Academic literature on the topic 'Renaissance Portrait painting'
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Journal articles on the topic "Renaissance Portrait painting"
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Garrard, Mary D. "Here's Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist*." Renaissance Quarterly 47, no. 3 (1994): 556–622. http://dx.doi.org/10.2307/2863021.
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An Unusual Portrait by Sofonisba Anguissola has gained new prominence from its illustration in color in a recent publication. In her Women, Art, and Society (1990), Whitney Chadwick claims of the portrait in question, Bernardino Campi Painting Sofonisba Anguissola (fig. 1), that in presenting herself in the guise of a portrait being painted by her teacher, Anguissola produced “the first historical example of the woman artist consciously collapsing the subject-object position.” Chadwick's succinct observation opens up the possibility of understanding the painting in a new way, for she points to the peculiar conflation of subject and object that uniquely befell women artists in the Renaissance and complicates their art, especially their self-portraits. From this starting point, I will here explore the form of self-presentation offered by Anguissola in the Siena portrait and several other works in the context of what was a fundamental problem for the Renaissance female artist: the differentiation of herself as artist (the subject position) from her self as trope and theme for the male artist (the object position).
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Salavessa, Eunice, José Aranha, Rafael Moreira, and David M. Freire-Lista. "Proto-Early Renaissance Depictions, Iconographic Analysis and Computerised Facial Similarity Assessment Connections: The 16th Century Mural Paintings of St. Leocadia Church (Chaves, North of Portugal)." Heritage 7, no. 4 (March 29, 2024): 2031–54. http://dx.doi.org/10.3390/heritage7040096.
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The aim of this paper is to analyse facial similarity and apply it to identify the individuals depicted in the mural paintings of the apse of St. Leocadia Church, located in Chaves Municipality (North of Portugal), which were painted during the first quarter of the 16th century. This study also compares the portraits of this mural paintings with the oil paintings by the Proto-Renaissance Portuguese painter Nuno Gonçalves. Through this research, the feasibility of face recognition technology is explored to answer many ambiguities about Manueline stylistic identity and iconography. Additionally, it aims to associate historical events, artistic discoveries, and the expansion of portraiture as propaganda of power during the Portuguese Proto-Renaissance and Early Renaissance. On the other hand, it focuses on the prevalence of the religious and devotional over the sacred in Manueline painting. A proposal was made to identify the characters that are fundamental to the meaning of the mural paintings. An experiment was conducted on seven characters from the paintings at St. Leocadia Church, which were then compared to Nuno Gonçalves’ portraits. Facial similarity analysis was conducted on the faces portrayed in the Panels of St. Vincent, a remarkable portrait gallery from 15th-century Portugal, which has been the subject of national and international research for 130 years. Other paintings that were analysed were the oil paintings of St. Peter and St. Paul and of Infanta St. Joana, which were created by the same Quattrocento master. The purpose of the mural paintings of St. Leocadia Church could be catechetical in nature or related to the ritual practices of royal ancestor worship in royal portrait apses of the churches. It could also be associated with the Portuguese maritime expansion and the macro-imperial ideology of D. Manuel I.
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Mazzinghi, Anna, Chiara Ruberto, Lorenzo Giuntini, Pier Andrea Mandò, Francesco Taccetti, and Lisa Castelli. "Mapping with Macro X-ray Fluorescence Scanning of Raffaello’s Portrait of Leo X." Heritage 5, no. 4 (December 6, 2022): 3993–4005. http://dx.doi.org/10.3390/heritage5040205.
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Raffaello is renowned as one of the Old Renaissance Masters and his paintings and painting technique are famous for the details and naturality of the characters. Raffaello is famous in particular for the then-new technique of oil painting, which he mastered and perfected. On the occasion of the 500th anniversary of the death of Raffaello (2020), there was a large exhibition at the Scuderie del Quirinale in Rome, where many paintings and drawings by the Old Master were on show. One of these paintings was the portrait of Leo X with two cardinals belonging to the collection of the Uffizi galleries in Florence. Before going to Rome, the painting underwent conservation treatments at the Opificio delle Pietre Dure, where a comprehensive diagnostic campaign was carried out with the aim of understanding the painting materials and technique of the Old Master. In this paper, the results of macro X-ray fluorescence (MA-XRF) analysis, carried out exploiting the instrument developed by INFN-CHNet, are shown. Among the results, “bismuth black” and the likely use of glass powders in lakes are discussed.
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Mari, Emanuela, Alessandro Quaglieri, Giulia Lausi, Maddalena Boccia, Alessandra Pizzo, Michela Baldi, Benedetta Barchielli, Jessica Burrai, Laura Piccardi, and Anna Maria Giannini. "Fostering the Aesthetic Pleasure: The Effect of Verbal Description on Aesthetic Appreciation of Ambiguous and Unambiguous Artworks." Behavioral Sciences 11, no. 11 (October 23, 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 portraits were described by three types of treatment, namely global, local, and historical descriptions. Results: During the retest session, aesthetic pleasure was higher than the baseline. Both the local and the historical treatments improved the aesthetic appreciation of ambiguous portraits; instead, the global and the historical treatment improved aesthetic appreciation of Renaissance portraits during the retest session. Additionally, we found that the response times were slower in the retest session. Conclusion: taken together, these findings suggest that aesthetic preference was affected by the description of an artwork, likely due to a better knowledge of the painting, which prompts a more accurate (and slower) reading of the artwork.
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Istomina, Nadezhda A. "ILLUSION AND REALITY IN THE PORTRAITS BY GEORG PENCZ." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2021): 127–38. http://dx.doi.org/10.28995/2686-7249-2021-6-127-138.
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Georg Pencz’s picturesque portraits represent one of the brightest stages of development in the master’s work. In the 1540s, after his second Italian trip, the artist became the leading portrait painter of the Nuremberg nobility and turned to the type of monumental large-format portrait that included elements of genre painting. Pencz depicted the rich entourage surrounding a patron with the attention to nature inherent in German Renaissance art. It was a demonstration not only of the social status and affluence of his patron, but also of the artist’s skill. At the same time, the image was endowed with an inherent aesthetics of mannerism, in which notional and optical allusions, among other things, indicated the enlightenment and subtle taste of the portrayed individual. Illusion and reality combined to create a symbolic field, within which a picture should be interpreted. This trend continued into XVII century painting.
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Anderson, J. "Renaissance Portraits, European Portrait-Painting in the 14th, 15th and 16th Centuries." Journal of the History of Collections 3, no. 1 (January 1, 1991): 104–5. http://dx.doi.org/10.1093/jhc/3.1.104.
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Farris, Wendy B. "Portia as Primavera: Cultural Memory in The Death of the Heart." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 4 (November 10, 2003): 179–94. http://dx.doi.org/10.22201/ffyl.poligrafias.2003.4.1636.
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Near the end of the second part of Elizabeth Bowen's novel The Death of the Heart, the cad Eddie calls the ingenue Portia "Primavera." I wish to argue that in this moment Bowen appropriates Botticelli's painting, Primavera, as a subtext for her novel and with it the grace and charm of Renaissance Italy. The virtual presence of Botticelli's Primavera, or, if not the painting, the Renaissance mythological portrait its name suggests, is perhaps one of the continuities that rule Bowen's text, seen or unseen by her. In any case, even if my arguments for Botticelli's influence are not definitive, it is useful to explore the affinities between Bowen's text and Botticelli's painting. Bowen's visual subtext locates her and her readers between Renaissance houses and modern streets. It endows her social satire and psychological portraiture with latent layers of cultural memory, the kind of memory that Bowen values as a stay against the emotional brittleness and material chaos of modern life.
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Tarasenko, A. A., and O. A. Tarasenko. "TRANSFORMATION OF THE RITUAL GENEALOGICAL PORTRAIT IN PAINTING OF MIKHAILO GUIDA: EUROPEAN CONTEXT." Art and Design, no. 1 (May 23, 2023): 53–64. http://dx.doi.org/10.30857/2617-0272.2023.1.5.
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The purpose of the article is to investigate the significance of the European portrait canon in the genre painting by Mikhailo Guida: "Kuban Wedding: Dedication to Great-Grandfather Demian Doroshenko" (2004).
Methodology. The historical-cultural, comparative, iconographic, iconological, and hermeneutic methods are used.
Results. Based on a comparison with compositions on the theme of marriage in the art of antiquity, the Renaissance, and the Modern era, in Guida's painting the following has been identified: the presence of a spiritual centre (icon); the role of symmetry in constructing the ritual composition; the national character of the images and symbols (Ukrainian land, home yard, clothing, flowers, ritual objects). The wedding portrait of the Cossack family was created in the iconography of ceremonial aristocratic portraits, developed by Titian, Tintoretto, Velasquez, Rubens, Van Dyck, and Whistler.
Guida created a new form of portrait and self-portrait in the historical portrait, endowing the image of ancestors with the individual psychology of a person in times of crisis, with its inherent reflection and the desire to understand one’s place in the universe. In the composition of the Ukrainian painter, there is a sacralisation of the land and the house-yard through the connection with the universal. The laconic composition plastically corresponds to the definition of the Kuban Cossack family's place in the steppe landscape. The family is shown as a monolithic integrity, which includes horses embodying the energy of nature. The golden ratio of the composition contains the archetype of the cross. The image of the birth-giving earth is revealed by the horizontal of fertile black soil. The family is included in the spiritual vertical of the ritual "axial time" – Axis Mundi. In the connection between heaven and earth, the strength of the Ukrainian lineage and people is affirmed.
The scientific novelty of the publication lies in the fact that, for the first time, a comparison is carried out of the ideological content and the form of Guida's painting with ritual compositions on the theme of weddings and the canon of European aristocratic portraits. The art of the Ukrainian painter is incorporated into the context of European art.
Practical significance. The presented materials, their artistic-stylistic analysis, and generalization can be used in scientific research dedicated to the art of portrait-painting in Ukraine.
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Dumitrescu, Marius. "A Journey Inside the Perception of the Self-Image - from the 15th Century Italian Portrait to the Glamorized Image on the Facebook." Postmodern Openings 12, no. 3 (August 10, 2021): 34–59. http://dx.doi.org/10.18662/po/12.3/326.
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This article aims to present the philosophical perspective upon the birth of the idea of the individual and the consequences of the discovery of the self-image on the techniques of image reproduction from the Renaissance to the present day. The process of projecting the self-image into the public space acquires a special importance with the elaboration of the portrait technique in the Italian painting of the 15th century. Through Leonardo da Vinci's paintings, this technique of reproducing self-image reaches a certain perfection. Following the evolution of this kind of projections and reproductions of the self-image, it is found that there is an obvious tendency by which the individual tends to free himself from certain patterns, or rather canons, which a certain epoch imposes. This process manifested in the visual arts corresponds to a new philosophical perception of man opened by the works of Ficino and Pico della Mirandola. The assertion of a new type of dignity, correlated with the idea of the microcosm, of the Renaissance man will lead to an affirmation of his own personality and especially to an increase of the will to power reflected more and more in the works of art. With the resurgence of the Italian renaissance, artists and philosophers experienced a decline, but found a favorable space for their development at the court of Elizabeth I, Queen of England. The art of portraiture, but also the philosophy of renaissance survives and is even more flourishing at the court of this queen. But the most important moment of this renaissance is marked by Dutch art after its liberation from Spanish rule. From this moment on, the emancipation of the individual will occur on an unimaginable scale until then.
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Papp, Júlia. "Magyar történelmi témák 18. századi bécsi festői: adatok Wenzel Pohl munkásságához és az August Rumelnek tulajdonított mohácsi csata-képhez." Művészettörténeti Értesítő 71, no. 2 (September 19, 2023): 233–54. http://dx.doi.org/10.1556/080.2022.00015.
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Media news made the name of Wenzel Pohl known in Hungary in the early 2000s, for the two large history paintings (The Battle of Mohács, Saint Stephen converting the Hungarians to the christian faith), which had cropped up in the art trade and which were purchased by the Hungarian state and deposited in the Hungarian embassy in Vienna, were attributed to him. Although more recent research has proposed that the painter of the cycle once consisting of six pieces was most probably August Rumel and not Pohl, it is worth knowing of Pohl’s artistic activity irrespective of the Hungarian relevance, too, because his person is gradually fading out of art historiography – for example, his name is missing from the 96th volume of the Saur Allgemeines Künstlerlexikon published in 2017.The best-known Pohl portraits are the ones he painted of the noted Jesuit astronomer, mathematician and physicist Miksa Hell. A full-figure portrait shows the scientist in traditional Sami costume during his research trip to the North, and we know of a portrait showing Hell is a monk’s frock. His engraved copies of paintings in the Viennese imperial collection, real forerunners to the representative 19th century album of prints presenting the collection, probably belong to a series. In the cycle of paintings about the coronation of Joseph II as Holy Roman Emperor (Frankfurt, 1765) he was assigned the painting of architectural details, which is confirmed by the fact that he was sent on a study trip to Frankfurt to make drawn sketches of the venues of the event. After the representative painting of Martin van Meytens he made a small-scale version of the group portrait of Maria Theresa and her family. His chef d’oeuvre is the representative painting series showing the events of the coronation of Maria Theresa in Pozsony in 1741 painted for the Hungarian court chancellery in Vienna. He painted it with Franz Messmer in the second half of the 1760s. In contrast, the three portraits of monarchs in Riesensaal in Innsbruck so far attributed to him by researchers were actually painted by Jakob Kohl.The other part of the paper contributes a few new viewpoints to the examination of the painting about the battle of Mohács earlier attributed to Pohl. In addition to contemporaneous woodcuts of the tragic battle of 1526 in news-letters and pamphlets in German, to 16th century Turkish miniatures, and diverse 16–18th century European manuscript and book illustrations, a ceiling fresco in Garamszentbenedek and several large paintings – including Rumel’s work – also conjured up the battle in the 18th century. Since in the nation’s historical consciousness and cultural memory the battle of Mohács did not acquire its symbolic, mythic position represented to this day before the 19th century, the two works of art were way ahead of their time in anticipating the salient position of the tragic event, because, unlike, for example, István dorffmaister’s late 18th century pictures ordered in Mohács, they show the battle as a fatal even in the history of the entire nation. on the other side, by the terminating piece of the series ordered for the Transylvanian court chancellery being the battle of Mohács, the client departed from the 18th century imperial, dynastic outlook which presented as positive parallels to the battle of Mohács and the capture of Szigetvár by the Turks the victorious battles of the late 17th century liberating war led by the Habsburg Empire: the second battle of Mohács and the recapture of Szigetvár, partly as examples of divine justice and partly as legitimation of the Habsburg Empire’s territorial expansion “earned with blood”. It is noteworthy that the right side of central scene of Rumel’s Battle of Mohács resembles the composition of leonardo da Vinci’s Battle of Anghiari surviving in copies only. It is presumable that the renaissance battle scenes served as a model example for the painter.
Dissertations / Theses on the topic "Renaissance Portrait painting"
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Hansbauer, Severin. "Das Oberitalienische Familienporträt in der Kunst der Renaissance : studien zu den Anfängen, zur Verbreitung und Bedeutung einer Bildnisgattung /." Würzburg : S.J. Hansbauer, 2004. http://www.loc.gov/catdir/toc/fy0708/2006485141.html.
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Southwick, Margaret Ann. "Paragon/Paragone: Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1547.
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This thesis argues that Raphael's portrait, Baldassare Castiglione, is three portraits in one: 1) a "speaking likeness" of the subject, 2) a portrait of the "perfect" courtier, and 3) a "shadow" portrait of the Court of Urbino in the early sixteenth century. The formal analysis of the painting is presented in the context of the paragone of word and image expounded by its subject in his masterpiece, Il Cortegiano. Both author and artist demonstrate the concepts of sprezzatura (an artful artlessness) and grazia (graceful elegance) in the creation of their portraits, as well as avoidance of affetazione (affectation). It is concluded that Raphael's response to the challenge of the text/image paragone in Il Cortegiano determined the formal choices he made as he painted his friend Baldassare Castiglione.
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Rosshandler, Michelle. "A historiography of idealized portraits of women in Renaissance Italy : the idea of beauty in Titian's La Bella." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83147.
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Renaissance art historians concur that women were characteristically depicted as ideal types in Renaissance portraiture. Nonetheless, the historiography of portraits of women in Renaissance Italy reveals generational shifts between scholars. Male scholars writing in the nineteenth-century to the mid twentieth-century applied formalist and cultural historical methodologies. Recent scholars raise issues that were previously neglected, such as social historical and feminist concerns. Following this rationale, I argue that the changing interests of scholars have altered the interpretations of portraits of Renaissance women. Moreover, this historical difference is split along gender lines in the historiography of Titian's La Bella. A critical review of the literature on this painting shows that male scholars, such as John Pope-Hennessey, Harold E. Wethey, and Charles Hope define the work in formal terms, such as "charming" and "pretty," whereas female scholars such as Elizabeth Cropper, Patricia Simons and Rona Goffen concur the work to be a synecdoche for the beauty of painting itself. A historiography of Titian as a portrait painter confirms that recent scholars have shifted focus from formal studies to an assessment of the social context, conditions of patronage and the feminist issues surrounding the artist's portraits.
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Howard, Rebecca Marie. "Movements of the Mind: Beyond the Mimetic Likeness in Early Modern Italy." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492175533714909.
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Lacouture, Fabien. "Représenter l'enfant en Italie du Nord et Italie centrale : XIVe - XVIe siècles." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H020.
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Bien que l'enfance soit «une donnée anthropologique universelle» (E. Deschavanne, P.H. Tavoillot, Philosophie des âges de la vie), l'historien français Philippe Ariès, dans L'Enfant et la vie familiale sous l'ancien Régime (1960), affirmait l'absence de sentiment de l'enfance au Moyen Âge et au début des Temps Modernes et l'invention de l'enfance à partir des XVI°, mais surtout XVIl0 et XVIll0 siècles. Invalidée par les historiens mais encore reprise aujourd'hui par certains historiens d'art, cette thèse était essentiellement fondée sur une étude des représentations picturales. Les images d'enfants abondent dans la peinture italienne de la Renaissance du XIV au XVIe siècles en Italie du Nord et Italie centrale. Mais elles méritaient une approche neuve, venant apporter un nouvel éclairage non seulement sur les enfants de la Renaissance, mais sur les manières selon lesquelles ils étaient perçus et représentés. Était alors nécessaire une analyse précise des représentations visuelles, des conditions de leur genèse, ainsi que de leur destination. Une telle étude trouva naturellement sa structure dans la division des âges de la vie en vigueur à la Renaissance : l’infanzia (naissance - sept ans), la puerizia (sept - quatorze ans) et l’adolescenza (à partir de quatorze ans) étaient les périodes de l'enfance, au sein desquelles se mouvait un être en constante évolution. Dépassant le postulat de l'enfant comme simple objet pictural décoratif, une telle recherche permet de comprendre les rôles des représentations d'enfants, selon le genre de l'œuvre, son histoire, mais également selon l'âge, le sexe ou le statut de l'enfant représentéAlthough childhood is "a universal anthropological conception" (E. Deschavanne, P.H. Tavoillot, Philosophie des âges de la vie), the French historian Philippe Ariès, in Centuries of Childhood: A Social History of Family Life (1962), proposed that the recognition of childhood as a distinct stage of life, what he calls the "sentiment de l'enfance," did not exist during the Middle Ages and early modern period, but was rather the invention of the 16th- and especially the 17th and 18th centuries. Disproved by historians, but still considered valid by some art historians, this theory is founded upon a study of pictorial representations of children. Images of children are numerous in Northern- and Central Italian Renaissance painting, but they require a new approach on how children were perceived and pictured. A precise analysis of these visual representations, of their genesis, condition, and their destination(s) is necessary. Such a study naturally finds its structure in the traditional "stages of life" and "periods of childhood" in use during the Renaissance. These categories are: infanzia (from birth to seven years old), puerizia (from seven to approximately twelve to fourteen years) and adolescenza (from twelve to fourteen), during all of which the child was in constant evolution. Beyond simply seeing children as decorative pictorial motifs, by exploring the genre of the work studied, its backstory, and also the age, the gender, or the social status of the child pictured, this tack (approach?) enables us to better understand the purposes of children's pictorial representation
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Brézé, Nathalie de. "Otto Vaenius (1556-1629) : pictor doctus." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H024.
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Peintre oublié des études sur les anciens Pays-Bas, Otto van Veen (également appelé Otto Vaenius) est essentiellement connu pour avoir été le dernier maître de Rubens et pour être l'auteur de plusieurs livres d'emblèmes. En son temps, il était pourtant l'un des artistes les plus renommés des Flandres. La reconsidération de ce peintre, les influences qui furent les siennes et l'impact qu'il put avoir sur toute une génération d'artistes constituent l'objet de cette thèse. Centrée sur sa production peinte et dessinée, elle ne met toutefois pas de côté ses emblèmes, qui servent de points de comparaison pour certains sujets allégoriques. La production de Vaenius étant largement tributaire de la période dans laquelle il était en activité, cette étude est également centrée sur l'histoire culturelle et intellectuelle des Pays-Bas. Ainsi, les divers réseaux (artistique, humaniste, princier) qu'il fréquenta ont été étudiés en détail. Il s'agissait d'évaluer l'apport pictural de Vaenius en regard de sa démarche intellectuelle. Outre les portraits de diverses personnalités (princes, hommes d'Église, humanistes) et les cycles glorifiant l'image du prince tels que des Joyeuses Entrées, les peintures religieuses, respectant les préceptes du Concile de Trente, comme les peintures mythologiques et allégoriques, ont fait l'objet d'analyses qui prennent en compte le contexte de production ainsi que les diverses iconographies (tirées de sources variées, issues de I' Antiquité au XVIIe siècle). Alliant une peinture claire et lisible à des détails érudits et raffinés, l'œuvre de Vaenius donna lieu à de nombreuses innovations, tant plastiques qu'iconographiques, qu'il était nécessaire d'étudierOtto van Veen (also called Otto Vaenius), an artist forgotten by studies on Northern painting, is mainly known for being the last master of Rubens and the author of several emblem books. In his time however, he was one of the most renowned artists of the Flemish school. The reconsideration of this painter, his influences and the impact he had on a whole generation of artists are the main topics of this dissertation. Centered on his paintings and drawings, it does not put aside its emblems, which provide invaluable keys to understand some of his allegories. Since Vaenius' production largely reflects his time, this study also focuses on the cultural and intellectual history of the Netherlands. Thus, the various networks (artistic, humanistic, princely) he was a part of have been studied in depth. The aim of this dissertation was to evaluate his pictorial contribution with regard to his intellectual background. Besides the portraits of various personalities (princes, churchmen, humanists) and the cycles glorifying the image of the prince such as Joyous Entries, the religious paintings, observing the precepts of the Council of Trent, as the mythological and allegorical paintings, have been the subject of analysis that take into account the context of production as well as the various iconographies (from diverse sources, from Antiquity to the 17th century). Combining a clear and legible painting with erudite and refined details, Vaenius' artworks have led to numerous innovations, both plastic and iconographic, that deserved to be studied
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Simons, Patricia. "Portraiture and patronage in quattrocento Florence with special reference to the Tornaquinci and their chapel in S. Maria Novella /." Connect to thesis, 1985. http://eprints.unimelb.edu.au/archive/00000836.
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"Masculinity, Blood, And The Painted Blush: The Significance Of Ruddy Cheeks In Portraits Of Male Sitters, From The Renaissance To The Nineteenth Century." 2015.
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Marsova, Liubov. "Přátelské portréty v italském renesančním malířství." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-369962.
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(in English): Represented dissertation dedicated to the issue of male portraits of friends in Italian renaissance painting. Despite of existence of some publications focused on the specific aspects of male portraiture, this area has not been yet given sufficient research interest. In the introductory clause is presented theoretical outline of the male friendship concept of male friendship in the culture of the Italian Renaissance and also some key aspects of the portrait genre. The work is divided into chapters by topic: for example, "Portrait and Antique", "Portrait and Remembrance", "Portrait and Poetry". Some particularly interesting moments were extracted into separate excursions as profile portraits of two men, the subject of a mirror in a portrait genre, the communication possibilities of images. Artworks analyzed in the present research are not classified into a classical model of chronological "development". The pictures are interconnected with theoretical thinking, which is also conditioned by the artwork itself. For each painting, existing researches have been gathered and comprehended. There are also new iconographic interpretations of some of the presented works. For research have been abundantly used literature of period, theoretical writings and poetry. The work tries to respond to...
Books on the topic "Renaissance Portrait painting"
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Pommier, Edouard. Théories du portrait: De la Renaissance aux Lumières. [Paris]: Gallimard, 1998.
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Lorne, Campbell, Attwood Philip, and National Gallery (Great Britain), eds. Renaissance faces: Van Eyck to Titian. London: National Gallery Co., 2008.
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Bentley-Cranch, Dana. The renaissance portrait in France and England: A comparative study. Paris: Champion, 2004.
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1929-, Rogers Mary, ed. Fashioning identities in Renaissance art. Aldershot, [England]: Ashgate, 2000.
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Čarkina, Viktorija. Volti rinascimentali: Galleria Durerarts. Signa (FI): Masso delle Fate edizioni, 2019.
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Palais des beaux-arts (Brussels, Belgium), ed. Portraits de la Renaissance aux Pays-Bas. Lichtervelde: Hannibal, 2015.
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Dana, Bentley-Cranch, ed. The Renaissance portrait in France and England: A comparative study. Paris: H. Champion, 2004.
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Uffizi, Galleria degli, ed. The Medici on Wall Street: Portraits from the Uffizi Gallery. [Florence]: Edizioni Polistampa, 2004.
Find full textBook chapters on the topic "Renaissance Portrait painting"
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Margolis, Oren. "The Book Half Open." In Openness in Medieval Europe, 289–310. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-23_15.
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A small, blind-tooled volume sits on a table covered in green baize: one clasp is open, the other is closed; and a slip of paper emerges from it reading Veritas odium parit (truth breeds hatred). This detail occurs in the foreground of a portrait by Hans Holbein of a young man identified as the Cologne patrician Hermann von Wedigh III (Metropolitan Museum of Art, New York). A study of the physical features of the book and of the history of the brief text — actually an ancient and then Erasmian adage — leads to a new interpretation of the painting in the context of humanist friendship. The book is seen to be a multivalent simile for the work of art authored by the artist as well as for the sitter himself, raising questions about the implications for these of a medium that can be opened and closed. The half-open condition of the book is understood to reflect the complementary pressures of openness and closedness, accessibility and intimacy, that characterized the Renaissance republic of letters.
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Mac Carthy, Ita. "Grace and Favour." In The Grace of the Italian Renaissance, 50–75. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691175485.003.0004.
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This chapter shows that the life of Renaissance grace begins in earnest with Baldassare Castiglione's Libro del cortegiano (Book of the Courtier, 1516) and Raphael's portrait of Castiglione (1514–1516). It does so because preoccupations with grace and its multiple senses are central to both the book of manners and the painting, so much so that Castiglione came to be known as the great theorist of grace while Raphael was identified as its painter. Both have been referred to in countless studies from the sixteenth century to today as the embodiments of Renaissance grace. In addition, the network of interconnections between them makes Castiglione and Raphael a promising point of departure. It is an ideal testing ground for observing how grace behaves in different media and examining the extent to which it can be said to contribute to those interdisciplinary rivalries and friendships that allowed Renaissance learning, literature, and arts to flourish.
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Boschloo, Anton W. A. "Perceptions of the Status of Painting: The Self-Portrait in the Art of the Italian Renaissance." In Modelling the Individual, 51–73. BRILL, 1998. http://dx.doi.org/10.1163/9789004484221_005.
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Clark, Walter Aaron. "Preludio: Renaissance." In Enrique Granados, 3–10. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195140668.003.0001.
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Abstract In the Nelson-Atkins Museum of Art in Kansas City hangs a portrait by Francisco Goya of Don Ignacio O’Mulryany Rourera, and the curatorial commentary along-side it declares with breathtaking self-assurance that between Goya and Picasso, Span-ish art descended into “bourgeois mediocrity.” There is a lot of ideological baggage in such a view. The automatic linking of the bourgeoisie with mediocrity strikes an es-pecially curious note. For, were not the art, literature, and music of the nineteenth century molded by the tastes of the bourgeoisie that patronized them? In particular, are we prepared to dismiss all Spanish paintings between the royally commissioned works of Goya and the modernistic creations of Picasso as tainted by mediocrity? Ob-viously, some of us are.
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Gray, Rosalind P. "Collections and Patronage." In Russian Genre Painting in the Nineteenth Century, 12–44. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198208754.003.0002.
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Abstract Until the eighteenth century the Russians had not been great art collectors. There were some notable collections of gold and silver artefacts, and some of the aristocratic dynasties confirmed the purity of their lineage with handsome portraits of their ancestors, but there was no tradition of private picture galleries. This state of affairs was to change in 1697, when Peter the Great (r. 1682-1725) first went abroad, to Amsterdam, at the time one of the thriving trade centres of Europe. The Tsar, then in the fifteenth year of his reign, had already shown a strong proclivity for Western culture and society, and while he was in Holland he manifested an interest in European painting. After their artistic renaissance of the seventeenth century, the Dutch were avid picture collectors, and Peter attended several art auctions and saw first-class works in the Town Hall and in private collections. Inspired, he invested in a few marine paintings, which reflected his passion for all things nautical.
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Østermark-Johansen, Lene. "Character and Caricature." In Walter Pater's European Imagination, 158—C4.F13. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192858757.003.0005.
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Abstract The chapter discusses how Pater conceives of and constructs character. It adopts a prismatic approach, stressing parallels between the portraits, tragedy, and the character study, placing Pater in dialogue with Euripides, Philostratus, and Theophrastus. As Pater aestheticizes classical tragedy, he recreates Euripides’ Bacchae in ‘Denys l’Auxerrois’ and rewrites his fragmentary Hippolytus play. Philostratus’ Imagines serve as likely intertexts for Pater’s mythological portraits, as they employ the ekphrastic form of the short prose narrative in a transformation of the plots and characters of Greek tragedy into brief descriptions of paintings. The Theophrastan Characters form counterparts to Philostratus’ Imagines: a short, isolated form, centring on the individual, arranged in a sequence which may be rearranged, like the portraits in a picture gallery. The fluid boundaries between character and caricature are explored with the underlying argument that some of Pater’s own emotional detachment from his characters, often expressed through ironizing narrators, derives from his need to respond to the criticism of his style, person, and ideas. The chapter makes a case study of Rothenstein’ s Oxford Characters which includes a portrait of Pater and Pater’s character sketch of Frederick Bussell. Oxford Characters addresses the essence of Oxford life, implicitly asking what an Oxford character is. The Paterian educator becomes a recognizable type who speaks Pateresque and holds aesthetic ideals, most of which can be traced back to misreadings of The Renaissance. A subversive form, parody dissolves boundaries between one author and another, questioning our ideas about the integrity of personality and artistic product.
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Stamos, Nikolaos Ath. "Portraits Historiques in Education: Seeing Greek Mythology Through Renaissance Flemish Paintings." In Ways of Seeing: The Book of Selected Readings 2024, 130–42. International Visual Literacy Association, 2024. http://dx.doi.org/10.52917/ivlatbsr.2024.020.
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In this research, we deal with the connective way in which art can meet history in terms of methodology and multiliteracies. The historical framework of this study is the Renaissance in Flanders, the Dutch Golden Age, humanism (16th & 17th centuries A.D.), and the influence of Greco-Roman antiquity. Our aim was to determine if students can use Flemish paintings as an educational medium in order to selectively expand their visual and historical knowledge as they interpret portraits historiques (portraits of noble persons in mythological disguise). We examined the students’ observation-interpretation of these paintings and the way they could exhibit the development of visual-historical literacy. Within this study, we followed basic assumptions of Perkins (visual part) and Moniot (historical part). The case study method used here included 12-year-old students of a Greek primary school. Qualitative content analysis was performed on data from student interviews and student text production. Regarding the findings, students’ reading and interpretation of the image seemed to strengthen their visual literacy development, which in turn helped their historical literacy acquisition through a method of observing and comparing information.
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May, Steven W. "The Network in Action." In English Renaissance Manuscript Culture, 173–95. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198878001.003.0007.
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Abstract Chapter 6 summarizes the pervasive role of poetry (that is, anything that rhymed) in Renaissance society. Poetry so defined showed up in contexts where it is seldom if ever found today, including on the walls of private homes, on tableware and utensils, on the borders of paintings (including personal portraits), and embedded in legal, scientific, theological, and diverse other practical printed books. Lyric verse in particular was recited and sung in public and passed readily from hand to hand in manuscript. Case studies of textual transmission show how the network operated but also how difficult it is to establish a detailed understanding of how related texts found their way into different manuscript collections. Textual criticism, biographical research, handwriting analysis, and bibliographic analysis all come into play in our efforts to determine how texts were disseminated, where, when, and by whom.
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Dalivalle, Margaret, Martin Kemp, and Robert B. Simon. "‘Christ in the Manner of God the Father’." In Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts, 70–83. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813835.003.0004.
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Chapter 3 looks at the iconography of the image now called the Salvator Mundi, though this is not a name used at the time for images of Christ blessing and holding the globe of the world. Texts from the gospels of St Matthew and St John portray Christ as the benign comforter of the world’s inhabitants. The bands across Christ’s chest evoke the ‘yoke’ that the biblical Christ invites us to take up. The orb appears in Renaissance paintings in many guises, including metal spheres and terrestrial globes. The genre grew in popularity in the fifteenth century, not least in emulation of images by Jan van Eyck and Rogier van der Weyden. The stock frontal presentation of Christ related to a supposed eyewitness account and miraculous images made without human intervention. The direct stare is explained by Cusanus (Nicholas of Cusa) as expressing the ubiquitous nature of God’s gaze. There are also less common variants of the Salvator Mundi as a young Christ.
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Ohajuru, Michael. "Before and After the Eighteenth Century: The John Blanke Project." In Britain's Black Past, 7–26. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621600.003.0002.
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This chapter, authored by Michael Ohajuru, describes the origins and mission of the John Blanke Project of which he is the creator. John Blanke was a black trumpeter for the Tudor Court, pictured twice in the Great Tournament Roll of Westminster, and the first person of African descent in Britain for whom there is an identifiable image and documentation. Because so little is known of Blanke’s life, the Project commissions artists to portray Blanke in a variety of artistic mediums including poetry, rap, music, visual arts and the stage, letting history inform their imaginations. The Project also invites historians to contribute written pieces to add dimension to an understanding of what Blanke’s life might have been like in this time and place. The chapter attributes the genesis of the project to presentations Ohajuru gave with Dr Miranda Kauffman entitled Image and Reality: Black Africans in Renaissance England (IRBARE) in which he discussed images of the black magus or black king in art and the inclusion of Blanke in commissioned paintings by Stephen B. Whately on the life and times of Henry VII.
Conference papers on the topic "Renaissance Portrait painting"
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Stork, David G. "Were optical projections used in early Renaissance painting? A geometric image analysis of Jan van Eyck's "Arnolfini Portrait" and Robert Campin's "Merode Altarpiece"." In Electronic Imaging 2004, edited by Longin Jan Latecki, David M. Mount, and Angela Y. Wu. SPIE, 2004. http://dx.doi.org/10.1117/12.524193.
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Souliotou, AZ. "TRANSFORMATIONS OF MONA LISA: THE CASE OF A DISTANCE EDUCATION ART-ANDTECHNOLOGY PROJECT." In The 7th International Conference on Education 2021. The International Institute of Knowledge Management, 2021. http://dx.doi.org/10.17501/24246700.2021.7131.
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Mona Lisa by Leonardo Da Vinci has been subject to numerous and various transformations in the form of (re)interpretations, reproductions, replicas, appropriations and parodies. Mona Lisa is far more than a mere Renaissance portrait or a symbol of its time. Instead Mona Lisa is radically connected with artistic movements and practices throughout the history of art as well as with the 20th and 21st century visual culture, visual commerce and social media imagery. This paper presents an activity in a higher education Department of Early Childhood where students experimented with digital tools and made a collective artwork of digital transformations of Mona Lisa. This digital experiment was a distance education project which took place during the COVID-19 pandemic restrictions in Greece. At first, students were given examples of appropriations and parodies of Mona Lisa from the history of art as well as from the visual culture. Then students gave their own "responses" through making digitally transformed versions of Mona Lisa which they put together in a collective digital mosaic. Clones, distortions, semi-transparencies, repositions and other transformations within 75 Mona Lisa versions render this collective artwork a composition with reference to pixel structure. Students' collective artwork contributed to the deeper understanding of Da Vinci's masterpiece and increased their confidence and familiarity with Renaissance painting. The case of this activity proves that digital culture is a catalyst for art history learning and creativity in the classroom. Furthermore, this activity fosters collaborative learning through distance education and turns out to be a vehicle for empowering learners in a digital world, as well as for developing linguistic, numerical and multisensory skills through digital creativity. Keywords: Mona Lisa, Leonardo Da Vinci, distance education, higher education, digital art, participatory practices, community resilience
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Klokočovnik, Jure, and Deja Muck. "3D printed lithophane." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p44.
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Lithophane is a transparent plate on which, with the help of the different thickness of this plate, an image is formed. Light that passes through the plate from the back side of the plate shows a clear gray image on the front side of this plate. The strength of the transparency is determined by the material of the plate and the light source coming from behind. Without backlighting, the subject on the lithophane cannot be seen. Lithophanes in the form of porcelain vases were discovered in China long before the technique made its way to Europe. In Europe the origins of lithophanes date back to the early 19th century in France. Europeans perfected the technique and also used it to reproduce famous portraits and paintings. Today, the production of lithophanes is experiencing a renaissance with the advent of 3D printing technologies. In the research paper, the process of making lithophane using 3D printing is presented. First, 3D printing technologies are presented, more specifically the technology of extrusion of materials or thermoplastics modelled by joining layers. Then, the materials used for 3D printing with the mentioned technology are presented. Next, the procedures for 3D acquisition and reproduction of reliefs are described, and at the end, the lithophane itself is presented. In the practical part, the whole process of making lithophane is presented. For the creation of the lithophane model, the 3D modelling program Blender was used, and the lithophanes in physical form were made with the Creality Ender 3 3D printer using PLA filament. Droplet and electrophotographic printers were also used to produce colour lithophanes. The influence of LED and halogen lamps on the final impression of lithophane reproduction was also compared. Lithophanes produced with different print settings and different colour reproductions were compared. The results showed that the best wall thickness is one millimetre, and the layer thickness is the smallest value allowed by the printer. The orientation of the lithophane during printing has a great influence on the final image of the design. The best orientation is upright. Color reproduction is best when using electrophotographic printing in combination with acrylic varnish. Lighting research showed that LED is better than halogen lamps. The finished lithophane was of satisfactory quality and could be used as a decoration for the home or to organize an art exhibition with a large number of coloured lithophanes reproducing various artworks and motifs.