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Academic literature on the topic 'Shoulders portrait'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Shoulders portrait"

1

Abdul Rahim, Rosliza, Mumtaz Mokhtar, Verly Veto Vermol, and Rafeah Legino. "Iconography Underpinning Malaysian Portrait Painting." Environment-Behaviour Proceedings Journal 6, SI5 (September 1, 2021): 119–24. http://dx.doi.org/10.21834/ebpj.v6isi5.2936.

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Malaysian portrait paintings were introduced in the 1930s where local artists started using the subject in their art-making. In art, portraits are generally known as the likeness of a person, especially a face and shoulders, but in fact, there are more ways to define portrait and painting. There is a lack of understanding and interpretation on the subject. Consequently, this study aims to trace the chronology of the development of Malaysian portrait paintings. The stylistic and contextual issues, including its formalistic format, media, themes and styles, and artists, are also examined in this study using a mixed-mode of research method. Keywords: Portraits; Painting; Iconography eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2936

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2

Beard, Mary. "Casts and cast-offs: the origins of the Museum of Classical Archaeology." Proceedings of the Cambridge Philological Society 39 (1994): 1–29. http://dx.doi.org/10.1017/s006867350000170x.

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‘It's my PARTY…;’The Cambridge Museum of Classical and General Archaeology opened on 6 May 1884 with – what else? – a PARTY. Distinguished guests turned out, the University meeting the Aristocracy, Arts and Politics: H.R.H. Prince Albert Victor of Wales (the Queen's son, then an undergraduate), Sir Frederick Leighton (President of the Royal Academy), the painters Lawrence Alma-Tadema and Edward Poynter, the American Ambassador, Sir Frederick Burton (Director of the National Gallery), George Scharf (Director of the National Portrait Gallery), and other assorted dignitaries rubbing shoulders and sharing the fun with Richard Jebb (Regius Professor of Greek), E. B. (Primitive Culture) Tylor, S. H. Butcher (of Butcher and Lang's Odyssey), as well as (in the usual formula) ‘the Heads of Colleges, Doctors and Professors, the officers of the University’ … and their ‘ladies’. ‘Luncheon’ was taken in the hall of Gonville and Caius College at one o'clock. A great feast, no doubt, but a bit of a sprint. By two o'clock the assembled company had already finished the pudding and was proceeding to the lecture room of the new museum in Little St Mary's Lane.

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3

Forgacs, David. "Gramsci undisabled." Modern Italy 21, no. 4 (October 21, 2016): 345–60. http://dx.doi.org/10.1017/mit.2016.33.

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Most books by or about Antonio Gramsci reproduce on their covers the same studio photograph dating from the early 1920s. It is a head and shoulders portrait showing Gramsci with longish hair, dark coat buttoned at the neck, unsmiling and looking into the camera through wire-rimmed glasses. This was also the image of him most commonly displayed in Communist Party branches all over Italy from the late 1940s to 1991. Yet if we compare it with other extant photographs of Gramsci, as well as with those of other revolutionary leaders adopted as iconic in the communist movement, we can see it differs from the former and resembles the latter in several ways. The most striking difference is the erasure of any sign of Gramsci’s bodily impairment: the curvature of the spine and short stature resulting from the spinal tuberculosis he had as a child. The article examines the history of this photograph and the way it became adopted as the approved image of Gramsci and considers what was at stake in removing from official memory a condition of disability that was central to his own personal and political identity.

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4

Wood, Susan. "Hadrian, Hercules and griffins: a group of cuirassed statues from Latium and Pamphylia." Journal of Roman Archaeology 29 (2016): 223–38. http://dx.doi.org/10.1017/s1047759400072111.

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Three cuirassed statues and one fragmentary torso, all probably of the Hadrianic/early Antonine era, bear a rare breastplate relief. The heraldic design combines a muscular youth, nude except for a lionskin over his head and shoulders, and a pair of lion-griffins, whom he grasps by their horns. His iconography conforms to that of a youthful Hercules, whom we see here in the ancient formula for a “Master of the animals”. The composition has been mistakenly identified as a combat between griffins and an Arimaspos, but the central figure displays domination over the two creatures, rather than vice versa. A closely related device that appeared on some cuirassed statues during the same period represented the vegetal god Dionysus-Sabazios between a pair of his sacred panthers. The similarity of the two breastplate devices is no accident, although the two groups represent different deities and animals. Both these heraldic devices seem to have been popular only for a limited time but the device of Hercules with griffins does appear in works from both Italy and Asia Minor. One of these statues certainly represents the deified Hadrian, another is today restored with a head of the same emperor, which may or may not belong to the torso, and the third almost certainly once portrayed Trajan, although the portrait face underwent later recutting; the head of the fourth is lost.

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5

Johnson, Diana. "From Field to Frame: The Fine Art of Crop Art." Gastronomica 2, no. 2 (2002): 11–13. http://dx.doi.org/10.1525/gfc.2002.2.2.11.

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The annual seed art competition at the Minnesota State Fair evokes the heritage of an agriculture-based economy. But portraits of middle-American icons rendered in the seeds of Minnesota crops, exemplified by the work of old-timer Lilian Colton, rub shoulders with a more contemporary view of Minnesota's place in society presented by urban crop artists like Cathy Camper.

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6

Mason, DeWayne A. "Grasping Young Adolescents by the Shoulder: A Portrait of Mr. K." Middle School Journal 24, no. 2 (November 1992): 30–32. http://dx.doi.org/10.1080/00940771.1992.11495165.

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7

Commissiong, Anand Bertrand. "Where Is the Love? Race, Self-Exile, and a Kind of Reconciliation." Diaspora: A Journal of Transnational Studies 21, no. 1 (March 1, 2021): 27–46. http://dx.doi.org/10.3138/diaspora.21.1.2020-06-18.

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Cultivating solidarity or love for community for those systematically abused by the state and its civic community is a longstanding challenge. While the latter should primarily shoulder responsibility for (re)building trust, this article focuses on the abused self-exile’s agency and possible reasons for return. To understand possible motivations for (re)engagement, this article explores the African American expatriate experience rendered in fiction and criticism. It focuses specifically on William Gardner Smith’s The Stone Face and its portrait of the potentialities of Black love as a vehicle of social resurrection and the exercise of political power.

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8

Rickard, Mark A. "A Seventeenth-century Portrait Miniature of Charles II as Prince of Wales?" Antiquaries Journal 83 (September 2003): 492–95. http://dx.doi.org/10.1017/s0003581500077805.

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This small portrait miniature emerged in the sale, by an anonymous vendor, of part of the contents of a country house near Stamford, in Lincolnshire, on 16 February 2002. The image is painted in watercolour on a pale carnation ground with a support of either card or vellum and is in good condition with only one marginal abrasion. To the right of the miniature, against the pale blue background and parallel to the boy's left shoulder, is the monogram of ‘G’ above ‘I’. The frame is an oval seventeenth-century silver locket with a flat back measuring 33mm × 28mm. The convex glass is held in place by a gold band, and attached to the back is a gold loop secured by a thin flat plate, which is possibly a later addition.

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9

Hakkert, Alfred S., Irit Hocherman, and Abraham Mensah. "Levels of Safety on Interurban Roads." Transportation Research Record: Journal of the Transportation Research Board 1553, no. 1 (January 1996): 95–102. http://dx.doi.org/10.1177/0361198196155300114.

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The levels of safety of the main interurban road network in Israel are studied, and 70 percent of the total interurban roads are covered. A macro approach to the relation between road safety and various road categories as reflected in the overall geometric and traffic operational features is presented and is limited to road links. The classification and regression tree (CART) analysis, a nonparametric method that generates a binary tree structure from the data showing the criterion (variables) for each split and giving a pictorial representation of the data, is used as a preliminary tool to illuminate the relation between the variables and road accidents as a measure of safety and to identify meaningful candidate variables for deeper analysis. CART results portray the importance of average daily traffic (ADT) and the need for stratification of ADT in accident modeling. It also indicates probable power function models and highlights some interactive variables and the effect of shoulder type among single carriageways. However, no interactive variables were revealed because of the total dominance and masking effect of ADT. Multivariate multiplicative Poisson regression models with log links were fitted to the data set using the generalized linear interactive modeling package. The results again emphasize the safer nature of freeways as compared with conventional single- and dual-carriageway roads and show that the relation between ADT and safety is curvilinear. For the fitted parametric models, the effects of ADT were found to be most important, as in the case of the nonparametric CART analysis. In the case of models for single carriageway roads, other explanatory variables (free flow speed, type of shoulders, and junction frequency) showed some significance.

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10

Antoinette, Michelle. "Monstrous Territories, Queer Propositions: Negotiating The Asia Pacific Triennial of Contemporary Art, between Australia, the Philippines, and Other (Island) Worlds." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 54–85. http://dx.doi.org/10.1163/23523085-00302004.

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For the 8th Asia Pacific Triennial of Contemporary Art (apt) (2015–16), Sydney-based artists Justin Shoulder and Bhenji Ra collaborated to present Ex Nilalang, a series of filmic and live portraits exploring Philippine mythology and marginalized identities. The artists’ shared Filipino ancestry, attachments to the Filipino diasporic community, and investigations into “Philippine-ness” offer obvious cultural connections to the “Asia Pacific” concerns of the apt. However, their aesthetic interests in inhabiting fictional spaces marked by the “fantastic” and the “monstrous”—alongside the lived reality of their critical queer positions and life politics—complicate any straightforward identification. If the Philippine archipelago and island continent of Australia are intersecting cultural contexts for their art, the artists’ queering of identity in art and life emphasizes a range of cultural orientations informing subjectivities, always under negotiation and transformation, and at once both the product of and in excess of these (island) territories.

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Books on the topic "Shoulders portrait"

1

Form, William Humbert. On the shoulders of immigrants: A family portrait. Columbus, Ohio: North Star Press, 1999.

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2

Smith, Jeff. Jeff Smith's guide to head and shoulders portrait photography. Buffalo, N.Y: Amherst Media, 2009.

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3

A shoulder to lean on: Photographs and essays celebrating fathers with their children. Austin, Tex: Bright Books, 1998.

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4

Thomas, Faye. His hand was on my shoulder: Portrait of a physican, Dr. W.C. Thomas, Sr. [S.l: s.n., 1991.

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5

Pictures, Spink-Leger, ed. Head and shoulders: Portrait drawings & some small paintings. London: Spink & Son, 1999.

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6

Pictures, Spink-Leger, ed. Head and shoulders: Portrait drawings & some small paintings. London: Spink-Leger, 1999.

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7

Jeff, Smith. Jeff Smith's Guide to Head and Shoulders Portraits. Amherst Media, Incorporated, 2012.

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8

Hughes, Gary. Photographing Headshots: Posing, Lighting and Retouching Head and Shoulder Portraits. Amherst Media, Incorporated, 2016.

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Book chapters on the topic "Shoulders portrait"

1

"The Shoulders I Stand On." In Portrait of a Moral Agent Teacher, 21–57. Routledge, 2015. http://dx.doi.org/10.4324/9781315760896-2.

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