a reflection of their time as well as implicit reinforcement of the sultan's political goals. By focusing on Seated Portrait of Mahmud II, I argue that a closer inspection of the campaign within a context that pays attention to Ottoman, European, and Persian visual practices reveals a more accurate and comprehensive understanding of its cross-cultural histories and visual as well as ideological references. Structured to reflect the tripartite composition of the artwork itself, this thesis addresses the style and iconographies of the background, middleground, and foreground, respectively. Following a focused examination of the sultan's portrait, I compare Seated Portrait of Mahmud II to two contemporary paintings: Napoléon Bonaparte as First Consul (1808) from France and Portrait of Qajar Ali Shah Seated on a Chair Throne (1807) from Qajar Iran. While bringing attention to the art-historical implications of a hitherto understudied, yet significant portrait of Mahmud II, my work reexamines the early-modern history of Ottoman art within the larger framework of cross-cultural encounters.

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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 collective
Léon 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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Collins, Megan Marie. "The Portrait of Citizen Jean-Baptiste Belley, Ex-Representative of the Colonies by Anne-Louis Girodet Trioson: Hybridity, History Painting, and the Grand Tour." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1237.pdf.

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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 écriture
The 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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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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Threapleton, James E. "The corroded surface : portrait of the sublime." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9193/.

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Derived from the Latin corrodere, meaning to ‘gnaw to pieces’, corrosion as a transformative physical process is nature at its most sublime, engendering fear and power, producing the obscure and reducing form to the darkness ‘beneath all beauty as promise of its ultimate annihilation’ (Beckley, 2001: p. 72). The thesis considers corrosion as subtraction, erasure and negation in relation to the painting process. Through experimentation with the ruination of both content and painting’s plastic, material properties the thesis reflects upon how the disruption or destruction of image and surface might relate to the un- representable. Within the history of twentieth century art negation has been cited as the defining spirit of the Modernism (TJ Clark: 1986). Jean François Lyotard suggests that it is the sublime that has provoked this destructive, nihilistic tendency and given Modern and postmodern art its ‘impetus and axioms’ (Lyotard: 1979). As the 2010 Tate research project, The Sublime Object attests, the sublime is once again ‘now’. Painting was conspicuous in its absence from the project, perhaps because as Simon Morley states ‘most sublime artworks these days tend to be installations. It is certainly getting harder for painting, the traditional vessel for evoking visual sublimity, to elicit such effects’ (2010, p. 74). This thesis will examine Morley’s position by considering how the composition of the un-presentable may be alluded to through de-composition and corrosion in painting. An expressionist enquiry into the tension between figure and ground the thesis investigates a relationship between mark, surface and the sublime.(1) Notoriously difficult to capture, the sublime is intrinsically contradictory, making an effective, overarching theory on the subject all but impossible to sustain (Forsey: 2007). Highlighting some of the problems surrounding the theory of the sublime James Elkins, in his essay ‘Against the Sublime’ (2009), suggests that the term has been mistaken for a trans-historical category and that it has been used and abused to smuggle religious content into contemporary critical writing. Further more, he describes the post-Kantian postmodern sublime as so intricate and linguistically complex as to render it effectively redundant without substantial qualification. Elkins has called for a moratorium on the term sublime and a redress of language in favor of new, direct terms (2009). This project asks if painting can facilitate this redress and provide these terms. Note (1): An enquiry that applies a necessarily heuristic approach to a project engaged with subjective, felt experience in painting characterized by and articulated through the primacy of gestural abstraction.

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Hansbauer, Severin. "Das Oberitalienische Familienporträt in der Kunst der Renaissance : studien zu den Anfängen, zur Verbreitung und Bedeutung einer Bildnisgattung /." Würzburg : S.J. Hansbauer, 2004. http://www.loc.gov/catdir/toc/fy0708/2006485141.html.

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Badea-Päun, Gabriel. "The society portrait : painting, prestige and the pursuit of elegance /." London [u.a] : Thames & Hudson, 2007. http://swbplus.bsz-bw.de/bsz276975111inh.pdf.

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Books on the topic "Portrait painters Portrait painting Portrait painting"

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Mary, Black. American folk painting. New York: Bramhall House, 1987.

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Kiprenskiĭ, Orest Adamovich. Li︠u︡di Aleksandrovskoĭ ėpokhi na portretakh O.A. Kiprenskogo. Edited by Perkin E. N. Moskva: Novyĭ kli︠u︡ch, 2004.

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English portrait miniatures. Cambridge [Cambridgeshire]: Cambridge University Press, 1988.

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Pukk, Aapo. Portreekunstnik Aapo Pukk: Portreed ja impressioonid = Portrait painter Aapo Pukk : portraits and impressions. Tallinn: AAPOPUKK Gallery, 2006.

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Pukk, Aapo. Portreekunstnik Aapo Pukk: Portreed ja impressioonid = Portrait painter Aapo Pukk : portraits and impressions. Tallinn: AAPOPUKK Gallery, 2006.

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Pukk, Aapo. Portreekunstnik Aapo Pukk: Portreed ja impressioonid = Portrait painter Aapo Pukk : portraits and impressions. Tallinn: AAPOPUKK Gallery, 2006.

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The portrait in Britain and America: With a biographical dictionary of portrait painters, 1680-1914. Oxford: Phaidon, 1987.

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The portrait in Britain and America: With a biographical dictionary of portrait painters 1680-1914. Boston, Mass: G.K. Hall, 1987.

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The portrait in Britain and America: With a biographical dictionary of portrait painters 1680-1914. Oxford [Oxfordshire]: Phaidon Press, 1987.

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Waldmann, Susann. Der Künstler und sein Bildnis im Spanien des 17. Jahrhunderts: Ein Beitrag zur spanischen Porträtmalerei. Frankfurt am Main: Vervuert, 1995.

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Book chapters on the topic "Portrait painters Portrait painting Portrait painting"

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Kelvin, Norman. "The Painting as Physical Object in a Verbal Portrait: Pater’s ‘A Prince of Court Painters’ and Wilde’s ‘The Portrait of Mr W. H.’." In Victorian Aesthetic Conditions, 117–34. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281431_8.

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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, 205–39. Florence: 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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Nancy, Jean-Luc. "Divine Abandonment." In Portrait, translated by Sarah Clift and Simon Sparks, 81–83. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279944.003.0015.

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The loss of the halo in Baudelaire could have as its equivalent in painting the numerous skulls painted by Cézanne, often alone (“autonomous”) but sometimes accompanied by a portrait. The bony skull had previously been a preferred symbol for “vanity.” Once divorced from the discourse of religion, the skull now seems to qualify the subject not from the perspective of its destiny but in terms of what is happening with its presence. So, one might suggest that, for the portrait, the halo—the possibility, very simply, of a divine dignity or a consecration—was nothing other than the possibility of painting the presence deep within the subject, be it a mysterious presence or indeed precisely in its mystery (a mystery that is as social, hierarchical, or heroic as it is personal, spiritual, or sensual)....

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Nancy, Jean-Luc. "Revelation." In Portrait, translated by Sarah Clift and Simon Sparks, 76–80. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279944.003.0014.

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Much later, an artist like Urs Lüthi sets about representing the many stages of his own transformation from a young man into an old woman (Figure 14).¹ What has changed most from Rembrandt to Lüthi could well be the affective tone of the portrait. In the case of Rembrandt, this tone remains in the register of an affirmation whose self-confidence is not seriously shaken by suspicions of anxiety which, whatever their possible legitimacy, are going to be sought more behind the painting than in it, in rumors about personal psychology. In the case of Lüthi, on the other hand, by going through the phases of transformation, he specifically paints a disquiet or doubt on the subject of who is seeing him- or herself being seen and who no longer recognizes him- or herself as a consequence....

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"Mirroring naturalism in word and image: a critical exchange between Émile Zola and Édouard Manet." In Ekphrastic encounters, edited by Lauren S. Weingarden, 144–64. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526125798.003.0008.

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This chapter explores how Émile Zola’s ekphrastic writings about Édouard Manet’s paintings functioned as a template on which the writer imposed his evolving theories of the naturalist novel. It argues that, while Zola championed Manet in his critical reviews of the artist’s works, he did so in the name of naturalism and the scientific objectivity and analysis naturalism promoted. Moreover, it seems likely that Manet would have read Zola’s 1868 preface to Thérèse Raquin where the author first mandated his naturalist theories. The chapter asks what Manet would have thought about Zola’s subjugation of painting to writing and his refusal of meaningful content in his art. It proposes that Manet painted Zola’s portrait in 1868 as a retort to the critic’s misinterpretation of the painter’s artistic method. Manet’s portrait of Zola also reveals how the artist, in turn, appropriated the writer and his writing to his own artistic agenda, the subsequent manifestations of which culminate in Manet’s final masterpiece, A Bar at the Folies Bergère (1882).

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Spalding, Frances. "Dorothy Brett’s Umbrellas (1917)." In Katherine Mansfield and Translation. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9781474400381.003.0013.

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This brief article examines the painting titled Umbrellas, painted in 1917 by the Hon. Dorothy Brett. The painting depicts the world of talented individuals, composed of artists, writers and intellectuals, who used to gather at Garsington, the country home of Lady Ottoline Morrell. Although primarily an animated portrait of people Brett knew well, the painting is artfully structured around the abstract shapes created by the umbrellas, which wheel about and help frame the sitters. Ottoline presides at the centre, and opposite her is in the bottom left of the painting, is Aldous Huxley. Also depicted are Lytton Strachey, Brett herself, Julian Morrell, Katherine Mansfield and John Middleton Murry.

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Van Horn, Jennifer. "The Power of Paint." In Power of Objects in Eighteenth-Century British America. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469629568.003.0003.

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Chapter 2 focuses on mid-century Philadelphia’s burgeoning art community through the figure of travelling English portrait painter John Wollaston, who visited the city in 1752 and 1758/9. Wollaston’s presence encouraged the young student Francis Hopkinson to write a poem about the artist in the new periodical the American Magazine. By tracing the aesthetic responses that Hopkinson and the fellow students in his circle (including Benjamin West) had to Wollaston’s portraits the chapter charts Philadelphians’ engagement with the aesthetic debates raging in London over the role of the artist and the power of the portrait to civilize. Hopkinson embraced the new model of connoisseurship being popularized in the British art capital of London but recast it to argue that the portrait could civilize the sitter. Reading Wollaston’s portraits through the model of physiognomy reveals how viewers understood his paintings to improve sitters’ civility and how his paintings forged social connections between sitters.

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Witte, Arnold. "Portraits as a Sign of Possession." In Portrait Cultures of the Early Modern Cardinal. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725514_ch09.

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Cardinals’ portraits were not only intended for private residences and painted by famous artists, but were also produced in multiple copies of variable quality that still can be found on the art market. In these paintings, often based on portrait prints, likeness or artistic merit were not the most important criteria. Inventories show that most of these copies were actually made for religious institutions, such as orders and confraternities, of which these cardinals were appointed protector. This essay deals with the question of how and when these portraits were obtained and where they were displayed; by means of this spatial contextualization, it explains the legal function of these portraits within these institutions.

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"Painted Gems. The Color Worlds of Portrait Miniature Painting in Sixteenth- and Seventeenth-Century Britain." In Early Modern Color Worlds, 140–69. BRILL, 2015. http://dx.doi.org/10.1163/9789004316607_007.

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Daarken. "Male Portrait." In Digital Painting Techniques, 136–43. Elsevier, 2009. http://dx.doi.org/10.1016/b978-0-240-52174-9.50033-6.

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Conference papers on the topic "Portrait painters Portrait painting Portrait painting"

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Zhao, Mingtian, and Song-Chun Zhu. "Portrait painting using active templates." In the ACM SIGGRAPH/Eurographics Symposium. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2024676.2024696.

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Colton, Simon, Michel F. Valstar, and Maja Pantic. "Emotionally aware automated portrait painting." In the 3rd international conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1413634.1413690.

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Valstar, Michel F., Simon Colton, and Maja Pantic. "Emotionally aware automated portrait painting demonstration." In Gesture Recognition (FG). IEEE, 2008. http://dx.doi.org/10.1109/afgr.2008.4813367.

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Wang, Tinghuai, John Collomosse, Andrew Hunter, and Darryl Greig. "Learnable Stroke Models for Example-based Portrait Painting." In British Machine Vision Conference 2013. British Machine Vision Association, 2013. http://dx.doi.org/10.5244/c.27.36.

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Luo, Ren C., and Yu Jung Liu. "Robot Artist Performs Cartoon Style Facial Portrait Painting." In 2018 IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS). IEEE, 2018. http://dx.doi.org/10.1109/iros.2018.8594147.

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Zhang, Xiaoyan, Kap Luk Chan, and Martin Constable. "Depth-based reference portrait painting selection for example-based rendering." In 2011 IEEE 5th International Conference on Cybernetics and Intelligent Systems (CIS). IEEE, 2011. http://dx.doi.org/10.1109/iccis.2011.6070310.

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Yáng, Jīng. "ART OF PORTRAIT PAINTING IN THE WORKS OF CAO CHUNSHENG." In VI Международная научно-практическая конференция "Искусствознание и педагогика. Диалектика взаимосвязи и взаимодействия". Общество с ограниченной ответственностью «Книжный дом», 2018. http://dx.doi.org/10.25807/pbh.978-5-94777-431-3.259.269.

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Xue, Tao, and Yong Liu. "Robot portrait rendering based on multi-features fusion method inspired by human painting." In 2017 IEEE International Conference on Robotics and Biomimetics (ROBIO). IEEE, 2017. http://dx.doi.org/10.1109/robio.2017.8324781.

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Zhang, Min, Guoping Qiu, Natasha Alechina, and Sarah Atkinson. "A Preliminary Examination of the User Behavior in Query-by-Drawing Portrait Painting Search on Mobile Devices." In MoMM 2015: The 13th International Conference on Advances in Mobile Computing and Multimedia. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2837126.2837182.

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Stork, David G. "Were optical projections used in early Renaissance painting? A geometric image analysis of Jan van Eyck's "Arnolfini Portrait" and Robert Campin's "Merode Altarpiece"." In Electronic Imaging 2004, edited by Longin Jan Latecki, David M. Mount, and Angela Y. Wu. SPIE, 2004. http://dx.doi.org/10.1117/12.524193.

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