Relevant bibliographies by topics / Portraits of painters

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Portraits of painters'

Author: Grafiati
Published: 12 December 2022
Last updated: 31 July 2025

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Journal articles on the topic "Portraits of painters"

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Komić Marn, Renata. "The Dornava portrait gallery of the Attems family and other portraits by Joseph Digl: a contribution to the oeuvre and biography of the baroque painter." Kronika 71, no. 1 (2023): 73–100. http://dx.doi.org/10.56420/kronika.71.1.04.

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The contribution brings forth new findings about the Baroque painter Joseph Digl († 1765) and his portraits. The painter’s opus, which has so far comprised seven portraits of the Counts of Attems and four altar paintings, has now been expanded by another six portraits revealing that his clientele also included the Counts of Szapáry. Based on the analysis of his links to his patrons and the newly discovered archival sources, it is possible to more precisely follow the life path of Joseph Digl and to confirm his presence in Ljutomer and Bad Radkersburg. Moreover, his comprehensive opus and the s
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Suciu, Silvia. "Afacerea artei. Piața de artă în Marea Britanie în secolele XVII -XVIII." Anuarul Muzeului Etnograif al Transilvaniei 35 (December 20, 2021): 105–45. http://dx.doi.org/10.47802/amet.2021.35.06.

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While the royal houses and the aristocracy of Italy, Low Countries, France and Spain had already an history in collecting pieces of art, Great Britain adopted this “fashion” only under Charles the 1st reign, in 17th century. Charles the 1st understood that his painted portraits, sculpted busts and a royal collection of art could bring a higher value to his royal status and this practice was representing the power, the authority and the virtues of a king. He was a prodigious collector and made numerous acquisitions of paintings and statues. He collected the artworks of more than 1750 artists; t
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Ekkart, Rudolf E. O. "De Rotterdamse portrettist Jan Daemen Cool (ca. 1589 -1660)." Oud Holland - Quarterly for Dutch Art History 111, no. 4 (1997): 201–20. http://dx.doi.org/10.1163/187501797x00230.

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AbstractUntil now, the Rotterdam portraitist Jan Daemen Cool was known in the literature only as the maker of a group portrait painted in 1653 of the governors and administrator of the Holy Ghost Hospital at Rotterdam, and of a portrait of Piet Hein, which is dated 1629. Closer scrutiny of his activities reveals that the artist, who never signed his work, was Rotterdam's leading portrait painter in the second quarter of the 17th century. Jan Daemen Cool was born in Rotterdam in 1589 or thereabouts. He may have studied with Michiel Jansz. van Mierevelt in Delft, where he married Agniesje Jasper
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Bengtsson Melin, Pia. "Målaren som konstnär och allegori. Självbild, dräkt och frusen tid vid 1500-talets början." ICO Iconographisk Post. Nordisk tidskrift för bildtolkning – Nordic Review of Iconography, no. 3 (January 22, 2016): 48–68. https://doi.org/10.69945/ico.vi3.25610.

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Title: The Painter as an Artist and Allegory. Portrait, fashion and frozen time in the early 16th centuryThroughout the Middle Ages, self-portraits were created by the artisans who constructed and decorated churches and secular buildings. In the late 15th century, however, severe changes can be noticed in the way they decided to present themselves. The changes indicate the changing role of the artisans as renaissance artists with increasing self confidence in every aspect of life. Garments had an important function in creating this image. These changes can be noticed in a number of self-portra
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ABASTADO, PHILIPPE, GILLES GUIRAMAND, and BERNARD BOUSQUET. "Signs of ageing, the lifespan and self-representation in European self-portraits since the 15th century." Ageing and Society 25, no. 2 (2005): 147–58. http://dx.doi.org/10.1017/s0144686x04002715.

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Painters' self-portraits offer the opportunity to study signs of ageing through the centuries. In this paper, we examine 687 self-portraits by 506 European painters from the 15th to the 20th century. To qualify for the analysis, painters had to be unquestionably identified, have known years of birth and death, and the self-portraits had to be dated unequivocally. ‘Age scores’ for the characteristics of the lower face were developed. Ptosis of the upper eyelid, bags under the eyes and the characteristics of beards were also recorded. Among the main findings, the painters of self-portraits that
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Amstutz, Nina. "A Self-Portrait as Landscape Painter: Caspar David Friedrich and Phrenology." Zeitschrift für Kunstgeschichte 79, no. 1 (2016): 72–91. http://dx.doi.org/10.1515/zkg-2016-0005.

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Abstract A Self-Portrait as Landscape Painter: Caspar David Friedrich and Phrenology The article explores a precocious moment of interest in how the brain mediates aesthetic perception. Around 1810, Caspar David Friedrich drew himself with several features that deviate from his earlier self-portraits, including two bumps between the brows at the root of the nose. These cranial protuberances were associated with a cognitive faculty that the phrenologist Franz Joseph Gall insisted is common among landscape painters: Ortssinn, characterized by a heightened ability to remember places and to measur
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Korolija-Crkvenjakov, Daniela, Snežana Mijić, and Željko Mandić. "Portraits on canvas from photos as a 19th-century portrait making technique." Zbornik Akademije umetnosti, no. 10 (2022): 115–29. http://dx.doi.org/10.5937/zbaku2210115k.

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The relationship between painting and photography has been dynamic since its invention in 1839. Seeking its place among the arts, photography was a useful tool for many. In this way portraits were made, which before the invention of photography were the privilege of higher social strata, and their production required spending long hours in a painting studio. With the advent of photography, portraits of individuals and entire families have become much more accessible to ordinary people, and the new technique has gained immense popularity. The possibility of getting portraits from photos as a st
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KALOPISSI-VERTI, Sophia. "Painters' Portraits in Byzantine Art." Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας 35 (January 11, 1994): 129. http://dx.doi.org/10.12681/dchae.1098.

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Russo, Kathleen Lucey. "Elisabeth Vigée-LeBrun: Artist, Adventurer, Auto-Biographer." Paragone Past and Present 6, no. 1 (2025): 1–28. https://doi.org/10.1163/24761168-00601001.

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Abstract Elisabeth Vigée-LeBrun (1755–1842) was one of the most prolific and successful portrait painters in history. She was patronized by many powerful and aristocratic people of the age, most notably Queen Marie Antoinette, of whom she painted many portraits and with whom she had much in common. This included scandal for both of these women of the same age, particularly regarding rumored lovers. The Comte de Vaudreuil and the Comte de Calonne were two of these men painted by Vigée-LeBrun. Vigée-LeBrun also painted many beautiful self-portraits, including those with her daughter, Julie. Some
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Novikova, Ekaterina S. "XVITH CENTURY FEMALE SELF-PORTRAITURE IN ITALY AND ITS FORMAL CRITERIA." Arts education and science 3, no. 36 (2023): 74–82. http://dx.doi.org/10.36871/hon.202303074.

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Since the second half of the XVIth century, the number of female artists and sculptors gradually increased. Their work was extremely important already because for the first time it claimed success in a field where, until then, the fame had belonged exclusively to men. Self-portraits in the XVIth century became an extremely popular form of artistic creation among painters, including women. In general, the practice of artists putting their signatures on paintings did not go beyond the Italian tradition. However, it can be assumed that witnessing their work was an important moment for women of th
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Dissertations / Theses on the topic "Portraits of painters"

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Wue, Roberta. "Making the artist Ren Bonian (1840-1895) and portraits of the Shanghai art world /." online access from Digital dissertation consortium, 2001. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3024730.

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Vigroux, Perrine. "Les femmes à l'Académie royale de peinture et de sculpture (1663-1793) : sociabilité, pratique artistique et réception." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30030.

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Quinze femmes artistes seront admises à l’Académie royale de peinture et de sculpture entre 1663 et 1793. Depuis laRenaissance, en Europe et en France, un petit nombre de femmes bénéficie d’une certaine renommée aussi biennationale qu’internationale, dans les arts, la littérature et les sciences, ouvrant ainsi la voie à de nouveaux talents. Cesfemmes sont notamment encouragées par les thèses philosophiques de François Poulain de la Barre (1647-1723) quivont leur permettre d’occuper une place de plus en plus privilégiée au sein d’une société qui se cristallise autour dessalons. Ce sont de petit
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Barilo, von Reisberg Eugene. "Tradition and innovation : official representations of Queen Victoria and Prince Albert by Franz Xaver Winterhalter /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7154.

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Howard, Samantha. "A new theatre of prospects : eighteenth-century British portrait painters and artistic mobility." Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/2792/.

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The eighteenth century saw the emergence of Britain as a pre-eminent imperial, mercantile and maritime power. At home, the 1707 Act of Union between England and Scotland, and the advances in communications stimulated new opportunities for artists working inside and outside of London. Overseas, the aftermath of the Seven Years War (1756-1763) in particular, saw the spectacular growth of Britain's world-wide interests through imperial expansion. Britain's triumph over France resulted in impressive territorial gains which opened up a wealth of commercial possibilities and generated new markets fo
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Sloman, Susan Legouix. "Gainsborough in Bath 1758-1774." Thesis, University of Bristol, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324365.

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DeWitt, David Albert. "Jan van Noordt (1624-after 1676), famous history- and portrait-painter in Amsterdam." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0021/NQ54408.pdf.

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Tomb, Marie. "The portrait of a country : painters, the art world and the invention of Lebanon, 1880-1943." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30260/.

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This dissertation studies the visual representation of Lebanon put forward by its painters and its art world during the period covering the last decades of the Ottoman Mutasarrifiyya of Mount Lebanon (1860-1918), the French Mandate (1920-1943), and the first years of the independent Lebanese Republic, after 1943. The period coincides with Lebanon's forging its identity as an autonomous political unit, but it also corresponds with the formation of a local art world. While the investigation of painting reveals an alternative fashioning of Lebanon created outside the political sphere, art was nev
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Tozer, Patricia Ann. "A portrait of the artist in society, Warhol paints Warhol." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ36624.pdf.

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Gunderson, Maryann S. "Dismissed yet Disarming: The Portrait Miniature Revival, 1890-1930." Ohio University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1080666457.

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Hanson, Helen. "Painted women : framing portraits in film noir and the gothic woman's film of the 1940s." Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364751.

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Books on the topic "Portraits of painters"

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Elizabeth, Drury, and Bridgeman Art Library, eds. Self portraits of the world's greatest painters. Thunder Bay Press, 1999.

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Pons, Louis. Portraits de peintres. Fata Morgana, 2004.

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Richard, Stone. Notable portraits. Partridge Fine Arts plc, 2004.

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Victor, Wu, ed. Contemporary Chinese painters. 2nd ed. Hai Feng Pub. Co., 1986.

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Üniversitesi, Uludağ, ed. Aydın portreleri: Türkiye'de toplumsal dönüşümün sanata yansıması. Uludağ Üniversitesi Basımevi, 2002.

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Gynning, Margareta. Det ambivalenta perspektivet: Eva Bonnier och Hanna Hirsch-Pauli i 1880-talets konstliv. A. Bonnier, 1999.

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Goth, Marie. Marie Goth: Painter of portraits. Nana's Books, 1996.

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Chizhova, I. B. Obraz milyĭ, nezabvennyĭ. Midgard, 2005.

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I︠A︡rmolenko, Panas. Panas I︠A︡rmolenko: Portret moho krai︠u︡ ; [alʹbom]. Rodovid, 2006.

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Society, American Portrait, ed. Directory of American portrait artists. American Portrait Society, 1985.

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Book chapters on the topic "Portraits of painters"

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Johansson, Christer, and Per Olav Folgerø. "Unit 4 Lesson: Why Is en face Associated with Holiness?" In Neuroaesthetics. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-42323-9_12.

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AbstractPortraits of Christ as a holy person are predominantly en face. This was famously commented by Albrecht Dürer in a self-portrait often called “Myself as Christ”. In contrast, profane portraits were predominantly painted in profile, including portraits of the suffering Christ (“The Man of Sorrows”). Why did medieval artists prefer to paint Christ en face? His face is thus directed toward the beholder, both face and gaze are intently directed at the beholder. Profane faces were noticeably more often painted in different degrees of profile. Is this a result of theological and historical c
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Tummers, Anna, Arie Wallert, Robert G. Erdmann, et al. "Case Study 4: Frans Hals & Co: the Civic Guard Portraits and the Attribution of The Meagre Company." In Cultural Heritage Science. Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-59489-2_6.

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AbstractThis study concerns Hals’s civic guard portraits, his largest and most prestigious commissions. All five Haarlem civic guard portraits, which were completed under Hals’s supervision, are studied in depth (using super-high-resolution photography, MA-XRF scans and infrared reflectography), as well as a contested Amsterdam civic guard portrait, The Meagre Company. That last work was begun by Hals and – because of a conflict with his patrons - eventually finished by another painter, Pieter Codde (1599–1678). Hals experts have long disagreed about the exact extent of Hals’s and Codde’s cont
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Morelli, Laura. "I ritratti di uomini illustri degli Uffizi dipinti da Carlo Ventura Sacconi, Giovanni Pietro Pollini e Giovanni Berti." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.13.

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Documentary investigations conducted at the Florence State Archives contributed to shed light on eighteenth-century efforts to develop the collection of the Uomini Illustri portraits, exhibited along the walls of the Uffizi Gallery. While the original body of works had been commissioned by granduke Cosimo I to Cristofano di Papi dell’Altissimo, who had copied the series held by Paolo Giovio in his villa in Como, the Florentine collection was later enriched by a massive supply of portraits between 1719 and 1733. The desire to complete the Uffizi ‘gioviana’ series was probably due to Anna Maria
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Birkeli, Helene Engnes. "Chapter 3. Touching difference and colonial space." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.xxxvi.03bir.

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This essay argues that Little Marie on Neky’s Arm (1838), a portrait by the Danish painter Niels P. Holbech, provides a challenge to sentimental constructions of the West-Indian “nanny” figure. The relational ambiguity of this painting recalls that of the wet nurse and her charge, a figure of nineteenth-century French painting described by Linda Nochlin (1988). In the context of the colonial imaginary, the nanny figure represented fears of “miscegenation” while also acting as a foil to white European motherhood. Other Danish painters portrayed the nanny figure against the backdrop of the exter
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Leonelli, Lisa. "Ancora su Giulio Pignatti ritrattista. Il mondo dei Grand Tourists e degli eruditi a Firenze." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.12.

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Giulio Pignatti or Pignatta (1679-1751), a painter from Modena who specialized in portraiture, arrived in Florence in 1705 and remained there until his death. During the fourty-six years spent in the Tuscan capital, he made contact with the last members of the Medici dynasty and with Grand Tourists as attested by the Portrait of Sir Andrew Fountaine with four friends in the Tribuna of the Uffizi, dated 1715. Pignatti’s oeuvre can now be expanded by another conversation piece commissioned in 1721 by Giuseppe Aversani’s pupils in the University of Pisa on the occasion of the gift of a gold medal
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Dethloff, Diana. "Painted Flowers in Later Seventeenth-Century English Portraits." In Floral Culture and the Tudor and Stuart Courts. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463722490_ch09.

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In many later seventeenth-century English portraits female sitters are often placed beside flowers arranged in vases or urns, holding blooms in their laps, threading floral garlands or surrounded by blossoms in idealised landscape settings. But who actually painted these flowers, in some cases beautifully and naturalistically rendered? How was their particular expertise regarded by contemporaries? What light might these works shed on the likely collaboration between the ‘painter of faces,’ the portraitist, and the specialist flower painter, brought in to give greater horticultural specificity
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"PORTRAITS, PAINTINGS AND PAINTERS." In Hitchcock's Motifs. Amsterdam University Press, 2006. http://dx.doi.org/10.1515/9789048505456-032.

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Tittler, Robert. "Provincial Painters." In Portraits, Painters, and Publics in Provincial England, 1540-1640. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:osobl/9780199585601.003.0004.

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Tittler, Robert. "Painters’ Resources." In Portraits, Painters, and Publics in Provincial England, 1540-1640. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:osobl/9780199585601.003.0005.

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Middelkoop, Norbert E. "Frans Hals’s Portraits of Painters:." In Frans Hals. Amsterdam University Press, 2024. http://dx.doi.org/10.2307/jj.22135982.10.

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Conference papers on the topic "Portraits of painters"

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Nuredin, Ibram. "Portraits of the Balchik tartars from the paintings of Nicolae Tonitza and Iosif Iser." In Latinitate, Romanitate, Românitate. Conferinţa ştiinţifică internaţională, Ediția a 7-a. Moldova State University, 2023. http://dx.doi.org/10.59295/lrr2023.15.

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The communication refers to the portraits of Tatars from the plastic creations of the masters Nicolae Tonitza (1886-1940) and Iosif Iser (1881-1958), painters who brought to Romanian plastic art a modern vision, a universal openness, a compo- sitional maturity supported by chromatic harmonies.Through multiple techniques – oil on canvas, gouache on cardboard, watercolour, drawing, charcoal or ink – Nicolae Tonitza and Iosif Iser reproduced the typologies of ethnic Tatars, captured in decorative backgrounds, in marine fragments or classical Dobrudjan architecture of interwar Balchik – houses, st
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DiPaola, Steve. "Painterly rendered portraits from photographs using a knowledge-based approach." In Electronic Imaging 2007, edited by Bernice E. Rogowitz, Thrasyvoulos N. Pappas, and Scott J. Daly. SPIE, 2007. http://dx.doi.org/10.1117/12.706594.

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URSACHI, Rodica. "Theoretical and artistic-plastic component in the creation of the painter Nicolae Tonitza." In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v3.25-03-2022.p286-290.

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The creation of the plastic artist Nicolae Tonitza is focused on two components - theoretical and artistic. Theoretically, Tonitza worked as an artistic columnist and publicist for various magazines and newspapers "Cuvântul liber", "Facla", "Socialismul" and others. His chronicles initially had a polemical character with a sociopolitical accent, and later, a "stylistic" one, with a national aspect. The artistic activity is focused on two genres graphics and painting. The thematic register is varied and includes military and social subjects, portraits of children, nudes, landscapes, the reason
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DiPaola, Steve, and Graeme McCaig. "Using Artificial Intelligence Techniques to Emulate the Creativity of a Portrait Painter." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.32.

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Manea, Gabriel. "A PORTRAIT OF PATRIARCH JUSTINIAN PAINTED BY RADIO FREE EUROPE." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/2.2/s08.027.

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Tobin, Genevieve Mary. "The silver lining: preliminary research into gold-coloured varnishes for loss compensation in two 19th C silver gilded frames." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13498.

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Golden varnishes appear on frames, furniture, wall hangings, leatherwork, panel paintings, mural paintings, and polychromy, and were applied to white metal gilding to imitate gold and other semi-precious materials. Despite the number of examples in cultural heritage there are few publications that discuss the ethical considerations of treating coloured silver gilded surfaces. The chromatic reintegration of gold-coloured varnishes on white metal gilding present specific material and technical challenges. In 2021 the Art Gallery of New South Wales (AGNSW) treated two identical late 19th century
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Rocaciuc, Victoria. "The traditional peasant interior in pictorial representations signed by moldovan artists in the 1970." In „Cultura şi arta: cercetare, valorificare, promovare”, conferinţă ştiinţifică naţională. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2025. https://doi.org/10.55383/ca2025.11.

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This study analyzes how Moldovan painters of the 1970s represented the peasant interior as a symbol of national identity. By studying the works of some artists such as Mihai Grecu, Glebus Sainciuc, Valentina Rusu Ciobanu, Eleonora Romanescu etc. the research explores how traditional elements were integrated into painting in a period marked by rapid social transformations. The analysis focuses on recurring motifs, such as household objects and rustic decor, and how these contributed to an atmosphere of rural authenticity. By analyzing the works, we were able to classify the images into the foll
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Ahn, Ye Jin. "Amazing portrait [al·la prima]; process of drawing teapot (drawing of oils painterly rendering)." In ACM SIGGRAPH 2006 Teapot. ACM Press, 2006. http://dx.doi.org/10.1145/1180098.1180129.

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Süleymanov, Mehman. "Şah İsmayılın xarici görünüşü." In 1st International Shah Ismail Khatai Symposium. Namiq Musalı, 2024. https://doi.org/10.59402/ees02202408.

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The article is dedicated to the physical and external appearance of Shah Ismail Safavi, who founded the Safavid state of Azerbaijan. There is no extensive information about this topic in the sources. That is why the appearance of Shah Ismail Safavi arouses legitimate interest in readers and researchers. It is known that Shah Ismail (Ismail Mirza) took part in battles from a very young age and fought against his enemies together with his warriors. If Shah Ismail did not have enough physical strength, he could not have won these battles. There are also precious images about this in oriental mini
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Young, Choi So. "A STUDY ON THE ORIGIN OF CHEOYONG: THE ANCIENT CULTURAL EXCHANGE BETWEEN CENTRAL ASIA AND KOREA." In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-18.

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In 879 (or 875), Cheoyong, who appeared with several people wearing unfamiliar appearance and strange clothes, performed singing and dancing in front of the king of Silla. After that, he moved to the capital with the king, and it is believed that he performed there. According to the legend, Cheoyong, who came in late at night after performing, found that the god of smallpox was with his wife, sang and danced without anger. The god, who saw Cheoyong's behavior, said he would not invade the place where his image was painted, so his portrait later served as an amulet to prevent disease and ghosts
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