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Journal articles on the topic 'Portraits'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Lindell, Annukka K. "No Cheek Bias." Empirical Studies of the Arts 35, no. 2 (2016): 127–38. http://dx.doi.org/10.1177/0276237416661988.

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In the history of portraiture, left cheek poses dominate. However, self-portraits favor the right cheek. Previous studies consistently report left biases for portraits of others and right biases for self-portraits; only one study has examined self-portrait pose orientation across a single artist’s corpus. The present study investigated posing biases of prolific self-portraitist Vincent van Gogh. Posing orientation in single-figure portrait ( N = 174) and self-portrait ( N = 37) paintings was coded. Unlike other artists, van Gogh was equally likely to paint himself in left and right cheek poses

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Heikkilä, Martta. "From the Self-Image to the Image Itself." Glimpse 22, no. 1 (2021): 18–22. http://dx.doi.org/10.5840/glimpse20212214.

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In this article, I examine the idea of the portrait from two viewpoints: the ‘classical’ portrait as it appears in Jean-Luc Nancy’s post-phenomenological philosophy, and the recent self-portrait photographs or ‘selfies’ on social media. First, I consider the portrait’s value in Nancy’s theories of art: for him, portraits hold an important position among the genres of visual art, since they present themselves as distinctive images by extracting the innermost force of the portrayed person. Secondly, I take up the philosophical and political implications of Nancy’s notion of the portrait vis-a-vi

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Mikulcová, Anežka. "Profilové portréty ze sbírek Národního muzea." Časopis Národního muzea. Řada historická 190, no. 1-2 (2022): 3–18. http://dx.doi.org/10.37520/cnm.2021.001.

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A historic collection of the Department of Older Czech History of the National Museum, which includes, among others, a very extensive collection of portraits encompassing various techniques, from painted, graphic and photographic portraits, through ceroplastic portraits, portrait silhouettes and portrait medallions, to portrait busts. While painted portraits in the form of miniatures, small and large hanging paintings have been the subject of detailed scientific attention, other types of portraits have been somewhat neglected. The aim of this paper is to draw attention to the presence of cerop

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van de Puttelaar, Carla, and Fred G. Meijer. "Under the skin: Portraits by Abraham de Vries (c. 1590-1649/50) recognised and revealed." Oud Holland – Journal for Art of the Low Countries 136, no. 4 (2023): 180–94. http://dx.doi.org/10.1163/18750176-13604002.

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This article discusses four portraits by Abraham de Vries (c. 1590-1649/50), three of which were recently recognised as the artist’s work, and all of which were subject to changes over time. The appearance of these portraits, as the authors came across them, prompted further investigation. The first two are portraits of the same girl (figs. 1a and 2a) from c. 1629 that originally had virtually the same appearance, as technical research has revealed. The first was reduced in size, the second was overpainted substantially, particularly in the costume. A portrait of a bearded man (fig. 11a) had b

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Morozova, Anna V., and Valentina Z. Fedorenko. "Children portrait in the 16th–18th centuries Spanish colonies painting." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 57 (2025): 168–83. https://doi.org/10.17223/22220836/57/14.

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The tradition of children portraits creating is formed in the New World under the influence of Spanish court portraiture. The colonial elites, led by viceroys, following the Madrid court, seek to perpetuate the memory of their family members. The first children portrait images appeared in the viceroyalties in the 17th century in religious compositions, in the 18th century, along with the flourishing of local portrait schools, the number of children images also grew. The colonial children portrait repeated the types of European, primarily Spanish portraits: family portraits with parents and chi

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Wu, Yiqian, Hao Xu, Xiangjun Tang, et al. "Portrait3D: Text-Guided High-Quality 3D Portrait Generation Using Pyramid Representation and GANs Prior." ACM Transactions on Graphics 43, no. 4 (2024): 1–12. http://dx.doi.org/10.1145/3658162.

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Existing neural rendering-based text-to-3D-portrait generation methods typically make use of human geometry prior and diffusion models to obtain guidance. However, relying solely on geometry information introduces issues such as the Janus problem, over-saturation, and over-smoothing. We present Portrait3D , a novel neural rendering-based framework with a novel joint geometry-appearance prior to achieve text-to-3D-portrait generation that overcomes the aforementioned issues. To accomplish this, we train a 3D portrait generator, 3DPortraitGAN, as a robust prior. This generator is capable of prod

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Rendon, Laura, Tarek Taifour, Cynthia R. Ventrella, Ana Seara, and Adamo A. Donovan. "Personal Protective Equipment Portraits Canada (PPC)–Humanization and surveying mask-wearing nationally." PLOS ONE 19, no. 2 (2024): e0298052. http://dx.doi.org/10.1371/journal.pone.0298052.

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Background Personal Protective Equipment (PPE) Portraits is a hybridized art and medical intervention that lessens the alienating appearance of PPE through wearable, smiling headshot pictures. During the pandemic, the use of these portraits was expanded, but Canadian initiatives offered portraits only to immediate stakeholders. PPE Portraits Canada (PPC) aimed to provide PPE portraits to any Canadian healthcare institution and surveyed healthcare workers (HCW) regarding these portraits’ impact. Methods University student volunteers founded PPC via online platforms and coast-to-coast collaborat

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Williams, Joshua E. "Uzziah like his Son: Portraits of Uzziah in the Masoretic Text and the Syriac Peshitta of Chronicles." Perichoresis 23, no. 1 (2025): 79–92. https://doi.org/10.2478/perc-2025-0005.

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Abstract The various textual witnesses reveal more than one portrait of Uzziah. Two distinctive portraits of Uzziah emerge, one within the Masoretic tradition and another in the Syriac Peshitta. The present article aims to explore these portraits in order to demonstrate the shape of each portrait of Uzziah in light of Jotham and to determine what these portraits reveal about the nature of the textual transmission of the account of Uzziah in Chronicles.

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Luque, Amalia, Julio Barbancho, Javier Fernández Cañete, and Antonio Córdoba. "Phase Shadows: An Enhanced Representation of Nonlinear Dynamic Systems." International Journal of Bifurcation and Chaos 27, no. 14 (2017): 1730051. http://dx.doi.org/10.1142/s0218127417300518.

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Many nonlinear dynamic systems have a rotating behavior where an angle defining its state may extend to more than 360[Formula: see text]. In these cases the use of the phase portrait does not properly depict the system’s evolution. Normalized phase portraits or cylindrical phase portraits have been extensively used to overcome the original phase portrait’s disadvantages. In this research a new graphic representation is introduced: the phase shadow. Its use clearly reveals the system behavior while overcoming the drawback of the existing plots. Through the paper the method to obtain the graphic

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Akimova, Natalia V. "Portrait Poetics in Dostoevsky’s Novel “The Adolescent”." Current Issues in Philology and Pedagogical Linguistics, no. 4 (December 25, 2022): 167–82. http://dx.doi.org/10.29025/2079-6021-2022-4-167-182.

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The article is devoted to the analysis of the features of the construction of portrait characteristics, as well as determining the role of the portrait in revealing the image of the characters of Dostoevsky’s novel “The Adolescent”. The relevance of the article is determined by the study of the portrait as a means of exploring the inner world of characters, the ability to trace the evolution of the use of static and dynamic portraits. The purpose of the article was to study the portrait as a means of artistic and psychological analysis in relation to the author’s concept of personality, the ae

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Miller, Eugene F., and Barry Schwartz. "The Icon of the American Republic: A Study in Political Symbolism." Review of Politics 47, no. 4 (1985): 516–43. http://dx.doi.org/10.1017/s003467050003713x.

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Portraits of heroes and leaders have been among the most widely diffused and deeply cherished of all political symbols. The political functions of such portraits grow out of distinctive semiotic qualities that set the portrait apart from other types of symbols. Judging from their public reception, George Washington's portraits — and, we believe, many state portraits — have the qualities of likeness, manifestiveness, moral efficaciousness, and sacredness that traditionally were ascribed to religious icons. From these qualities the state portrait gains a special power to bridge the distances of

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LI, Chenlu. "“Landscape” in A Self-portrait:A Study of George Chinnery’s Self-Portrait from the National Portrait Gallery,UK." Advances in Art Science 2, no. 1 (2025): 115–26. https://doi.org/10.48014/aas.20250127001.

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Self-portraits were created throughout the career of British painter George Chinnery. Among all the existing self-portraits of Chinnery, the oil painting Self-Portrait created by Chinnery around 1840 and collected by the National Portrait Gallery in the UK is the most famous one. Based on previous academic research on Chinnery’s self-portraits, this paper first conducts a picture analysis of Self-Portrait, and then focuses on the two landscape paintings that appear in the artwork. Combining Chinnery’s life experience, artistic creation and psychological condition, as well as the social environ

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Lenaghan, Julia. "Two portraits from Aphrodisias: late-antique re-visualizations of traditional culture-heroes?" Journal of Roman Archaeology 31 (2018): 458–73. http://dx.doi.org/10.1017/s1047759418001435.

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The “Last Statues of Antiquity”, the collaborative project directed by R. R. R. Smith and B. Ward-Perkins, gathers into a single database all extant late-antique portraits. As a member of the research team, I was given the opportunity to study all the portraits that are either known or conjectured to represent traditional culture-heroes. This exercise gave me “new” eyes for viewing two “old” portraits from Aphrodisias, until now not identifiable. One, excavated in 1982, is a clean-shaven portrait, once fancifully identified as Julius Caesar (fig. 2); the other, first published in 1958, is a be

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Kim, Handong, Junho Kim, and Heekyung Yang. "A GAN-Based Face Rotation for Artistic Portraits." Mathematics 10, no. 20 (2022): 3860. http://dx.doi.org/10.3390/math10203860.

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We present a GAN-based model that rotates the faces in artistic portraits to various angles. We build a dataset of artistic portraits for training our GAN-based model by applying a 3D face model to the artistic portraits. We also devise proper loss functions to preserve the styles in the artistic portraits as well as to rotate the faces in the portraits to proper angles. These approaches enable us to construct a GAN-based face rotation model. We apply this model to various artistic portraits, including photorealistic oil paint portraits, watercolor portraits, well-known portrait artworks and b

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Noviani, Isra Rahma, and Zulfadhli. "Potret Gaya Hidup Remaja Urban dalam Novel 12 Cerita Glen Anggara Karya Luluk Hf." Persona: Kajian Bahasa dan Sastra 3, no. 3 (2024): 627–35. http://dx.doi.org/10.24036/jpers.v3i3.274.

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Portrait of the lifestyle of urban teenagers which is a form of life in explaining phenomena that occur in urban society. Urban society itself has different characteristics from rural society which can be seen from the way of thinking and the surrounding environment. One of the novels that can be seen is a portrait of urban teenagers entitled 12 Stories of Glen Anggara by Luluk HF. The life of urban teenagers is explained through the characters' behavior with their environment, such as towards friends and family, which influences their lifestyle. This research is included in qualitative resear

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McQuade, Molly. "Portraits and the Portraitist." Hopkins Review 11, no. 1 (2018): 146–56. http://dx.doi.org/10.1353/thr.2018.0025.

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Sabeti, Shari. "Coming ‘Face to Face with the People who Shaped Scotland’: Portrait Galleries, Creative Writing and the Pedagogical Dynamism of the Portrait Image." Museum and Society 21, no. 1 (2023): 45–61. http://dx.doi.org/10.29311/mas.v21i1.4077.

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Museum education literature has paid surprisingly little attention to the distinctiveness of portrait galleries or portraits as a genre, despite the fact that they provide ‘powerful spaces for pedagogy’ (Hooper-Greenhill 2020: 24). Taking an ethnographic approach, this article offers a detailed analysis of such pedagogies at work in one creative writing class based at the Scottish National Portrait Gallery. It describes two pedagogical regimes – the institution’s and the guide’s – and explores how they compete to frame the portraits in different ways. Focusing on two specific portraits, and th

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Hayes, Susan, Nick Rheinberger, Meagan Powley, et al. "Variation and Likeness in Ambient Artistic Portraiture." Perception 47, no. 6 (2018): 585–607. http://dx.doi.org/10.1177/0301006618770347.

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An artist-led exploration of portrait accuracy and likeness involved 12 Artists producing 12 portraits referencing a life-size 3D print of the same Sitter. The works were assessed during a public exhibition, and the resulting likeness assessments were compared to portrait accuracy as measured using geometric morphometrics (statistical shape analysis). Our results are that, independently of the assessors' prior familiarity with the Sitter’s face, the likeness judgements tended to be higher for less morphologically accurate portraits. The two highest rated were the portrait that most exaggerated

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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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Suka Asih K.Tus, Desyanti. "HAK EKONOMI DAN HAK MORAL KARYA CIPTA POTRET DI SOSIAL MEDIA." VYAVAHARA DUTA 14, no. 1 (2019): 12. http://dx.doi.org/10.25078/vd.v14i1.1099.

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<p>Copyright is an exclusive right which contains economic rights and moral rights. Portrait is part of a protected creation. In a portrait that is distributed offline or online through social media, namely economic rights and moral rights that must be presented and adhered to by users. Copyright infragement that still occur for portraits on social media are related to violations of economic and moral rights. The use of portraits on social media without permission for commercial purposes is a form of violation of economic rights. While the form of violations of moral rights over portrait

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Pashchenko, R., V. Ivanov, and D. Tsyupak. "Usage of phase portraits in analysis of doppler signals reflected from drone rotors." RADIOFIZIKA I ELEKTRONIKA 25, no. 4 (2020): 18–29. http://dx.doi.org/10.15407/rej2020.04.018.

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Subject and Purpose. Comparative analysis of the shapes of phase portraits of Doppler signals (DS) reflected from drone rotating rotors is given with regard to different time delays. The shapes of DS phase portraits are examined for various rotational velocities and numbers of the rotating rotors. Methods and Methodology. A method using phase portraits is suggested for analysis of Doppler signals reflected from drone rotating rotors. The method determines the number of the rotors and estimates their rotational velocities. Results. It has been found that the shape of the phase portrait of the b

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Son, Myenghee. "A Place and Symbols of Remembrance and Filial Piety for Crown Prince Sado: A Study of Mangmyoru at Kyŏngmogung Shrine and the Enshrined Portraits." Korean Journal of Art History 322 (June 30, 2024): 5–32. http://dx.doi.org/10.31065/kjah.322.202406.001.

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This paper examines the ascent to prominence of Mangmyoru Pavilion within Kyŏngmogung Shrine, dedicated to Crown Prince Sado, as a principal repository for enshrining royal portraits (御眞, Ŏjin) during the late Chosŏn period. It also explores the regular inspection and management system of both the chambers inside the pavilion and the portraits enshrined there, which formed the basis for its prominence. Furthermore, the paper delves into the iconography and format of the portraits as documented in historical records, as well as the stylistic characteristics of the existing royal portraits from

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Parker, Diane L., and Anthony J. Picard. "Portraits of Susie: Matching Curriculum, Instruction, Find Assessment." Teaching Children Mathematics 3, no. 7 (1997): 376–82. http://dx.doi.org/10.5951/tcm.3.7.0376.

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Assessment can be thought of as an attempt to create a portrait of a student's learning. But portraits can vary according to what the artist chooses to focus on, and assessment portraits are no different in this respect. In this article, we examine two assessment portraits of one student and show how they relate to issues of curriculum and instruction.

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Mari, Emanuela, Alessandro Quaglieri, Giulia Lausi, et al. "Fostering the Aesthetic Pleasure: The Effect of Verbal Description on Aesthetic Appreciation of Ambiguous and Unambiguous Artworks." Behavioral Sciences 11, no. 11 (2021): 144. http://dx.doi.org/10.3390/bs11110144.

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Background: Aesthetic experience begins through an intentional shift from automatic visual perceptual processing to an aesthetic state of mind that is evidently directed towards sensory experience. In the present study, we investigated whether portrait descriptions affect the aesthetic pleasure of both ambiguous (i.e., Arcimboldo’s portraits) and unambiguous portraits (i.e., Renaissance portraits). Method: A total sample of 86 participants were recruited and completed both a baseline and a retest session. In the retest session, we implemented a sample audio description for each portrait. The p

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Van Alphen, Ernst. "Reflections on Portraiture: Unifying the Face and Pluralizing Personality." Artium Quaestiones, no. 35 (December 31, 2024): 167–85. https://doi.org/10.14746/aq.2024.35.8.

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Two assumptions play an important role in the study of portraiture 1) Studies of the portrait are usually based on the idea that the face that is shown in the portrait is also a portrait in its own right, namely, a portrait of the soul of the portrayed person. 2) The main function of portraiture is to portray or even capture the unique, personal identity of a person; that identity is an essential and stable entity. In this paper, both assumptions will be challenged. As a result, portrait and face should not be conflated and arguments on the face have a quite different status than those on port

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Tarasenko, O. "Image of the Family and People in the Artwork of Roman Petruck." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 227–34. http://dx.doi.org/10.33838/naoma.27.2018.227-234.

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Heroes of portraits of Roman Petruk are open-world creative people – his teachers, parents, of the same age – young artists, actors in whose faces the reality of the Spirit is manifested, the movement of life. The article analyzes Petruk's portraits of his teacher, an outstanding Ukrainian artist and teacher, Nikolai Andreevich Storozhenko and teachers of NAOMA. The ritual value of a portrait is shown, which provides the connection of the worlds - temporary and eternal. The symbolic content of portraits, the value of the conditional background in character characteristics is studied. The relat

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

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Achieving a realistic view of the image on canvas or paper is a key requirement of the portrait genre. Since the establishment of the professional school of painting, the portrait has attracted the attention of Azerbaijani artists and has been widely used in their work. Thus, in our miniatures of the Middle Ages, as well as among the paintings created in the XIX–XXI centuries, you can find beautiful, eye-catching portraits with high artistic value. Thus, the portrait has always occupied one of the main places in Azerbaijani painting. Of course, the main object of the portrait genre is a person

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Murphy, Siobhan. "Screendance Portraiture: Truth, Transaction, and Seriality in 52 Portraits." Dance Research Journal 52, no. 3 (2020): 42–57. http://dx.doi.org/10.1017/s0149767720000376.

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The article examines the hybrid genre of screendance portraiture through the example of 52 Portraits by Jonathan Burrows and collaborators (2016). It unpacks three concepts that are foundational to visual art portraiture and suggests how each might apply to screendance portraits: the truth seeking impulse of portraiture; the portrait transaction, and the relationship between likeness, type and seriality. The article shows how 52 Portraits both relies on and departs from the productive counterpoints found within the portraiture tradition. In so doing, the article builds toward an emergent frame

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Kovalevska, Olga. "TRADITIONS OF CREATION AND USE OF “AGE” PORTRAITS OF THE XVII-XIX CENTURIES: THE CASE OF SOPHIA DARAGAN-HOVANSKA." Chornomors’ka Mynuvshyna, no. 19 (December 27, 2024): 3–8. https://doi.org/10.18524/2519-2523.2024.19.317298.

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The article is devoted to the portraits of the heiress of the famous Cossack family of officers Sofia Darahan-Khovanska. The text describes the traditional types of images of women in the sixteenth and nineteenth centuries, reveals the meaning of the concept of “age portrait” and gives examples of its existence on the Right-Bank Ukrainian territories, which at that time were part of the Commonwealth, presents the history of the study of Sophia's portraits, shows that her portraits in adolescence and old age are still the only example of an “age portrait” originating from the Left Bank of Ukrai

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Rodríguez-Licea, Martín-Antonio, Francisco-J. Perez-Pinal, José-Cruz Nuñez-Pérez, and Yuma Sandoval-Ibarra. "On the n-Dimensional Phase Portraits." Applied Sciences 9, no. 5 (2019): 872. http://dx.doi.org/10.3390/app9050872.

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The phase portrait for dynamic systems is a tool used to graphically determine the instantaneous behavior of its trajectories for a set of initial conditions. Classic phase portraits are limited to two dimensions and occasionally snapshots of 3D phase portraits are presented; unfortunately, a single point of view of a third or higher order system usually implies information losses. To solve that limitation, some authors used an additional degree of freedom to represent phase portraits in three dimensions, for example color graphics. Other authors perform states combinations, empirically, to re

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Moon, Elizaveta A. "THE PHENOMENON OF THE GRAVESTONE PORTRAIT IN POLISH SARMATISM." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2021): 142–54. http://dx.doi.org/10.28995/2073-6401-2021-4-142-154.

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The article considers the phenomenon of the gravestone portrait as a structural element of funerals within the Sarmatyzm culture. It studies the main types of tombstone portraits and the materials on which they were made. The author tells that the tradition of making and fixing tombstone portraits originates from an ancient ritual about the participation of a double of a de- ceased person. It is noted that the tombstone portraits were nailed to the end of the coffin and was directed in such a way that it was visible to all participants of the funeral procession. Special attention was paid to t

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Abdul Rahim, Rosliza, Mumtaz Mokhtar, and Ishak Ramli. "A Review Of Alternative Ways Malaysian Artists Approach Self-portraits Painting." Idealogy Journal 8, no. 1 (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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Stone, Ian R. "The Arctic portraits of Stephen Pearce." Polar Record 24, no. 148 (1988): 55–58. http://dx.doi.org/10.1017/s003224740002235x.

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

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Hayes, Susan. "Analysing Texture in Portraits." Perception 49, no. 12 (2020): 1283–310. http://dx.doi.org/10.1177/0301006620975705.

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This case study is an initial exploration as to whether the depiction of texture in a set of portraits, all portraying the same Sitter, is related to the familiar likeness assessments reported in a companion paper containing a principal component analysis (PCA) of the portraits’ depiction of shape. Somewhat unexpectedly, a texture PCA failed to discriminate the high from low likeness portraits, despite experimentation with different pre-processing methods to reduce the portraits’ high level of uninformative, image-level texture variability. There were some findings arising from these analyses,

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Kotliar, Svitlana, and Iryna Zaspa. "Female Portrait in Photography Art: from Authenticity to Modernity." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (2021): 84–96. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235094.

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The purpose of the research is to analyze female photo portrait, the concept of female beauty in photography, the history of the origin and formation of female portrait in photography. Moreover, the aim was to trace the common and distinct features of a female portrait from the past to nowadays. It was decided to establish a role of female photo portrait in the art of photography, to prove its peculiarity and importance. The research methodology consists of the following parts: theoretical – analysis of the female beauty concept in the photo portrait, history of female portrait development in

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Bosch, Mineke. "‘As a Token of Appreciation for her Dauntless Struggle…’." Rijksmuseum Bulletin 72, no. 4 (2024): 292–315. https://doi.org/10.52476/trb.21258.

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In this article, Mineke Bosch links art historical objects and interpretations to historical documents associated with the women’s movement in the Netherlands. Her focus is on a portrait of the prominent feminist Aletta Jacobs by the impressionist painter Isaac Israels. After the suffrage bill passed in 1919, the portrait was commissioned by the Vereeniging voor Vrouwenkiesrecht to honour its president, with the implicit objective that the portrait be accepted into the collection of a national museum, i.e. the Rijksmuseum. Israels made five substantial portraits and two sketches of Jacobs, bef

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Yan, Yuchun, and Hyeon-Jeong Suk. "Affective Effect of Multi-source Portraits Under Various Illuminants on One Scene." Journal of Imaging Science and Technology 64, no. 2 (2020): 20509–1. http://dx.doi.org/10.2352/j.imagingsci.technol.2020.64.2.020509.

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Abstract When portraits taken under various illuminants are placed together, they appear disparate from each other due to observers’ chromatic adaption to each portrait locally. Because the human perception has strong attachment to the memory color of human skin, it may cause an affective effect. This study intends to identify the affective effect of viewing multiple number of portraits whose white balance are not aligned. A visual assessment was conveyed, where portraits from different sources were matched. To simulate various illuminant conditions, three alterations of white balance were pre

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Морозова, Анна Валентиновна. "Образы инфантов в контексте испанских дворцовых интерьеров XVI‒XVII веков". Actual Problems of Theory and History of Art 14 (11 жовтня 2024): 389–400. https://doi.org/10.18688/aa2414-5-31.

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The images of children in Western European art have been the subject of researchers’ attention for several decades. With increased interest to Italian and Dutch works, the images created in Spain, however, remained little studied especially in the context of their location. The article analyzes the depictions of royal family children, infants, and princes set in the Spanish palace interiors of the 16th‒17th centuries. Before the 16th century, such portraits were not in existence. During the second part of the 17th century, King Carlos II, who had no children, was depicted in portraits only as

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Daal, Jan M. van, and Branko F. van Oppen de Ruiter. "The Young Lady in Pink. New Light on the Life and Afterlife of an Ancient Portrait." Studies in Ancient Art and Civilisation 26 (December 18, 2022): 125–62. http://dx.doi.org/10.12797/saac.26.2022.26.07.

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A Roman-Egyptian mummy portrait of a young woman in a pink tunic is part of the Allard Pierson collection in Amsterdam. The portrait is well-known and a key piece of the collection, but has received little scholarly attention so far. The life and the afterlife of the portrait are therefore poorly understood. The authors approach the portrait from different perspectives: its provenance and acquisition, the artist’s materials and techniques, the dating conventions surrounding mummy portraits and their cultural context. The authors advocate for this in-depth multidisciplinary approach primarily b

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Felber, Lynette. "THE LITERARY PORTRAIT AS CENTERFOLD: FETISHISM IN MARY ELIZABETH BRADDON'SLADY AUDLEY'S SECRET." Victorian Literature and Culture 35, no. 2 (2007): 471–88. http://dx.doi.org/10.1017/s1060150307051583.

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FROM “MY LAST DUCHESS”toThe Picture of Dorian Gray, portraits are ubiquitous in Victorian literature – lurking behind velvet curtains or stowed in locked attics, their canvases turned to the wall. The literary portrait, a variation on the copious nineteenth-century description typical of the Victorian novel, provides a verbal representation of physical appearance that most conspicuously functions to establish character. Literary portraits work vicariously, asking readers to conceptualize imaginatively what the characters actually see, requiring that they visualize a painting – see it in their

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Fisher, Paul. "John Singer Sargent’s Portraits of Henry James as Windows into a Suppressed Queer Friendship." Henry James Review 45, no. 3 (2024): 274–83. http://dx.doi.org/10.1353/hjr.2024.a941314.

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Abstract: With virtually all the thirty-four-year correspondence between Henry James and John Singer Sargent lost, Sargent’s four portraits of James yield intriguing clues to the interiority of these men’s relation. The three extant portraits hint that this suppressed queer friendship was both more and less than a monolithic professional alliance. All three exhibit both affinity and unease. The early portraits hint at James’s heavy influence and Sargent’s complex resistance to it. The two later portraits, especially the celebrated oil portrait of 1913, show a mature alliance that sheltered bot

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Popko, O. N. "Ceremonial portraits of Prince Peter Lvovich Wittgenstein in the context of his iconography." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 66, no. 3 (2021): 333–42. http://dx.doi.org/10.29235/2524-2369-2021-66-3-333-342.

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The article is devoted to the study of three ceremonial portraits of Prince Peter Lvovich Wittgenstein, a general of the Russian army and the richest landowner in Belarus in the 19th century. Most of ceremonial portraits of 19th century military men were perished in the whirlwind of wars and revolutions of the 20th century. Finding each such work, even outside our country, is of great interest.The prince’s maternal ancestors were representatives of the most famous aristocratic family in the history of Belarus. His father was the son of a Russian ﬁeld marshal, hero of the war with Napoleon. Pri

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Zhao, Yuxi. "Discussion and Innovation of Content Marketing Based on User Portrait Generation -- Taking Salomon as an Example." Highlights in Business, Economics and Management 46 (December 24, 2024): 90–95. https://doi.org/10.54097/gwpc1y09.

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Salomon through the collection of a large number of data to build user portraits, precise positioning of the target market, the creation of personalized content, successful on the basis of the original steady expansion of potential target customer base. The research points out that there are still some problems in the application of user portraits in content marketing, such as insufficient accuracy of user portraits and user dynamics, and the corresponding solutions are proposed. Through the construction of user portrait and content marketing integration model, interaction model and consumer b

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Jeong, Ji-Youn, Jang-Jon Lee, and Min-su Han. "A Study on Replica Restoration Methods through Scientific Analysis of Seongju Lee Family’s Portraits." Journal of Conservation Science 38, no. 3 (2022): 201–16. http://dx.doi.org/10.12654/jcs.2022.38.3.03.

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Materials and techniques u sed for two portraits ( Jo-nyeon L ee a nd S ung-in L ee) o f the Lee family from Seongju enshrined in Seongsan temple were scientifically analyzed, and based on the data, an optimal replica restoration method was designed. According to the expression technique investigation, both portraits were expressed mainly in line drawing, but there were differences in shoes, pupils, the color expression of flesh, overpainting, and traces of reinforcement. Pigment analysis revealed that a mixture of cinnabar and minium, organic pigment, azurite, malachite, lead white, and yello

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Vidmar, Polona. "Cæsari in mis omni hora fidelis servivi: The Portraits of Sigismund Herberstein and Walter Leslie in Diplomatic Robes." Radovi Instituta za povijest umjetnosti, no. 43 (December 31, 2019): 75–90. http://dx.doi.org/10.31664/ripu.2019.43.06.

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This paper discusses the portraits of two imperial ambassadors to the Ottoman Porte, Sigismund Baron Herberstein, who met with Sultan Suleiman the Magnificent in 1541, and Walter Count Leslie, who led the Grand Embassy to Sultan Mehmed IV in 1665–1666. The portraits are discussed in the context of their commissions, focusing on the diplomatic robes and the self-representative intentions of the commissioners. Herberstein’s decision to illustrate his autobiographical works with full body portraits is presented in the context of glorifying poems printed in some prestigious editions of his works,

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Matyunina, Daria Stanislavovna, and Mariya Viktorovna Nozdracheva. "“Crossed-out psychologism” of female salon portrait of the Art Nouveau: portraits of Elena Olive by the artist Konstantin Somov and Marina Makovskaya by Alexander Golovin." Культура и искусство, no. 4 (April 2021): 30–42. http://dx.doi.org/10.7256/2454-0625.2021.4.35467.

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In view of female portrait of the turn of the XIX &ndash; XX centuries, which stylistically belongs to &ldquo;salon&rdquo; painting of the Russian Art Nouveau, the authors analyzes the two works by the artists of &ldquo;The World of Art&rdquo; association &ndash; the portrait of Elena Olive by Konstantin Somov (1914) and the portrait of Marina Makovskaya by Alexander Golovin (1912). Both portraits are attributed to the series of female portraits created by Konstantin Somov and Alexander Golovin in the early 1910s. The general circle of&nbsp; the artists&rsquo; c

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Donath, Judith, Alex Dragulescu, Aaron Zinman, Fernanda Viégas, and Rebecca Xiong. "Data Portraits." Leonardo 43, no. 4 (2010): 375–83. http://dx.doi.org/10.1162/leon_a_00011.

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Data portraits depict their subjects' accumulated data rather than their faces. They can be visualizations of discussion contributions, browsing histories, social networks, travel patterns, etc. They are subjective renderings that mediate between the artist's vision, the subject's self-presentation, and the audience's interest. Designed to evocatively depict an individual, a data portrait can be a decorative object or be used as an avatar, one's information body for an online space. Data portraits raise questions about privacy, control, aesthetics, and social cognition. These questions become

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Shpak, Larisa Yu. "Roman sculptural portrait and votive portrait of the Roman republic time (preliminary comparative data on composite portraits)." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 3 (September 14, 2021): 96–108. http://dx.doi.org/10.32521/2074-8132.2021.3.096-108.

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The materials for the composite portraits were images from electronic antique collections of museums, image banks and catalogs. To obtain visual images of the studied groups, the composite portrait method was used in a digital program. Results and discussion. Unlike the roman sculptural portrait of the 1st century BC, which has a specific purpose and real prototypes, prototypes of votive terracotta heads of the 3rd – 1st centuries BC can be both real people and typified model-forms. The main differences between the composite roman portraits from the etruscan-italic votives relate to the orbita

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Kim, Hyungbum, Junyoung Oh, and Heekyung Yang. "A Transfer Learning for Line-Based Portrait Sketch." Mathematics 10, no. 20 (2022): 3869. http://dx.doi.org/10.3390/math10203869.

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This paper presents a transfer learning-based framework that produces line-based portrait sketch images from portraits. The proposed framework produces sketch images using a GAN architecture, which is trained through a pseudo-sketch image dataset. The pseudo-sketch image dataset is constructed from a single artist-created portrait sketch using a style transfer model with a series of postprocessing schemes. The proposed framework successfully produces portrait sketch images for portraits of various poses, expressions and illuminations. The excellence of the proposed model is proved by comparing

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Hayes, Susan, Peter Caputi, T. S. Zaracostas, et al. "Likeness, Familiarity, and the Ambient Portrait Average." Perception 49, no. 5 (2020): 567–87. http://dx.doi.org/10.1177/0301006620905420.

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This artist-led research project involved 10 visual artists producing 10 ambient portraits and a portrait average of a locally familiar Sitter, and 10 ambient portraits and a portrait average of a less locally familiar Sitter. All were then assessed for likeness by more than 150 members of the general public attending an exhibition during Australia’s 2018 National Science Week. The results of this study are that portrait averages can be highly shape accurate and tend to be seen as a good likeness by all viewers. However, the portrait average is not necessarily the best likeness. Extending and

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