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Academic literature on the topic 'Portrait painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Portrait painting"

Aslan qızı Məmmədova, Ləman. "Portrait treasury of great Azerbaijan female artists." SCIENTIFIC WORK 78, no. 5 (May 17, 2022): 31–37. http://dx.doi.org/10.36719/2663-4619/78/31-37.

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Məqalədə Maral Rəhmanzadə, Vəcihə Səmədova, Elmira Şahtaxstinskaya kimi görkəmli Azərbaycan rəssamlarının bəzi əsərləri təhlil edilmişdir. Maral Rəhmanzadənin, mahir fırça ustasının portret əsərləri incəsənətimizin tarixinə boyakarlığın qiymətli nümunələri kimi daxil olmuşdur. Böyük rəssamın portret janrında yüksək sənətkarlıq nümunəsi sayılan əsərləri son dərəcə özünəməxsusluğu ilə səciyyələnir. Maral Rəhmanzadənin yaradıcılığında başlıca xüsusiyyətlərdən biri Azərbaycan qadınına xas gözəlliyin, zərifliyin, məğrurluğun və zəngin mənəvi aləmin parlaq vəhdətidir. Azərbaycanın görkəmli rəssamı Vəcihə Səmədovanın tablolarında isə biz maraqlı rəng çalarları, milli kolorit, kompozisiyanın dinamikliyini və böyük ustalıq görürük. Görkəmli rəssamın belə xüsusiyyətləri ilə seçilən tabloları dünya muzeylərində layiqli yer tutur. Elmira Şaxtaxtinskaya isə daha çox plakat və dəzgah rəsmlərinin müəllifi kimi şöhrət tapmışdır. Rəssamın Azərbaycanın elm, ədəbiyyat və incəsənət xadimlərinin portretlər qalereyası yüksək sənətkarlığı ilə fərqlənir: Üzeyir Hacıbəyovun portreti, Hüseyn Cavidin portreti, Qara Qarayevin portreti, Əcəmi Naxçıvaninin portreti, Sultan Məhəmmədin portreti, Məhəmməd Füzulinin portreti, Məhsəti Gəncəvinin portreti və b. Açar sözlər: qadın rəssam, portret, XX əsr təsviri sənəti, rəssam, rəngkarlıq, bədii obraz, rəsm qalereyası Leman Aslan Mamedova Portrait treasury of great Azerbaijan female artists Abstract The article analyzes some of the works of such outstanding Azerbaijan artists as Maral Rahmanzade, Vajiha Samadova, Elmira Shahtakhstinskaya. The portraits of the great master of the brush Maral Rahmanzade entered the history of our art as valuable examples of painting. The works of the great artis, considered an example of high skill in the genre of portraiture, are distinguished by high originality. One of the main features of Maral Rahmanzade’s creativity is a bright unity of beauty, fragility, pride and rich spiritual world of Azerbaijan women. In the paintings of the outstanding Azerbaijan artist Vajiha Samadova, we see interesting shades of colour, national color, dynamism of composition and great skill. The painting s of the famous artist, characterized by such features, a worthy place in museums around the world. Elmira Shahtakhstinskaya is best known as the author of posters and picturesque paintings. Elmira Shahtakhstinskaya has created a portrait gallery of Azerbaijan culture and science figures, which is distinguished by high skill of execution: portrait of Uzeyir Hajibeyov, portrait of Huseyn Javid, portrait of Gara Garayev, portrait of Ajami Nakhchivani, portrait of Sultan Muhammad, portrait of Muhammad Fizuli, portrait of Mehseti Ganjavi, etc. Key words: artist, portrait, 20th century fine art, artist, painting, artistic image, art gallery

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Abdul Rahim, Rosliza, Mumtaz Mokhtar, and Ishak Ramli. "A Review Of Alternative Ways Malaysian Artists Approach Self-portraits Painting." Idealogy Journal 8, no. 1 (April 1, 2023): 152–58. http://dx.doi.org/10.24191/idealogy.v8i1.415.

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Painting for presentation Self-portraits have been revolutionised on several occasions. To achieve different effects in their portrait painting, the artist experimented and manipulated various media. Portraits are commonly defined in art as a likeness of a person, particularly a face till shoulders, but there are other ways to define a portrait and a painting. There is a lack of comprehension and interpretation of the topic. As a result, the purpose of this research is to trace the history of the self-portrait. From the 1940s to the 2000s, reviews were written in the form of a year-by-year chronology, identifying the approach used by local painters. Conclusion: The shift in the art movement from naturalistic approaches to a variety of styles resulted in new interpretations and opportunities for artists to create exciting portrait paintings. The development of a new understanding of the term "portrait painting" resulted in new interpretations and suggestions for a new way of presenting self-portraits, contributing to an alternative and creative way of practising portrait painting for Muslim artists.

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Abdul Rahim, Rosliza, Mumtaz Mokhtar, Verly Veto Vermol, and Rafeah Legino. "Iconography Underpinning Malaysian Portrait Painting." Environment-Behaviour Proceedings Journal 6, SI5 (September 1, 2021): 119–24. http://dx.doi.org/10.21834/ebpj.v6isi5.2936.

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Malaysian portrait paintings were introduced in the 1930s where local artists started using the subject in their art-making. In art, portraits are generally known as the likeness of a person, especially a face and shoulders, but in fact, there are more ways to define portrait and painting. There is a lack of understanding and interpretation on the subject. Consequently, this study aims to trace the chronology of the development of Malaysian portrait paintings. The stylistic and contextual issues, including its formalistic format, media, themes and styles, and artists, are also examined in this study using a mixed-mode of research method. Keywords: Portraits; Painting; Iconography eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2936

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Sharma, Yam Prasad. "Nepali Paintings: A Departure From Religious Contents to Secular Subject Matters." Tribhuvan University Journal 36, no. 01 (December 31, 2021): 85–95. http://dx.doi.org/10.3126/tuj.v36i01.43582.

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Traditional Nepali paintings are religious since they are based on Hindu and Buddhist myths. Manuscript illuminations and paubhas, the examples of religious paintings, have magical and mystical contents. Characters of myths have been portrayed and mythical stories have been narrated in visual form. There are a series of changes from traditional Nepali paintings to contemporary works. In painting, secular elements are introduced through didactic visual narratives from Hitopadesha manuscript. The moral lessons are taught through animal fables. Early paubhas are fully religious but later paubhas include portraits of the donors or the persons who asked to paint the picture at the bottom of the painting. The main part of the painting is religious but the portraits are secular. In later paubhas, the figures of the donors become larger and take equal space in the painting. Gradually, the portrait became bigger than the religious figure at the end of the Malla period. From the beginning of the Shaha period, portraits existed independently. During the Rana rule, the art of portrait painting reaches the climax since the Ranas loved the image of themselves and their family members. The artworks exist independently without reference to myths and religious texts. There is the transition from religious contents to secular subject matters. This article traces the development of secular elements in Nepali paintings. It compares the paintings in terms of the inclusion of secular elements.

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Mammadova, F. "Artistic features of portrait works of people’s artist Huseyngulu Aliev." Culture of Ukraine, no. 72 (June 23, 2021): 62–70. http://dx.doi.org/10.31516/2410-5325.072.09.

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Achieving a realistic view of the image on canvas or paper is a key requirement of the portrait genre. Since the establishment of the professional school of painting, the portrait has attracted the attention of Azerbaijani artists and has been widely used in their work. Thus, in our miniatures of the Middle Ages, as well as among the paintings created in the XIX–XXI centuries, you can find beautiful, eye-catching portraits with high artistic value. Thus, the portrait has always occupied one of the main places in Azerbaijani painting. Of course, the main object of the portrait genre is a person, so its spiritual world and position in society is the main theme of fine art. For many years, portraits in Azerbaijani painting have been mainly dedicated not only to creative intellectuals, but also to workers, collective farmers and labor pioneers. In portraits, on the one side, there is a generalization of images, and on the other side, there is a more democratic approach to the selection of models. The characters in the portraits are close people, friends, relatives of the artists, or strangers who are attracted only by their appearance. Elements of painting in the human image of Azerbaijani artists attract attention: color, texture experiment, spatial elements, format, etc. It is known that in order to create a realistic portrait, artists must master the perception of emotions in a person’s environment, as well as master the art of realist painting. Throughout the development of the portrait genre, artists are engaged in research, trying to convey the true image of a person in an objective way. In the portrait genre, the image of the century was clearly visible. In the portraits of Azerbaijani artists, generalized, energetic, strong images are often replaced by psychologically complex characters. There is a growing interest in the spiritual world of images, the tendency to reach the depths of thought and intellect, to create a portrait with a rich spiritual content. Portraits created by Azerbaijani artists in modern times differ in their main features, such as deep spirituality and strict intellect.

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Bonța, Claudia M. "Dinamica dintre portret și peisaj în secolul al XVIII-lea. Studiu de caz: Portret de Femeie de Johann Martin Stock." Studia Universitatis Babeș-Bolyai Historia Artium 66, no. 1 (December 30, 2021): 27–42. http://dx.doi.org/10.24193/subbhistart.2021.02.

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"The Second Half of the 18th Century Highlights a New Fashion in Painting, the Portrait in Landscape that Combines the Portrait and the Landscape. The long series of female portraits arouse admiration and are imitated all over Europe. The Transylvanian space joins the new artistic trend, and we owe some spectacular achievements in this field to one of the most famous painters of the genre, Johann Martin Stock. The National Museum of History of Transylvania shelters in its collections a compositional portrait signed by Johann Martin Stock, Portrait of a Woman, 1787, a remarkable success of the 18th century local painting. Keywords: portrait, rococo, landscape, 18th century painting, Johann Martin Stock. "

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Halchuk, Oksana. "Pictorial portraits of the nation: Ilya Repin’s «Own» and «Others»." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, no. 26-27 (2022): 46–55. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-46-55.

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The article examines the problem of representing the collective portrait of the nation in the language of painting. The relevance of such a study is determined by the need for identification, which is especially acute in war conditions: the distinction between "own" and "foreign" is a necessary condition for national self-identity and the unity of the human community as a nation. Ilya Repin's painting work was chosen as the object of analysis. The goal is to determine the typological features of the collective portrait of the nation based on Repin's canvases. Achieving the set goal is realized in the following tasks: outline in dotted lines how the tradition of the collective portrait of the nation was formed; consider pictorial versions of Repin's portrait of the nation; compare the portraits of "own" and "other" ("alien") nations. The novelty of the study is determined by the proposed view of Repin's masterpieces as symbolic portraits of the Ukrainian and Russian nations, created according to the principle of contrast. For the first time, features characteristic of the author's interpretation of the image of the nation were considered in the context of the formation of this tradition in painting. The article uses the historical-cultural and comparative methods of research, the method of commented reading of the pictorial "text". It is determined that the genre of the portrait of the nation began to form in the era of romanticism. Its authors sought to reproduce events, exterior, and interior with national marking. Emphasis was placed on them as "typical", or "characteristic" of a certain nation or country. We consider Repin's paintings "Zaporozhians writing a letter to the Turkish Sultan" and "Hopak" as pictorial portraits of the Ukrainian nation. They have in common an idealized romantic past. Events and phenomena associated with the concepts of "heroic" and "spiritual" are reproduced. The depicted characters are archetypes but endowed with individual traits that form a mosaic national portrait. We compare "Zaporozhians writing a letter to the Turkish Sultan" with the portrait of France in E. Delacroix's painting "Freedom on the Barricades." Common to both paintings is the concept of freedom, which must be chosen. At the same time, Repin complements the idea of freedom with a trait typical of the Ukrainian character. We are talking about laughter as a manifestation of inner freedom. Therefore, the artist offers a kind of formula according to which only those who are free inside can win freedom. Instead, Repin's national portrait of the "stranger" is represented in the paintings "Burlaks on the Volga" and "Crusade in the Kursk Province." Their modern plots are interpreted realistically. In the center are depicted events or phenomena associated with the struggle for survival, silent obedience, and external and internal slavery. The characters are emphatically unaesthetic, merging into a "faceless" portrait of the scumbag. Thus, the pictorial portraits of Ukraine and Russia in Repin's work are directly opposite in terms of their ideological content and stylistic content. For the artist, a collective portrait of Ukrainians is also an attempt to declare one's own identity in the conditions of an inferiority complex imposed by the empire.

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Davidson-Ladd, Jane. "Commissioning a Visual Legacy: Louis John Steele and Sir John Logan Campbell." Back Story Journal of New Zealand Art, Media & Design History, no. 9 (July 1, 2021): 7–29. http://dx.doi.org/10.24135/backstory.vi9.61.

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In 2017, Louis John Steele’s portrait of Sir John Logan Campbell at Kilbryde, c.1902, emerged on the auction market after over a century in private hands. It is a fascinating portrait of one Auckland’s earliest and most celebrated Pākehā citizens. The portrait is Steele’s most ambitious portrait and shows him creatively adapting the British aristocratic portrait tradition to the New Zealand context. No commissioning documents have been traced for the portrait, however a close reading of the painting alongside Campbell’s papers reveal it is filled with highly personal symbolism. The provenance of the painting is also uncovered through this research. Examination of the Kilbryde portrait with Steele’s five other portraits of Campbell demonstrates Campbell’s desire to leave a lasting visual legacy.

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Gracheva, Svetlana M. "Portrait in Contemporary Russian Painting in the Context of World Art: A Typology of the Genre." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 636–48. http://dx.doi.org/10.21638/spbu15.2021.404.

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In Russian fine art, portrait painting has been traditionally distinguished by extraordinary variety and depth, reflecting the figurative and stylistic searches of artists of different periods. Russian art historians have comprehensively studied the portrait genre in the history of art. At the same time, the well-established classification of genres does not allow to take into account completely the variety of trends and approaches to the depiction of a person in contemporary art. The understanding of the portrait genre’s boundaries in contemporary art is extremely blurred. Sometimes it means either any image of a person, or even the absence of one at all. It appears essential and important to consider the work of Russian artists in the context of international visual art practices to compose a more holistic picture connected with general cultural development. The article proposes to expand the established typology of the portrait genre adopted in Russian art. The already well-known typology of portrait painting can be updated with other types of portrait based on the semantic and semiotic analysis of artistic works of the late 20th — 21st century. It is important to study contemporary Russian portrait painting from the perspective of a variety of typological models, and to use the new language of contemporary art history to understand the processes taking place in Russian painting of the late 20th — 21st century, in order to facilitate the entry of Russian art into the international cultural context. An idea has been matured to create a National Portrait Gallery in Russia which would collect portraits and self-portraits of the greatest personalities of our era in a real and virtual space.

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Sun, Dian. "The Awakening of Feminist Artistic Expression: A Comparative Study of the Self-Portrait of Frida Kahlo and the Self-Portrait of Élisabeth Vigée Le Brun." Journal of Education, Humanities and Social Sciences 27 (March 5, 2024): 337–42. http://dx.doi.org/10.54097/fgmhf957.

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The topic of feminism was not discussed by scholars until the 20th century, but it has become a highly debated issue in today's society. Female portrait artists have been historically marginalized due to the origins of portraiture being intended to please male viewers. In the past, women were predominantly viewed as mothers and housewives within the social context. However, the research has revealed that numerous female artists defied the societal norms of the time and made unique efforts to achieve independence as professional women. In the long history of painting, there have been many female painters who have expressed feminist ideas through their art. This article compares the self-portraits of two portrait painters, Frida Kahlo and Élisabeth Vigée Le Brun, in terms of painting themes, methods, and the representation of women. This study explores how female artists' paintings were influenced by the rise of female consciousness in different periods. The final result concludes that feminist awakening is depicted in female-themed paintings across different social periods by female artists.

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Dissertations / Theses on the topic "Portrait painting"

Shininger, Soni. "Portraiture : the self as art." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864932.

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The purpose of this project was to find out what it is about the self that deserves to be depicted in a work of art; what other artists have done in selfportraiture that may help me in my efforts; and what my own contribution to the history of self-portraiture could be. Self-portraiture is significant in its ability to serve as a personal platform to define the artist's life and relationships with society as well as other individuals. Many times selfportraiture becomes a visual self-search to recognize our own characteristics and traits that make us complete individuals. I investigated the history of self-portraiture as well as the life and work of six artists. I concentrated on the symbolism and psychological undercurrents present in many selfportraits. With my research in mind, four images were created based on preliminary sketches of myself and another close friend. The final images are watercolor, oilbar and sgraffito on paper. Two images are grid pieces and the other two are single companion pieces. The finished pieces were framed andexhibited at the Ball State University Museum of Art. The final images fulfilled all the goals at which I had aimed. They are visually exciting, successfully composed and well constructed. During their execution I was able to elevate the quality of my work, bringing it to a greater maturity level. This group of portraits also worked as a tool to put my life and relationships into a new perspective.
Department of Art

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Makun, Adetoun Jones. "International passports : portrait of the Nigerian diaspora." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002226.

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International Passports: Portraits of the Nigerian Diaspora considers notions of 'alienation‘ and 'nation-hood‘ through the lens of portraiture. This dissertation addresses issues of identity and representation in a contemporary cultural context as they pertain to the concerns presented through my current visual practice. The paintings that I have produced from 'real‘ life are primarily depictions of Nigerian individuals, friends and acquaintances (professionals and students) residing in Grahamstown, South Africa as temporary or permanent migrants. I reference the mug shot pose of identity documents and passport photographs and render them in such a way that ideas of their persona are subject to the viewer‘s gaze and deliberations, thus provoking the spectator to consider questions of 'otherness‘ and 'stereotypes‘. This provocation is subtle and complex, and in many ways I am offering the viewer a 're-looking‘, an opportunity to examine one‘s moral position and subsequent implication within the act of stereotyping an 'other‘ individual. The initial idea within this body of work was to paint images of Nigerian nationals exclusively, yet the restrictive nature of such categorization pushed me to complicate certain nationalist ideologies through the inclusion of non-Nigerian individuals. I look specifically at notions of the 'other‘ and 'strangeness‘ in a contemporary South African context and how this connects to the concept of portraiture and not simply portraiture theory but also the social theory in relation to how people are 'imaged‘. Throughout this thesis I consider several theoretical concerns in portraiture practice and discourse whilst simultaneously unpacking the psychological and social contexts that influence my practice.

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Arnold, J. David. "Naked portraits : figures in oil." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864927.

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The purpose of this project is to create a group of paintings/portraits of two close friends, using the medium of oil bars on gessoed paper. This medium will be explained in the text of the paper. The paintings were an attempt to describe aspects of personality that I see in my friends, their own personal struggles and victories. I observed these changes first hand. I told the story of these changes, as they evolved, in the paintings.The six paintings explore the naturalistic style which is new for me. It will open other avenues of visual expression. It was necessary for me to spend time in research and study of other contemporary artists who have worked with the figure and portraits. The study of other artists is an artistic discipline that helped me clarify, in my own mind, the purpose and problem-solving that took place in the course of my study.
Department of Art

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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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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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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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Grinchtein, Olga. "Portraits of Sculptors in Modernism." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-443240.

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The portrait of sculptor emerged in the sixteenth century, where the sitter’s occupation was indicated by his holding a statue. This thesis has focus on portraits of sculptors at the turn of 1900, which have indications of profession. 60 artworks created between 1872 and 1927 are analyzed. The goal of the thesis is to identify new facets that modernism introduced to the portraits of sculptors. The thesis covers the evolution of artistic convention in the depiction of sculptor. The comparison of portraits at the turn of 1900 with portraits of sculptors from previous epochs is included. The thesis is also a contribution to the bibliography of portraits of sculptors.

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Rea, Giorgio. "Imagines pictae. Il ritratto nella pittura romana." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL070.

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Ce projet vise à reconstruire le développement du portrait peint à Rome et l’utilisation de ce type de support figuré à Rome, à partir de la République jusqu’à la fin du IIIe siècle après J.C. Le portrait peint dans l’art romain suit les changements culturels et les limites de l’Empire, en se mêlant avec des traditions artistiques de différentes aires culturelles. L’étude de ce sujet, qui présente de profondes difficultés, est souvent considéré à tort comme un sous-argument de la thématique du portrait statuaire à Rome. Or le portrait peint mérite une étude comme sujet indépendant car, dans l’Antiquité, la peinture a été « l’arte guida ». La peinture ancienne est aujourd’hui peu connue car la plupart des œuvres ont été perdues, ce qui rend le portrait peint difficile à reconstruire. Le manque de sources archéologiques relatives à la genèse de cette forme d'art est comblé par certaines sources littéraires grecques et romaines. Pour la période impériale, les témoignages archéologiques sont plus abondants, comme dans le cas des portraits du Fayoum, qui, cependant, sont limités à la province de l'Egypte, ou des fresques trouvées dans un certain nombre de sites archéologiques importants en Méditerranée (les plus précieux ont été trouvés à Herculanum, Pompéi et Stabies, mais aussi en Syrie)
This project aims to reconstruct the development of painting portraits in Rome and the use of these types of image employed for Romans, from the Republic until the end of the third century AD. The portrait painted in Roman art follows the cultural changes and the limits of the Empire, mingling with artistic traditions from different cultural areas. The study of this subject, which presents profound difficulties, is often wrongly considered as a sub-argument of the theme of the statuary portrait in Rome. The painted portrait deserves a study as an independent subject because in Antiquity the painting was "l’arte guida". The old painting is now little known because most of the works have been lost and it makes the painted portrait difficult to reconstruct. The lack of archaeological sources relating to the genesis of this art form is filled by some Greek and Roman literary sources. For the imperial period archaeological evidence is more abundant, as in the case of Fayum portraits, which, however, are limited to the province of Egypt, or frescoes found in several important archaeological sites in the Mediterranean (the more valuable were found at Herculaneum, Pompeii and Stabies, but also in Syria)

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Bontorno, Nicholas J. "Portraits." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3267.

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This paper is a documentation of and supplement to my thesis project, which is on display in the Harold B. Lee Library Auditorium Gallery from April 2 - May 25, 2012. The seven paintings on display are included in this report are found on the following pages: Leann (18”x 24”) …………………………………………………………..9 Claire (28”x 36”) …………………………………………………………..10 Janell on a Couch (48”x 60”) ……………………………………………..11 My Dad in Winter (84”x 96”) ……………………………………………..13 Mel in Springtime (84”x 96”) ……………………………………………..14 Man on a Horse (48”x 60”) ………………………………………………..15 Danny Holding a Cat by the Ocean (28”x 36”) ……………………….…..15

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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 painting"

Curtis, Cleda. Portrait painting simplified. St. Louis: Milliken Pub. Co., 1988.

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(Australia), National Portrait Gallery, ed. Impressions: Painting light & life. Canberra: National Portrait Gallery, 2011.

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Company, British Petroleum, ed. 500 portraits: BP Portrait Award. London: National Portrait Gallery Publications, 2011.

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translator, Duthoo Aurélie, and Jollet, Étienne, translator, writer of preface, eds. Le portrait de groupe hollandais. Paris: Hazan, 2008.

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Zuccari, Alessandro. I pittori di Sisto V. Roma: Palombi, 1992.

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National Portrait Gallery (Great Britain). Victorian portraits in the National Portrait Gallery collection. London: National Portrait Gallery, 1996.

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McConkey, Kenneth. Edwardian portraits: Images of an age of opulence. Woodbridge, Suffolk: Antique Collectors' Club, 1987.

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hrad, Prazský, ed. Johann Peter Molitor, 1702-1757: Portraits and portrait motifs. Praha: National Gallery in Prague, 2000.

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Augusto, Gentili, Morel Philippe, and Cieri Via Claudia, eds. Il ritratto e la memoria: Materiali. Roma: Bulzoni, 1989.

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Augusto, Gentili, Morel Philippe, and Cieri Via Claudia, eds. Il ritratto e la memoria: Materiali. Roma: Bulzoni, 1993.

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Book chapters on the topic "Portrait painting"

Hodne, Lasse. "Unit 2 Lesson: Portraits as Faces." In Neuroaesthetics, 83–99. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-42323-9_6.

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AbstractPortraits have been a part of human civilization for thousands of years. According to the famous Roman historian and naturalist, Pliny the Elder (AD 23/24–79), the first painting ever made, was a portrait. It was presumably invented by the daughter of a man called Butades, a potter from Sicyon in Greece. To preserve the memory of her beloved who was going away for a while, she decided to trace the profile of his head from the shadow cast on a wall.

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Li, Jiayue, Qing Wang, Shiji Li, Qiang Zhong, and Qian Zhou. "Immersive Traditional Chinese Portrait Painting: Research on Style Transfer and Face Replacement." In Pattern Recognition and Computer Vision, 192–203. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-88007-1_16.

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Hutchings, William. "6. Epistle to Mr Jervas." In ‘Wit’s Wild Dancing Light’, 79–84. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0372.07.

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Chapter 6 takes the Epistle to Mr Jervas as a gateway to the genre that dominates much of Pope’s later career. Charles Jervas was a widely respected and successful portrait painter. He taught Pope, and the pair became close friends. The familiarity of an epistle to a friend and the formality of verse come together for a joint enterprise: a definition of poetry and painting as ‘sister arts’. Each craft’s possibilities are set off against their limitations. Such balances of opposing feelings and points of view are a central characteristic of Pope’s poetry.

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Bergvelt, Ellinoor. "History in the Dutch National Museums 1800-1900." In Spaces for Shaping the Nation, 65–86. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839466940-005.

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In this article, Bergvelt discusses how historical objects were handled in the Dutch 19th-century national museums. Three examples are given: a painting by Jan Asselijn, The Threatened Swan (later made into an allegory on Grand Pensionary Johan de Witt); an 18th-century cannon captured in Sri Lanka (which would have belonged to the 17th-century admiral Michiel de Ruyter), and a portrait of Michiel de Ruyter by Ferdinand Bol. In general one can say that history was subordinate to art, both when we look at acquisitions and at the amount of space and attention that history received in the museum presentations.

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Robertson, Ben P. "Modern Romans—Roman Women compared with those of England—Portrait Painting in Italy, and elsewhere." In The Travel Writings of John Moore Vol 2, 177–81. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003553113-52.

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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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Rani, Sunanda, Dong Jining, Dhaneshwar Shah, Siyanda Xaba, and Prabhat Ranjan Singh. "The Role of Artificial Intelligence in Art: A Comprehensive Review of a Generative Adversarial Network Portrait Painting." In Intelligent Computing and Optimization, 126–35. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-50330-6_13.

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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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"Portrait Painting and Portrait Photography." In The Valiant Knights of Daguerre, 35–55. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8501547.6.

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"THE PORTRAIT STUDIO." In Painting With Light, 164–66. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8501371.16.

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Conference papers on the topic "Portrait painting"

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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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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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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Hu, Xiaodan, Pengfei Yu, Kevin Knight, Heng Ji, Bo Li, and Honghui Shi. "MUSE: Textual Attributes Guided Portrait Painting Generation." In 2021 IEEE 4th International Conference on Multimedia Information Processing and Retrieval (MIPR). IEEE, 2021. http://dx.doi.org/10.1109/mipr51284.2021.00072.

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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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Акилова, А. Д. "RUSSIAN PROVINCIAL PORTRAIT IN THE XIX CENTURY´S GENRE PAINTING." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.14.

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Русский провинциальный портрет — одно из ярких, но недооцененных явлений отечественной живописи второй половины XVIII — середины XIX в. Являясь важным этапом последовательного развития портретного жанра, он отражает взаимодействие старых и новых традиций в русской культуре. Провинциальный портрет оказывал влияние на столичное искусство и представлялся современникам важным атрибутом дореформенной эпохи. По этой причине на полотнах крупнейших русских мастеров жанровой картины XIX в., среди которых П. А. Федотов, Г. Г. Мясоедов, В. Г. Перов, Ф. С. Журавлев и др., обнаруживаются произведения провинциального портрета, выступавшего важным элементом художественного повествования. Russian provincial portrait is one of the bright, but underestimated phenomena of Russian painting of the second half of the XVIII — mid XIX century. Being an important stage in the consistent development of the portrait genre, it reflects the interaction of old and new traditions in Russian culture. The provincial portrait influenced the capital’s art and was seen by contemporaries as an important attribute of the pre-reform era. For this reason, the canvases of the XIX century’s largest Russian genre painting masters, among them P. A. Fedotov, G. G. Myasoedov, V. G. Perov, F. S. Zhuravlev, etc., reveal works of provincial portrait as an important element of artistic narrative.

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Griza, Ana. "PORTRAITS OF UROŠ II MILUTIN AS А KING AND FOUNDER IN SERBIAN MONUMENTAL PAINTING OF 14TH CENTURY." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.649g.

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The present paper seeks to investigate the historical portraits of Milutin on mural paintings in Serbia, highlighting the changes of the ico- nography of royal portrait during the 13th century and the first decades of the 14th century. Due to his favorable political position, the ruler expanded his activity, both in political and artistical areas. It is useful then to touch upon some historical events and political relationship in the period under consideration. Without losing sight on different aspects, I have chosen to focus on the image of Serbian ruler from his childhood, represented on Sopoćani´s frescoes in the sixties of the 13th century, to the last portrait in Gračanica, finished a few days before his death in 1321. I will describe the portraits of Milutin, focusing my attention on expression of Milutin´s prop- aganda in monumental art, thus the representation of royal costumes, royal insignia and the figures surrounding him. Therefore, I will examine the por- traits of Milutin in the most representative churches like Sopoćani, Arilje, Prizren, Studenica, Gračanica, Staro Nagoričino and Chilandar Monastery. The topic offers by way of comparison some general observations on the image of Milutin as ruler. It also deals with the representation of the holi- ness of rulers in visual sources. I shall examine the luxury court attire of the ruler and of his spouse Simonis and describe the visual expressions used to represent the sovereignty of Milutin.

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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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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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