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Journal articles on the topic 'Portraits of painters'

Author: Grafiati

Published: 12 December 2022

Last updated: 31 July 2025

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1

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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2

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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4

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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9

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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11

Abdul Rahim, Rosliza, Mumtaz Mokhtar, and Ishak Ramli. "A Review Of Alternative Ways Malaysian Artists Approach Self-portraits Painting." Idealogy Journal 8, no. 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 chr

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Tyler, Christopher W. "Painters centre one eye in portraits." Nature 392, no. 6679 (1998): 877–78. http://dx.doi.org/10.1038/31833.

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Tsichla, Markella-Elpida. "Greek Revolution and Art. The protagonists on Marble. Illustrative and Typological Specimens." Advances in Social Science and Culture 3, no. 2 (2021): p26. http://dx.doi.org/10.22158/assc.v3n2p26.

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The Greek Revolution of 1821 was one of the most important issues in Europe of the early 19th century on a political and military level. The outbreak of the Greek Revolution was not supported by the Great Powers of the time, since as a liberation struggle it violated the terms of the Holy Alliance (1815), however it managed to prevail thanks to the support of the people of Europe as they regarded this an effort of a small nation to claim its freedom and oppose to slavery and authoritarianism. After all, we are in the time of Romanticism and this kind of struggle enjoyed the support of intellec

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KHMEDKHODJAEVA, Umida A. "ORIENTAL LYRICAL TONES IN PORTRAITS OF THE INDEPENDENCE PERIOD AND THE IMAGE OF A HISTORICAL FIGURE." Art and Design: Social Science 02, no. 02 (2022): 25–28. http://dx.doi.org/10.37547/ssa-v2-i2-09.

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Thanks to the independence, in Uzbekistan a new era in the art of portraiture has started. In the portraits created during the years of independence, the idea of personality has completely changed. Instead of an idealized image of a person reflecting the ideas of the old system, the portraits depict a real person - an independent person with oriental lyricism, deep philosophical views, as well as an extremely natural and sincere person. The number of women portrait painters is growing. During the years of independence, creative freedom, searches in art have led to the development of different

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Гомирева, О. І. "АНАЛІЗ АКВАРЕЛЬНИХ ПОРТРЕТІВ ТАРАСА ШЕВЧЕНКА". Вісник Харківської державної академії дизайну і мистецтв, № 3 (30 серпня 2018): 36–45. https://doi.org/10.5281/zenodo.1406580.

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Taras Shevchenko is a prominent Ukrainian artist whose works still require fundamental analysis. Portraits play an important role in his work; the artist created them in different techniques, in particular, in watercolors. On the one hand, Shevchenko’s watercolor portraits fit into the context of 19'h-century watercolor portrait; on the other hand, they demonstrate the artist’s individual artistic thinking that distinguished him from his contemporaries. Each period of Shevchenko’s work reflected significant changes in his artistic vision that were manifeste

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Abramkin, Ivan A. "THE IMAGE OF MOTHER WITH CHILD IN ART OF VIGEE LE BRUN DURING HER STAY IN RUSSIA." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2021): 131–47. http://dx.doi.org/10.28995/2073-6401-2021-3-131-147.

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The object of the article is considering female portraits by Vigée Le Brun, presenting the mother with child and created in Russia. That group of masterpieces constitutes an important phenomenon for the understanding of national tradition in a family portrait – a type of genre which markedly develops just at the turn of 18th–19th centuries with active participation of foreign painters. A close examination of portraits contributes to the identification of specific features which included the thoroughness of interior’s depiction, the neutrality of portrait characteristic and the moderation in th

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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 (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

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Wade, Nicholas J. "Binocular portraiture." i-Perception 14, no. 2 (2023): 204166952311651. http://dx.doi.org/10.1177/20416695231165142.

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Pictorial portraits are viewed with two eyes despite the fact that they are mostly monocular: they have been produced from a single viewpoint (either by painters or photographers). The differences between the images on each eye are a consequence of the separation between them rather than differences in two pictorial images. Viewing with two eyes detracts from the monocular cues to depth within the singular portrait because of information for the flatness of the pictorial surface. Binocular portraits, on the other hand, incorporate differences between two pictorial images producing perceptual e

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19

Wałczyk, Krzysztof. "Biblical Inspirations in Nikifor’s Paintings." Perspektywy Kultury 26, no. 3 (2019): 31–46. http://dx.doi.org/10.35765/pk.2019.2603.05.

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Nikifor Krynicki (Epifaniusz Drowniak, 1895-1968) was one of the most popular non-academic Polish painters worldwide. To show the biblical inspiration in his creative output I chose two categories from various thematic aspects: self-portraits and landscapes with a church. There are plenty of Nikifor’s paintings showing him as a teacher, as a celebrating priest, as a bishop, or even as Christ. A popular way to explain this idea of self-portraits is a psychological one: as a form of auto-therapy. This analysis is aims to show a deeper explanation for the biblical anthropology. Nikifor’s self-p

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Sechin, Aleksandr Georgievich, and Darina Aleksandrovna Abdullina. "Touches to the iconography of Prince Dmitry A. Golitsyn: the search for portraits." Культура и искусство, no. 12 (December 2023): 70–87. http://dx.doi.org/10.7256/2454-0625.2023.12.69255.

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Author consider a number of works that have been identified by various researchers as portraits of D. A. Golitsyn, a prominent statesman of the Russian Empire in the second half of the 18th century. The Prince's interest in art determined his special role in the artistic world of Europe, as well as in the formation of the Hermitage collection and in attracting foreign artists to the country. The subject of research is the connection of existing portrait images with the milestones of the fate of Golitsyn and in the context of interaction with the artistic world of the 18th century. Despite the

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Wouk, Edward. "Picturing Art History in Eighteenth-Century Britain." Bulletin of the John Rylands Library 95, no. 2 (2019): 83–113. http://dx.doi.org/10.7227/bjrl.95.2.5.

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Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This arti

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Popko, O. N. "THE GRAPHIC PORTRAITS BY JAN KSAWERY KANIEWSKI FROM THE COLLECTION OF THE PRINCES OF WITTGENSTEIN." Arts education and science 4, no. 33 (2022): 85–96. http://dx.doi.org/10.36871/hon.202204085.

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The Polish artist Jan Ksawery Kaniewski is one of the little-studied portrait painters of the "Pushkin era", having depicted many of the great Russian poet's contemporaries. The article is devoted to the analysis of watercolor and pencil portraits from the collection of the princes of Wittgenstein, it provides some biographical information about the artist's life and the vicissitudes of his models' fate. The analysis of the album with portraits of Wittgenstein's servants created by Kaniewski, allows to identify the principles of the compositional construction of the portrait in the context of

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Vergeles, M. O. "REALISM OF FACE DEPICTION IN PORTRAITURE." Archaeology, Ethnology & Anthropology of Eurasia 46, no. 3 (2018): 146–52. http://dx.doi.org/10.17746/1563-0110.2018.46.3.146-152.

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This study presents the analysis of realism of portraiture in the context of physical anthropology. Standard descriptive traits such as the development of the upper eyelid fold, nasal profi le, etc., were scored on 120 portraits. To examine the accuracy of artistic rendition, these traits were assessed on 30 pairs of portraits of the same persons painted by different artists, and on 30 pairs of portraits versus photographs of the same persons. For each trait, the mean difference of scores was calculated. The mean differences are within the scoring error, indicating the artists’ high accuracy i

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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 femal

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Pipes, Richard. "Russia's Itinerant Painters." Russian History 38, no. 3 (2011): 315–427. http://dx.doi.org/10.1163/187633111x579819.

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AbstractVisual arts in Russia languished through most of her history, partly because the Orthodox Church frowned on pictorial representation, partly because there was virtually no middle class to purchase paintings. In the mid-eighteenth century Russia acquired an Academy of Arts which produced works largely in classical style and content. This changed in the 1870's when, under western influence, a group of Russian artists formed a society of "Itinerants" committed to painting in the realistic mode and to exhibit their works in various cities of the Empire rather than solely in the capital cit

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Janssen, Paul Huys. "Historiestukken door de Utrechtse schilder Johan de Veer." Oud Holland - Quarterly for Dutch Art History 108, no. 2 (1994): 65–72. http://dx.doi.org/10.1163/187501794x00341.

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AbstractTwo seventeenth-century painters bore the name Johan de Veer, a circumstance responsible for a certain amount of confusion. Virtually nothing is known of the Amsterdam De Veer (born in 1647 or 1648, date of death unknown). We have more information about his namesake from Utrecht, who lived from about 1610 to 1662. In 1635 he was abroad, undoubtedly in Italy, the destination of many young artists. After his rcturn he married in 1640 and set up as a painter in Utrecht. His ocuvre, comprising a number of portraits and history pieces, is very small; perhaps he was not particularly successf

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Lazer-Pankiv, Olesia Vasylivna, and Nataliia Vasylivna Korolova. "PECULIARITIES OF THE USE OF ANCIENT QUOTATIONS IN THE PORTRAITURE OF THE RENAISSANCE ERA." Филолог – часопис за језик књижевност и културу 15, no. 29 (2024): 188–210. http://dx.doi.org/10.21618/fil2429188l.

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The article is devoted to the peculiarities of the use of quotations from ancient authors’ works in the form of inscriptions on secular portraits of the Renaissance period. It outlines the cultural and historical prerequisites that determined the peculiarities of portrait painting development in this period as well as the use of Latin inscriptions therein. The key underlying role in cultural development of this period played the change of religious and philosophical paradigm, the general cultural humanistic orientation of the era, as well as the revival of classical ancient ideas. These factor

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Cho, In-soo. "On Three Portraits of Kim Yuk by Chinese Painters." Korean Silhak Review 37 (June 30, 2019): 137–68. http://dx.doi.org/10.23945/kss.37.137.168.

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Chernyy, Valentin D. "FOREIGNERS ABOUT PORTRAIT IMAGES IN MUSCOVY, THEIR APPEARANCE AND EXISTENCE." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2024): 193–205. https://doi.org/10.28995/2073-6401-2024-4-193-205.

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The article considers the testimonies of foreigners about various aspects of the use of portrait images in Russia at the end of the 15th–17th centuries. The beginning of their existence was noted in the grand ducal environment and is associated with the organization of political marriages. Muscovy’s contacts with European countries, especially since the middle of the 16th century, contributed to the strengthening of travelers’ interest in the personality of the tsar. For that reason, individual sketches and literary portraits of Russian monarchs appear. In a number of cases, there is a desire

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Stevelinck, Ernest. "THE MANY FACES OF LUCA PACIOLI: ICONOGRAPHIC RESEARCH OVER THIRTY YEARS*." Accounting Historians Journal 13, no. 2 (1986): 1–18. http://dx.doi.org/10.2308/0148-4184.13.2.1.

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This article, first delivered as a paper at the 1980 World Congress of Accounting Historians in London,1 presents the results of three decades of the author's research in pursuit of a true image of Luca Pacioli. Portraits, sculptures, and sketches are traced to painters and artists of several periods. The mystery relating to Pacioli's likeness is considered. Stevelinck suggests that the search for a true portrait continues, given the disputes over the authenticity of various paintings and their faithfulness in representing the appearance of Pacioli. The research also provides important informa

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IM, MI-HYUN. "A Study on Landscape Paintings of Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822)". Institute of History and Culture Hankuk University of Foreign Studies 88 (30 листопада 2023): 191–224. http://dx.doi.org/10.18347/hufshis.2023.88.191.

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Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822) is known as one of the three genre painters along with Kim Hong-do (金弘道, 1745-1806?) and Shin Yun-bok (申潤福, 1758-1817 afterwards) or only as a painter who had been largely influenced by Kim Hong-do. In fact, he was a 44-year veteran Dohwaseo painter who had participated in important national art projects. Aside from his famous genre paintings, his extraordinary talent in portraits, landscapes, birds and animals, and flowers and animals established him as one of the best painters during the period. Especially, his results in Nokchwijae (祿取才: the stat

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Kuryanova, Anastasia M. "Russian Artists at the Russian Orthodox Ecclesiastical Mission in Beijing in the 19th Century: Some Research Concerns." Oriental Courier, no. 4 (2022): 105. http://dx.doi.org/10.18254/s268684310023832-3.

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In 1830, a Russian painter named Anton M. Legashov (1798–1865) went to Beijing as part of the Russian Orthodox Ecclesiastical Mission becoming the first professional Russian artist in China. In total, four Russian painters visited China being included in the mission: A. M. Legashov, K. I. Korsalin, I. I. Chmutov, and L. S. Igorev. In Beijing, the artists were supposed to paint portraits commissioned by the Chinese and thereby establish useful contacts with influential Chinese officials; in fact, the painters acted as diplomatic agents. At the same time, they had to fulfill the task of the Impe

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Bregovac Pisk, Marina, and Matea Brstilo Rešetar. "Insignia of Honour on Three 19th-Century Portraits of Croatian Bans." Peristil 64, no. 1 (2022): 39–48. http://dx.doi.org/10.17685/peristil.64.3.

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During the 19th century, Croatia saw a succession of nineteen bans (viceroys) and banal deputies, and the likeness of most of them has been preserved in portraits. They were not often depicted with state insignia and dignity symbols; therefore, the three representative portraits to be presented in this paper, those of Ignjat Gyulay, Josip Jelačić and Ladislav Pejačević, are the more interesting. In their own way, these portraits are a testimony of the political position of the Triune Kingdom of Croatia, Dalmatia and Slavonia within the Habsburg and, later on, Austro-Hungarian Monarchy as well

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Pawłowska, Aneta. "The Art of Miss Irma Stern: Ugliness as a Cult." Roczniki Humanistyczne 70, no. 4 (2022): 99–121. http://dx.doi.org/10.18290/rh22704.4.

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The purpose of this article is to present the life and work of a well-known and celebrated South African painter of German-Jewish origin – Irma Stern (1894-1966). The artist was one of the first painters from South Africa whose works fitted well into the expressionist trend. Irma Stern’s artistic development was influenced by numerous trips to Europe and her studies at German art schools and academies. Her African roots were another important source of inspiration for her. Stern, who travelled all over Africa (including South Africa, Zanzibar and Congo) created numerous portraits of its indige

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Adnyana, I. Wayan. "Tiga Tipe Praktik Sosial dan Gaya Visual Pelukis Barat di Bali." Jurnal Kajian Bali (Journal of Bali Studies) 9, no. 1 (2019): 55. http://dx.doi.org/10.24843/jkb.2019.v09.i01.p03.

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   This article studies the social practices of Western painters in Bali based on Orientalism perspective, a Western style for dominating, restructuring, and having authority over the Orient. The painters who were sampled were those who represented in each wave of arrival: (a) 1930-1940s (Spies, Bonnet, Hofker and Le Mayeur), (b) 1950-1980s (Blanco, Smit and G. Couteau), and (c) 1990-present (Hirst, Sciascia and Bickerton). Three types of social practices were found: (1) consciously decide to dissolve with the interaction of Balinese painters, which further produce visual art

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Allen, Jane E., and Caroline F. Sloat. "Meet Your Neighbors: New England Portraits, Painters & Society, 1790-1850." Journal of the Early Republic 13, no. 2 (1993): 260. http://dx.doi.org/10.2307/3124095.

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Rollison, D. "ROBERT TITTLER. Portraits, Painters, and Publics in Provincial England, 1540-1640." American Historical Review 118, no. 2 (2013): 576–77. http://dx.doi.org/10.1093/ahr/118.2.576.

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Bushman, Claudia L., Richard L. Bushman, Jessica F. Nicoll, Jack Larkin, Elizabeth Mankin Kornhauser, and David Jaffee. "Meet Your Neighbors--New England Portraits, Painters, and Society, 1790- 1850." William and Mary Quarterly 50, no. 1 (1993): 235. http://dx.doi.org/10.2307/2947265.

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Rinck, Jonathan. ":Portraits, Painters, and Publics in Provincial England, 1540–1640." Sixteenth Century Journal 44, no. 2 (2013): 553–54. http://dx.doi.org/10.1086/scj24245154.

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Isman, Sibel Almelek. "Eiffel Tower Through The Eyes of Painters." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (2017): 01. http://dx.doi.org/10.18844/prosoc.v4i11.2845.

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The Eiffel Tower, the global icon of France, was erected as the entrance to the Paris International Exposition in 1889. It was a suitable centrepiece for the World Fair, which celebrated the centennial of the French Revolution. Although the tower was a subject of controversy at the time of its construction, many European painters have been inspired by the majestic figure of the Eiffel Tower. They picturised the tower in their portraits and cityscapes. Paul Louis Delance, Georges Seurat, Paul Signac and Henri Rousseau were the first artists to depict this symbol of modernity. Robert Delaunay an

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Hu, Alice Joan. "Jan Philip van Thielen and his flower garland paintings." Культура и искусство, no. 3 (March 2021): 58–65. http://dx.doi.org/10.7256/2454-0625.2021.3.33322.

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The subject of this research is the artworks of the Flemish painter Jan Philipp van Thielen &ndash; a prominent author of the pieces depicting flower garlands in the XVII century, but so little-known nowadays. His name is unjustly forgotten in Russian historiography, although his paintings exhibited in the national museums; although in Western historiography, his popularity has grown in recent decades. Special attention is given to the painter&rsquo;s works in different genres (religion, portraits, mythology), which are framed by a flower garland accentuating and symbolizing the centra

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Lagrange, Marion. "Giovanni Boldini (1842-1931) et la scène artistique parisienne, une réception équivoque." Studiolo 5, no. 1 (2007): 203–25. http://dx.doi.org/10.3406/studi.2007.1197.

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Giovanni Boldini (1842-1931) and the Parisian artistic scene : an ambiguous reception. By the early 1870s, Giovanni Boldini (1842-1931), an Italian-born painter active in Paris, was very popular in the exclusive world of dealers and collectors - both Parisian and foreign - thanks to his genre scenes placed within Rococo or Empire settings. A shift occurred in the 1880s, both in the choice of subject matter as well as in his desire to take part in public exhibitions. From then on, his fame would rest on the success of his female portraits. Forsaking the vast Salon des Artistes français, Boldini

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ABDULLINA, DARINA. "THE THEME OF “GOLDEN CHILDHOOD” IN THE CONCEPTUAL FIELD OF RUSSIAN CHILDREN'S PICTORIAL PORTRAIT OF THE XIX - EARLY XX CENTURY." Культурный код, no. 2023-3 (2023): 19–32. http://dx.doi.org/10.36945/2658-3852-2023-3-19-32.

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“Golden Childhood” is considered as a theme that had a significant impact during the 19th - early 20th century on the depiction of a child in Russian pictorial portraiture. The work studies the era of romanticism, when there was an increase in attention to the personality of a child, there was a desire for his idealization, the work of Wanderers and salon portrait painters. The analysis ends with the period of the Silver Age in Russian culture, when the culmination of the development of this concept took place. It is shown how the authors' desire to depict boys and girls as angels or inhabitan

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

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The article covers the life and creative development of one of the little known Ukrainian photographers and painters of the first half of the twentieth century, who was Mykhaylo Shalabavka. In order to disclose his biographical data in more detail, the information provided by modern researchers 399 has been supplemented with archival materials. Due to their analysis, first of all, M. Shalabavka’s letters to Metropolitan Andrey Sheptytskyi presented many new facts that characterize the artist’s participation in public life in the formation of the Ukrainian school of photography first in Lviv, h

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Kusukawa, Sachiko. "The Early Royal Society and Visual Culture." Perspectives on Science 27, no. 3 (2019): 350–94. http://dx.doi.org/10.1162/posc_a_00311.

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Recent studies have fruitfully examined the intersection between early modern science and visual culture by elucidating the functions of images in shaping and disseminating scientific knowledge. Given its rich archival sources, it is possible to extend this line of research in the case of the Royal Society to an examination of attitudes towards images as artifacts—manufactured objects worth commissioning, collecting, and studying. Drawing on existing scholarship and material from the Royal Society Archives, I discuss Fellows’ interests in prints, drawings, varnishes, colorants, images made out

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Savenkova, Inna I. "Self-Portrait as Self-Presentation in the Works of Female Painters of the Turn of the 19th—20th Centuries." Observatory of Culture 21, no. 4 (2024): 396–407. http://dx.doi.org/10.25281/2072-3156-2024-21-4-396-407.

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The article examines the creativity of women artists, which experienced an upsurge at the turn of the 19th and 20th centuries, associated with the removal of restrictions on their education at the Imperial Academy of Arts and the increasing need for self-realization in art. General tendencies are revealed, which do not concern the subject-technical side of the paintings, but allow us to draw generalizing conclusions about the artists’ thinking: self-determination and correlation of themselves with the creative environment, drawing attention to themselves as individuals. An attempt is made to u

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Romero Chaves, Beatriz. ""Gustos femeninos en la corte barroca. Los retratos de Isabel de Borbón y Mariana de Austria"." ACCADERE. Revista de Historia del Arte 9 (2025): 37–53. https://doi.org/10.25145/j.histarte.2025.09.02.

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"Women’s fashion has been a steadfast symbol of power and distinction throughout history. In the Baroque Spain, - marked by artifice, theatricality and opulence- the clothing of royal women set a definitive tend for the aristocratic and affluent classes of society, while simultaneously reaffirming their own roles of authority and sovereignty, as well as their privileged and esteemed status. The 17th century portrait offers a valuable lens through which to discover and contextualize that the clothing showed a compendium of tastes on the part of the two wives of Philip IV, marked by the place of

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Tomalska-Więcek, Joanna. "Pracownia kopii artystycznych w białostockim getcie." Studia Podlaskie, no. 31 (2023): 43–56. http://dx.doi.org/10.15290/sp.2023.31.02.

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The article presents a poorly recognized thread in the history of the German occupation of Bialystok. In September 1939, a wave of refugees from other parts of Poland flowed into the city and region. Among them were a significant number of artists, mainly – though not exclusively – of Jewish origin. Under Soviet occupation, they were absorbed into the propaganda machine, painting portraits of officials and decorations for state holidays. Their fate changed after the outbreak of the German-Soviet war, when the Jews were confined to a ghetto. There, a Wehrmacht officer set up a workshop for arti

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Kaschek, Bertram. "Face to Face: Christian Borchert's Artist Portraits from 1975/76." Journal of Modern European History 16, no. 4 (2018): 547–68. http://dx.doi.org/10.17104/1611-8944-2018-4-547.

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Face to Face: Christian Borchert's Artist Portraits from 1975/76 The Artist Portraits from 1975/76 were Christian Borchert's (1942–2000) first great project as a freelance photographer. For almost two years, Borchert travelled the GDR in order to take the likenesses of about 200 artists (painters, sculptors, writers, composers and film-makers). He finally presented a good number of them in two much-noticed Berlin exhibitions in the fall of 1976. This article investigates the aesthetic, social and political implications of Borchert's complex project, which so far has never been subject to detai

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Said el-Sayed Ismail, Reham. "Portraits of Painters in Islamic Painting “In light of Examples from Safawid era”." مجلة کلیة الآثار . جامعة القاهرة 12, no. 2022 (2022): 343–59. http://dx.doi.org/10.21608/jarch.2022.212078.

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