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Dissertations / Theses on the topic 'Portrait painting'
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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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Sidharta, Winnie. "Perfection and System: Painting the Ideal." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343735931.
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Lynn, Meredith Laura. "One-liners." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1014.
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Maurice, Roland. "The otherings of Miss Chief : Kent Monkman's Portrait of the artist as hunter /." Address to access a reproduction of the painting on the Kent Monkman website (viewed Feb. 14, 2010), 2007. http://kentmonkman.com/works.php?page=painting&start=38.
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Tu, Maxine. "Underneath the Film: Reconstructing Reality Behind Taiwanese Family Portrait Through Contemporary Painting." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/948.
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This paper establishes the pivotal role and irreplaceable value of painting in the technology-driven, image-saturated contemporary culture today. Particularly in my work, painting old childhood photographs creates a contemplative platform where I can deconstruct and reconstruct relics of my formative past as means of better understanding my multicultural upbringing. Inspired by both Chinese Communist propaganda posters and the ’85 New Wave Contemporary Chinese Art Movement, my senior project confronts the façade of perfection staged in Chinese family portraits through convoluted layers of imagery and Chinese text that build up the painting. The amalgamation of bold outlines, expressive brushstrokes, and disciplined grids, challenges the stifling values of discipline, order, and homogeneity in traditional Chinese culture.
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Gao, Tongxin. "Still Life Portrait : Contemporary jewelry in the form of still life painting." Thesis, Konstfack, Ädellab, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7217.
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This paper presents an investigation in how a jewelry artist understands the life and death, permanence and impermanence of human, objects, and other creatures, by communicating still life in the form of jewelry. I will bring up a fact that death and impermanence have been forgotten by my peers, and use still life and contemporary jewelry to discuss it. The paper mainly talks about: my opinion upon life and death in modern society, why and how did I related them with still life paintings, how did I make my jewelry based on still life, and discusst a dilemma I met: how will jewelry be when they are on and not on people’s body.
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Lopez, Juan C. "Portraiture an interactive experience /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002111.
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Haerens, Timothy. "Defining Moments / A Life Portrait." CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/914.
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Defining Moments / A Life Portrait
In his MFA Thesis Exhibition, Defining Moments / A Life Portrait, Timothy Haerens explores and celebrates our connectedness to one another as members of the human race. “We are here to awaken from the illusion of our separateness.” Haerens chose this quote from the Vietnamese Buddhist monk and peace activist, Thich Nhat Hanh, as the inspiration for his show because it affirms his belief that we are linked to one another by virtue of our humanness.
Through his abstract paintings on canvas and plexiglass, as well as through his prints and collagraphs, Haerens reflects on many facets of life – the sweet and sour moments we experience as part of the human condition. His art elicits an internal dialogue in an attempt to better understand himself and the world around him.
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Heaston, Paul Bradford. "Some One." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/heaston/HeastonP0508.pdf.
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In the wake of the emergence of the photographic portrait over the last century, I aim to examine the current relationship between the painted portrait and photography; specifically, the use of the photograph as a tool that can inform and transform the investigation of identity in painting. While a great deal of my interest lies in translating the photographic image into paint, I am more interested in what the nature of my process can reveal about the people I know. I believe my intimacy with the sitter turns the process of transcribing a clinical and often unflattering photographic examination into a more challenging psychological exploration of my relationships with both the subject and the viewer. I force myself to make editorial choices to reconcile the impartial and detached information provided by the camera with what I already know about the sitter.
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Brown, Paul David. "Painting a Portrait of Mathematics: A Case Study of Secondary Students' Assessment Portfolios." Thesis, Curtin University, 2003. http://hdl.handle.net/20.500.11937/1547.
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This study analyses the effect of introducing student portfolios as a means of assessing the learning of mathematics. It examines the intended and the unforeseen outcomes in terms of the students, the caregivers, and the teachers involved, using quantitative data to match classroom environments with the response to the innovation. A major focus of the qualitative aspect of the study is the decisionmaking process that was associated with the implementation of change. For this study, all the junior students in a New Zealand secondary school were asked to compile portfolios of their mathematical work. The portfolios were graded by the teachers, the marks contributing to the students' assessments for the year's work. At the outset, the plan was to survey the 510 students involved to determine their attitude towards mathematics, survey them again once the innovation was in place to quantify the classroom environment, then repeat the first survey. Analysis was expected to reveal whether classroom environments that approximated a "portfolio culture" (Duschl & Gitomer, 1991) contributed to an improved attitude towards mathematics. This quantitative approach was supplemented with taped interviews of students and teachers, ongoing records of less formal interactions, review of examination marks and school reports, and questionnaires mailed to the homes of a sample of the students. As the study progressed, it emerged that the major impact was on the teachers, and the focus shifted to them. For four years, follow-up surveys were conducted with teachers, including those who had transferred to other schools. The study found that all students can benefit from portfolios, both in terms of skills and attitude towards mathematics.Portfolios legitimated the involvement of caregivers, a positive change that provided greater links between classroom activity and the world of employment. The professional practice of teachers was affected by portfolios, prompting development of new classroom resources and techniques, increased collegial cooperation, and well-informed reflection on teaching and assessment. Teachers maintain great influence on classroom culture, and for many of those involved in the study, portfolios prompted a renewed interest in the process undertaken by students as they develop mathematical ideas, and a change in the relationship between teacher and students. The "portfolio culture" resulted in students improving in their appreciation of mathematics, and a changed role for the student within the social environment of the classroom.
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Brown, Paul David. "Painting a Portrait of Mathematics: A Case Study of Secondary Students' Assessment Portfolios." Curtin University of Technology, Science and Mathematics Education Centre, 2003. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=14413.
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This study analyses the effect of introducing student portfolios as a means of assessing the learning of mathematics. It examines the intended and the unforeseen outcomes in terms of the students, the caregivers, and the teachers involved, using quantitative data to match classroom environments with the response to the innovation. A major focus of the qualitative aspect of the study is the decisionmaking process that was associated with the implementation of change. For this study, all the junior students in a New Zealand secondary school were asked to compile portfolios of their mathematical work. The portfolios were graded by the teachers, the marks contributing to the students' assessments for the year's work. At the outset, the plan was to survey the 510 students involved to determine their attitude towards mathematics, survey them again once the innovation was in place to quantify the classroom environment, then repeat the first survey. Analysis was expected to reveal whether classroom environments that approximated a "portfolio culture" (Duschl & Gitomer, 1991) contributed to an improved attitude towards mathematics. This quantitative approach was supplemented with taped interviews of students and teachers, ongoing records of less formal interactions, review of examination marks and school reports, and questionnaires mailed to the homes of a sample of the students. As the study progressed, it emerged that the major impact was on the teachers, and the focus shifted to them. For four years, follow-up surveys were conducted with teachers, including those who had transferred to other schools. The study found that all students can benefit from portfolios, both in terms of skills and attitude towards mathematics.Portfolios legitimated the involvement of caregivers, a positive change that provided greater links between classroom activity and the world of employment. The professional practice of teachers was affected by portfolios, prompting development of new classroom resources and techniques, increased collegial cooperation, and well-informed reflection on teaching and assessment. Teachers maintain great influence on classroom culture, and for many of those involved in the study, portfolios prompted a renewed interest in the process undertaken by students as they develop mathematical ideas, and a change in the relationship between teacher and students. The "portfolio culture" resulted in students improving in their appreciation of mathematics, and a changed role for the student within the social environment of the classroom.
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Ralph, David. "Anthropomorphic Space: The room as a portrait of its absent subject in painting." Thesis, Curtin University, 2019. http://hdl.handle.net/20.500.11937/80665.
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This PhD explores the possibility of painting a portrait of a person by painting a room that represents or symbolises them. This is not an individual study of either portraiture or of interior decor. It is the study of both combined, into something in-between. It offers evidence to support original theory that painted domestic interiors can be anthropomorphic and deeply indicative of a living person or group of people.
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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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Haworth, Abigail R. "The canvas as her stage Emma Hamilton use of her attitudes in portraiture /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/6082.
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Thesis (M.A.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 19, 2008) Includes bibliographical references.
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Haak, Christina. "Das barocke Bildnis in Norddeutschland : Erscheinungsform und Typologie im Spannungsfeld internationaler Strömungen /." Frankfurt am Main : P. Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb39164567n.
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Miller, Olivia Nicole. "The Spanish royal hunting portrait from Velazquez to Goya /." Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/9131.
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Butula, Cichá Marie. "Pro tebe." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232365.
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Olson, Amanda Jean. "Facing celebrity in America : Thomas Sully's theatrical portraits of Fanny Kemble /." Ann Arbor, Mich. : ProQuest, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1460095.
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Thesis (M.A. in Art History)--S.M.U.Title from PDF title page (viewed Oct. 7, 2009). Source: Masters Abstracts International, Volume: 47-03, page: 1237. Adviser: Janis Bergman-Carton. Includes bibliographical references.
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Urbain, Ruano Elise. "La mode du négligé et le portrait français : de la "sprezzatura" au "naturel" le "négligé", 1670-1790." Thesis, Lille 3, 2020. http://www.theses.fr/2020LIL3H006.
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Le choix des vêtements représentés dans un portrait est rarement anodin, et ceci est particulièrement vrai à l’époque moderne. Les significations de nombreux attributs et costumes officiels ont été largement étudiées et commentées, mais qu’en est-il des portraits en négligé ? À partir des années 1670, le sens du terme « négligé » prend une nouvelle acception moins péjorative et qualifie des vêtements confortables, opposés à la grande parure. Il s’agit de déterminer les circonstances qui amènent à une revalorisation du point de vue sur le négligé et expliquer son succès dans le portrait. La question est posée dans le cadre des relations entre la France et l’Angleterre faites d’alternance de périodes d’assimilation et de rejet dont les effets sur les pratiques artistiques ne sont plus à démontrer.Au XVIIIe siècle, le terme « négligé » désigne aussi bien des vêtements que des styles artistiques en peinture ou littérature, ou encore une attitude totalement artificielle liée chez les femmes au rituel codifié de la toilette : il concerne les pratiques sociales d’élites caractérisées par un souci constant de la représentation. Par certains aspects, le négligé évoque la « sprezzatura » de Baldassare Castiglione, mais au cours du XVIIIe siècle il est rapproché de, ou opposé à, l’idée de « naturel ». Enfin, la diffusion des modes négligées est à lier au rejet des codes de la parure, contribuant au brouillage de la hiérarchie sociale d’Ancien Régime et permettant une affirmation individuelle au détriment de l’identité de groupe. De nouvelles clefs de lecture sont ainsi données pour des portraits dans lesquels la représentation des vêtements ne paraissait pas significativeThe choice of clothing depicted in a portrait is often meaningful, and this is especially true in the Early Modern Period and the Enlightment. The meanings of many official attributes and costumes have been extensively studied and commented on, but what about portraits « en négligé » ? From the 1670s onwards, the meaning of the French « négligé » took on a new, less pejorative meaning and qualified comfortable clothing, opposed to great adornment. This study aims at determining the circumstances that lead to a revaluation of the point of view on the « négligé » and explaining its wide use in portraits, in the context of relations between France and England, which are alternating periods of assimilation and rejection, the effects of which on artistic practices are no longer to be demonstrated. In the eighteenth century, the term « négligé » refers to clothing as well as artistic styles in painting or literature, or a totally artificial attitude linked, for women, to the codified ritual of the toilet : it concerns the social practices of elites, characterized by a constant concern for representation. In some ways, the « négligé » evokes the « sprezzatura » of Baldassare Castiglione, but during the eighteenth century it is associated to, or opposed to, the idea of « natural ». Finally, the « négligé » fashion is linked to the rejection of the codes of adornment, contributing to the blurring of the Ancien Regime social hierarchy, and allowing an individual affirmation at the expense of group identity. New reading keys are thus given for portraits in which the representation of clothing did not seem significant
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Southwick, Margaret Ann. "Paragon/Paragone: Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1547.
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This thesis argues that Raphael's portrait, Baldassare Castiglione, is three portraits in one: 1) a "speaking likeness" of the subject, 2) a portrait of the "perfect" courtier, and 3) a "shadow" portrait of the Court of Urbino in the early sixteenth century. The formal analysis of the painting is presented in the context of the paragone of word and image expounded by its subject in his masterpiece, Il Cortegiano. Both author and artist demonstrate the concepts of sprezzatura (an artful artlessness) and grazia (graceful elegance) in the creation of their portraits, as well as avoidance of affetazione (affectation). It is concluded that Raphael's response to the challenge of the text/image paragone in Il Cortegiano determined the formal choices he made as he painted his friend Baldassare Castiglione.
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Carpenter, Julia Lauren. "Otherwise." Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/carpenter/CarpenterJ1206.pdf.
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The nine, largescale paintings of my MFA Thesis show, \"Otherwise,\" are artifacts from a year long exorcism of grief and anger over my young sister\'s terrible, yet merciful death. I painted my sister\'s image through the filter of my own emotion exploring scale, color, and the gestural mark. In addition I painted her son, whose image links the past to the future.
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Serra, Filomena Maria de Carvalho. "O retrato na encruzilhada da pintura em Portugal (1911-1949)." Doctoral thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2013. http://hdl.handle.net/10362/10792.
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Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em História da Arte ContemporâneaEsta dissertação de doutoramento tem por base uma investigação acerca das práticas do Retrato na pintura em Portugal na primeira metade do século XX. O tema forneceu a oportunidade para atravessar perto de meio século da arte nacional, num período que se estende desde 1911 - um tempo imediatamente após a proclamação da República e muito próximo de «Orpheu» - até ao regime do Estado Novo, terminando a pesquisa quando a comunidade internacional assiste ao final da Segunda Guerra Mundial. Este atribulado período cronológico encontra-se, do ponto de vista estético, na encruzilhada entre aqueles que pintam retratos, continuando um género que remonta à tradição académica, e uma nova geração de artistas que questiona esse mesmo género e a própria pintura. Se por um lado temos o retrato convencional, temos também a transgressão do género. O retrato foi o alvo de uma interrogação sobre o Homem assim como sobre o próprio país, tanto à esquerda como à direita do leque ideológico. Almada Negreiros, o criador polimórfico, assume desde o início o papel principal do nosso estudo. Em Almada se reflectiu, como em nenhum outro criador, o desejo de redesenhar a construção de um Homem Novo que acaba por representar, nesse «Retrato da Pátria» que são os painéis das Gares Marítimas de Lisboa, a epítome das fragilidades daquela utopia.
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Woodward-Reed, Hannah Elizabeth. "The context and material techniques of royal portrait production within Jacobean Scotland : the Courts of James V and James VI." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30910/.
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This inter-disciplinary thesis addresses the authenticity and social context of surviving portraits of Scottish monarchs between 1530 and c.1590, bringing the study of the Scottish portraits closer to the standard undertaken upon surviving English works. This research focuses upon key questions to begin to reveal the nature of commission and execution of sixteenth-century portraits in Scotland, focusing upon a pair of double portraits from Blair Castle, Pitlochery, Perthshire. The two paintings will form the key case-studies for this research, and the central question to the thesis is whether they are authentic, sixteenth-century Scottish-made images. The thesis will address questions such as: How do they fit into the contemporaneous culture of court portraiture production in Northern Europe and across the border in England? Does the physical evidence support the notion of Netherlandish influence? Surviving documentary evidence of the painterly aspects of the courts of King James V and his grandson King James VI is presented, and the results of interdisciplinary technical analysis used to explore whether the materials and techniques of the Blair portraits and their surviving counterparts demonstrate enough Netherlandish influence to present the existence of a Scoto-Netherlandish school of painting. The National Portrait Gallery’s research project Making Art in Tudor Britain (2007-2014) 2010 conference Tudor and Jacobean Painting: Production, Influences and Patronage raised the issue of the need for a parallel project for Scotland, tracing the highly-developed use of portraiture by the later Stewart dynasty to its fifteenth-century Scottish beginnings. This thesis argues that far from being culturally backwards in terms of portraiture, the Scottish court employed fashionable Netherlandish techniques from an early date, with a strong understanding of the impact of the arts dating from the earliest Stewarts. Most importantly, this research is the first to undertake a full technical examination of the Blair Castle portraits, placing these works within a comprehensive material context. Such examination of the visual arts commissioned at this time can only further our understanding of the wider context of production in Scotland at this time. Additionally, understanding the nature of the commission of royal portraits by those in noble families makes clearer the use of the visual arts to enhance careers and reputation, as well as social identity. In focusing the discussion purely upon Scottish portraits in native collections, this research unites works which have not been comprehensively studied as a whole. The study of the sixteenth-century Scottish court has advanced considerably in recent years, but without an in-depth examination of the artworks produced as visual representation of these courts, a complete understanding cannot be achieved. This thesis demonstrates that much of the production of royal portraits was based upon the copying of copies. It is thus not the aesthetic quality which should be the focus, but the circumstances of their existence and material composition which is most revealing about the place Scotland holds within the study of early modern European art.
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Freestone, Mellor Paula. "Sir George Scharf and the problem of authenticity at the National Portrait Gallery." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728997.
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Sexton, Siobhan. "'The Proust of painting' : Jacques-Émile Blanche, the 'neurasthenic portrait' and the nervous elite of Paris, 1900." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8810.
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Jacques-Émile Blanche (1861-1942) is rarely included in histories of late nineteenth-century French art, despite his prolific career as an artist who produced over 2,000 paintings. A portraitist, Blanche’s upbringing as the son of an eminent psychiatrist provided him with a wealth of sitters connected to his father’s fashionable clinic and, I argue, a distinctive approach to their representation. These relatively unstudied portraits of famous Parisian intellectuals and socialites deserve our attention as works of ‘psychological impressionism’. Combining penetrating observation with painterly execution, Blanche’s methods emphasised the ‘nervous’ disposition of his sitters. Blanche’s practice as a portraitist is one of the reasons for his neglect. His contemporaries were evasive when it came to writing about the genre, uncertain of how to evaluate it – a critical apprehension that has persisted to this day. Art historians are as implicated in what may be thought of as a hesitation around the status and significance of portraiture in late-nineteenth-century French art. The thesis seeks in part to redress this through its examination of Blanche’s portraits as intuitive works of art that not only reflected but also, more actively, produced particular forms of knowledge about the ‘nervous’ condition of Parisian high society. With a focus on Blanche’s depictions of Marcel Proust (1871-1922) and the Comtesse de Castiglione (1837-1899), the thesis considers Blanche’s ‘neurasthenic portraits’ in relation to discourses on modern psychiatry, modernity, and modern art, drawing attention to how they enrich our understanding of the social, cultural and artistic contexts in which Blanche lived and worked. By situating Blanche’s artistic practice within his father’s clinical practice, and by embracing a methodology that draws upon both the histories of art and psychiatry, I argue that the language of Blanche’s portraiture was environmentally connected to the language of nervous disorder. As such this thesis will provide an original contribution to the scholarship on Blanche and offer significant insights into the entanglement of art, culture and nerves in nineteenth-century Paris.
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Carotenuto, Gianna Michele. "Domesticating the harem reconsidering the zenana and representations of elite Indian women in Colonial painting and photography of India /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2024771361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Withrow, Leigh Ann. "Inspirational Journey: People and Places." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1898.
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King, Klinkenberg Susan. "Intervention in painting by Marlene Dumas with titles of engagement : Ryman's brides, Reinhardt's daughter and Stern." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003107.
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Pentes, Tatiana. "CRUEL BEAUTY: The articulation of ‘self’, ‘identity’ and the creation of an innovative feminine vocabulary in the self-portrait paintings of Frida Kahlo." Art History & Theory, Arts, University of Sydney, 1999. http://hdl.handle.net/2123/1905.
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Master of Letters (with Merit)The objective of this paper is to examine the self-portrait paintings of Frida Kahlo and to explore the way in which they articulate a ‘self’ and ‘identity’ through creating an innovative feminine vocabulary. The aim of this creative research is to explore the way in which Frida Kahlo represented her sexual subjectivity in the body of self-portraits she produced in her short life time. The self-portraits, some of which were produced in a state of severe physical disability and chronic illness, were also created in the shadow of her famous partner- socialist Mexican muralist/ revolutionary Diego Rivera. An examination of the significant body of self-portrait paintings produced by Frida Kahlo, informed by her personal letters, poems, and photographs, broadens the conventional definitions of subjective self beyond the generic patterns of autobiographical narrative, characteristic of an inherently masculine Western ‘self’. In Kahlo’s self-portraits the representation of the urban Mexican proletarian woman-child draws stylistically from the domain of European self-portraiture, early studio photographic portraiture, and the biographical Mexican Catholic retablo art, with its indebtedness to the ancient Aztec Indian symbology of self.
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Pentes, Tatiana. "CRUEL BEAUTY: The articulation of ‘self’, ‘identity’ and the creation of an innovative feminine vocabulary in the self-portrait paintings of Frida Kahlo." Thesis, The University of Sydney, 1998. http://hdl.handle.net/2123/1905.
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The objective of this paper is to examine the self-portrait paintings of Frida Kahlo and to explore the way in which they articulate a ‘self’ and ‘identity’ through creating an innovative feminine vocabulary. The aim of this creative research is to explore the way in which Frida Kahlo represented her sexual subjectivity in the body of self-portraits she produced in her short life time. The self-portraits, some of which were produced in a state of severe physical disability and chronic illness, were also created in the shadow of her famous partner- socialist Mexican muralist/ revolutionary Diego Rivera. An examination of the significant body of self-portrait paintings produced by Frida Kahlo, informed by her personal letters, poems, and photographs, broadens the conventional definitions of subjective self beyond the generic patterns of autobiographical narrative, characteristic of an inherently masculine Western ‘self’. In Kahlo’s self-portraits the representation of the urban Mexican proletarian woman-child draws stylistically from the domain of European self-portraiture, early studio photographic portraiture, and the biographical Mexican Catholic retablo art, with its indebtedness to the ancient Aztec Indian symbology of self.
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Boura, Vasiliki. "La peinture de portraits à l’époque hellénistique et romaine : textes et images." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100014.
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Dans cette étude, nous examinons le développement du portrait peint à l’époque hellénistique et romaine dans une aire géographique étendue qui couvre la Grèce continental, l’Italie du Sud et les régions d’Égypte où la civilisation gréco-romaine fut présente. Étudier la peinture des portraits, conservée sous une forme très lacunaire, exige deux méthodes parallèles : l’approche de la théorie par les sources écrites, ainsi que la constitution d’un corpus archéologique des œuvres conservées. Notre but est d’organiser la documentation pour mettre en évidence certains dossiers utilisant une approche analytique, susceptible d’initier une discussion sur la construction des notions qui fabriquent le portrait antique. Le portrait peint est vu à la lumière d’une documentation textuelle enrichie et se croise avec les images que notre conception reconnaît sur les monuments peints, comme des représentations qui expriment la relation étroite entre le modèle original et sa figuration picturaleObject of this research is the study of the development of portrait painting in the Hellenistic and Roman period through the monuments from continental Greece, South Italy and the areas of Egypt, where the Greco-Roman civilization was present. The study of ancient portrait painting, which is preserved in a very fragmentary form, demands a double approach: the study of the theory through the literary documentation and the display of an archeological catalogue through the preserved monuments. Aim of this research, is to organize the documents using an analytical approach, witch initiates a discussion of concepts that contributes to the construction of notions of the ancient portrait. The painting of portraits is seen through a comparison of a textual enriched documentation, and the painted images, that our conception recognizes as representations, expressing the close relationship between the original model and its pictorial representation
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Morehouse, Dawn M. "Copley's compromise navigating the discourse of beauty and likeness in colonial Boston /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 58 p, 2008. http://proquest.umi.com/pqdweb?did=1597629701&sid=23&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Saigne, Guy. "Léon Bonnat (1833-1922) portraitiste : Catalogue raisonné des portraits peints, dessinés et gravés." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040202.
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Léon Bonnat (1833-1922) reçoit sa formation artistique en Espagne, puis dans l’atelier parisien du peintre Léon Cogniet, enfin à Rome. Ses premières grandes compositions religieuses lui apportent très tôt le succès, la renommée, les commandes de l’État, et ses scènes de genre italiennes ou orientalistes sont achetées par la clientèle privée. Vers le milieu des années 1870, il se tourne définitivement vers la peinture de portrait dans laquelle il remporte un immense succès faisant de lui, selon ses contemporains, l’un des plus grands portraitistes de son époque. Il peint les portraits des représentants de la classe dirigeante et fortunée française ou étrangère, en particulier américaine, jusqu’à la Première Guerre mondiale. Il pratique ce genre jusqu’à la fin de ses jours, laissant derrière lui, au-delà des portraits d’amis artistes ou de membres de sa famille, une exceptionnelle « galerie » des personnalités du moment, aristocrates, hommes politiques, grands bourgeois français et étrangers, dont quelques œuvres « iconiques » qui marquent la mémoire collectiveLéon Bonnat (1833-1922) received artistic training in Spain, then in the Parisian studio of the painter Léon Cogniet, and finally in Rome. His early large religious pictures quickly brought him success, fame, and State commissions, while his Italian and Orientalist genres scenes were purchased by private patrons. Around the middle of the 1870s he made a definitive turn toward portrait painting that became immensely successful and made him, according to his contemporaries, one of the greatest portraitists of the wealthy and ruling class in France or abroad, particularly in the United States, before the First World War. He practiced in this genre until the end of his life, leaving behind - except for the portraits of his artist friends and members of his family - an exceptional gallery of personalities of the time, primarily aristocrats, politicians, and French and foreign grands bourgeois, including several iconic works that mark the collective memory
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Coeyman, Daniel. "Likeness: Empathy in Art." Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/749.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfB.F.A
Bachelors
Arts and Sciences
Art
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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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Higley, Morgan Yonan Michael Elia. "The developing child in three portraits by Anne-Louis Girodet." Diss., Columbia, Mo. : University of Missouri-Columbia, 2009. http://hdl.handle.net/10355/6728.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 19, 2010). Thesis advisor: Dr. Michael Yonan. Art work removed from thesis by author. Includes bibliographical references.
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Munson, William Donald. "Rites of passage." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1124882.
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Portrait painting is an art form that has been used by artists for years. I am using the portrait to convey a story. The story follows a boy's process of becoming a man. The discovery of old family photographs initially inspired the project. The rite of passage theme stems from this inquiry into the process of growing up. Several artists inspired my work in the formal and conceptual aspects of my portraits. Those artists include Paula Rego, Chuck Close, and Robert Henri. "Rites of passage" is a phrase that carries with it many meanings and issues. This creative project is both a consideration of the rites of passage theme and an investigation of the painted portrait.Department of Art
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Howard, Rebecca Marie. "Movements of the Mind: Beyond the Mimetic Likeness in Early Modern Italy." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492175533714909.
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Dodd, Everett Eugene III. "Moritz Oppenheim, the Rothschilds, and the Construction of Jewish Identity." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1288.
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This thesis provides an overview of Moritz Daniel Oppenheim's portraits of the Rothschild family with attention paid to the artist's training and personal artistic pursuits, as well as participation in Gentile and Jewish discourses. Oppenheim's knowledge of art history and use of style in creating the identities of his Rothschild subjects are the focus of this study. Oppenheim's methods and use of art historical styles are discussed with deference to the public or private nature of the portraits, and the resulting works' engagement of both German and Jewish issues. Methodologies used include the history of style and identity theory.
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Contreras, Maya María Celina. "Preservation of modern easel painting, a multidisciplinary study for the preservation of two of David Alfaro Siqueiros' so-called pyroxyline paintings : Mine Drillers and Portrait of a Dead Girl and Live Girl." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ36019.pdf.
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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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