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Journal articles on the topic 'Women – Portraits'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

van Deinsen, Lieke. "Visualising Female Authorship. Author Portraits and the Representation of Female Literary Authority in the Eighteenth-Century Dutch Republic." Quaerendo 49, no. 4 (2019): 283–314. http://dx.doi.org/10.1163/15700690-12341449.

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Abstract This article discusses printed author portraits of women writers as vehicles of public image in the male-dominated eighteenth-century book market. It shows how Dutch women writers responded to the growing demand for author portraits and used their portrait engravings to shape their public image. It proved to be a fine line between showcasing literary aspirations and maintaining female modesty.

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2

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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3

Thomas, Alison. "Portraits Of Women." Art Book 2, no. 1 (1994): 33–34. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00404.x.

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4

Thomas, Alison. "Portraits Of Women." Art Book 2, no. 1 (1995): 33–34. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00404.x.

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5

Zaidel, Dahlia W., and Peter Fitzgerald. "Sex of the Face in Western Art: Left and Right in Portraits." Empirical Studies of the Arts 12, no. 1 (1994): 9–18. http://dx.doi.org/10.2190/1bal-be93-j5ud-2wdx.

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The relationship between observers' taste and the sitter's face orientation as function of sitter sex in painted portraits was investigated. The historical tendency in portraiture is that the sitter's left side of the face is more likely than the right to be turned towards the viewer and this side bias is stronger with women than with men. Correctly oriented and reversed museum portraits were viewed by subjects who gave ratings of “liking” the portrait as a whole (Experiment 1) and for “attractiveness” of the sitter (Experiment 2). Only portraits of women showed a left-right difference with ri

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6

Dajani, Souad, and Orayb Aref Najjar. "Portraits of Palestinian Women." Antioch Review 51, no. 2 (1993): 300. http://dx.doi.org/10.2307/4612734.

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7

Hunt, Felicity. "Cambridge women: twelve portraits." Women's History Review 7, no. 3 (1998): 433–43. http://dx.doi.org/10.1080/09612029800200368.

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8

Baker, Alison. "Battle for truth: poetic interruptions into symbolic violence through sound portraits." Qualitative Research Journal 19, no. 1 (2019): 29–40. http://dx.doi.org/10.1108/qrj-d-18-00043.

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PurposeRacialised misrepresentation circulated en masse can be understood as a form of symbolic and cultural violence. Such misrepresentations create a dominant cultural narrative that positions people of African background as violent and troubled and therefore incompatible with Australian society. Young people from various groups have been using arts-for-social-change to challenge and dismantle these imposed misrepresentation and reconstruct narratives that reflect their lived experiences. The purpose of this paper is to explore sound portraits, both the process and product, by tracing the jo

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Novikova, Ekaterina S. "XVITH CENTURY FEMALE SELF-PORTRAITURE IN ITALY AND ITS FORMAL CRITERIA." Arts education and science 3, no. 36 (2023): 74–82. http://dx.doi.org/10.36871/hon.202303074.

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

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

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

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11

Antonson, Joan M., and Jenifer Lee Fratzke. "Alaska's Women Pilots: Contemporary Portraits." Western Historical Quarterly 37, no. 2 (2006): 242. http://dx.doi.org/10.2307/25443361.

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12

Peach, Lucinda J. "Portraits of Buddhist Women (review)." Buddhist-Christian Studies 24, no. 1 (2004): 289–93. http://dx.doi.org/10.1353/bcs.2005.0033.

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13

Fukumori, Naomi. "Eight Portraits of Japanese Women." American Book Review 28, no. 1 (2006): 9–10. http://dx.doi.org/10.1353/abr.2006.0176.

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14

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

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

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Sandole-Staroste, Ingrid, Claudia Honegger, and Theresa Wobbe. "Frauen in der Soziologie: Neun Portrats (Women in Sociology: Nine Portraits)." Contemporary Sociology 28, no. 6 (1999): 746. http://dx.doi.org/10.2307/2655602.

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16

Özkazanç, Zeynep. "Gazing With Animals: Auto-portraits Of Surrealist Women Artists." Feminist Tahayyul Akademik Arastirmalar Dergisi 4, no. 2 (2023): 226–57. http://dx.doi.org/10.57193/feminta.2023.226.

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Surrealist women artists have produced a multitude of works that transcend traditional gender and societal roles, presenting visions that blur the boundaries between humans and animals. These works challenge binary distinctions and hierarchical relationships, disrupting social norms and prompting a reimagining of human animal interactions. The self-portraits created by surrealist women, in which they depict themselves alongside animals, establish visual vocabularies that represent women and animal subjects in a non-anthropocentric manner based on interspecies companionship. This companionship

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17

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

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Almhaithawi, Doaa, Alessandro Bellini, and Tania Cerquitelli. "Toward Unbiased High-Quality Portraits through Latent-Space Evaluation." Journal of Imaging 10, no. 7 (2024): 157. http://dx.doi.org/10.3390/jimaging10070157.

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Images, texts, voices, and signals can be synthesized by latent spaces in a multidimensional vector, which can be explored without the hurdles of noise or other interfering factors. In this paper, we present a practical use case that demonstrates the power of latent space in exploring complex realities such as image space. We focus on DaVinciFace, an AI-based system that explores the StyleGAN2 space to create a high-quality portrait for anyone in the style of the Renaissance genius Leonardo da Vinci. The user enters one of their portraits and receives the corresponding Da Vinci-style portrait

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19

Rajner. "Marc Chagall's 1909 Portraits of Women." Nashim: A Journal of Jewish Women's Studies & Gender Issues, no. 14 (2007): 131. http://dx.doi.org/10.2979/nas.2007.-.14.131.

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20

Treadwell, Sarah, and Nicole Allan. "Limited Visibility: Portraits of Women Architects." Architectural Theory Review 17, no. 2-3 (2012): 280–98. http://dx.doi.org/10.1080/13264826.2012.736870.

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21

Raimedhi, Indrani. "Male Portraits by Assamese Women Writers." ANTYAJAA: Indian Journal of Women and Social Change 2, no. 1 (2017): 91–101. http://dx.doi.org/10.1177/2455632717708718.

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This article reflects how women writers in Assam create their male characters from the standpoint of their own vulnerable and precarious existence in a patriarchal society. The author has interviewed prominent Assamese women writers Mamoni Raisom Goswami, Anuradha Sharma Pujari, Rita Chowdhury, Arupa Patangia Kalita, Manorama Das Medhi, Leena Sarma, Moushumi Kandali and Karabi Deka Hazarika over the years to write this piece.

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22

MacLeod, Nicci, and Barbara A. Fennell. "Lexico-grammatical portraits of vulnerable women in war." Journal of Historical Pragmatics 13, no. 2 (2012): 259–90. http://dx.doi.org/10.1075/jhp.13.2.04mac.

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The 1641 Depositions are testimonies collected from (mainly Protestant) witnesses documenting their experiences of the Irish uprising that began in October 1641. As news spread across Europe of the events unfolding in Ireland, reports of violence against women became central to the ideological construction of the barbarism of the Catholic rebels. Against a backdrop of women’s subordination and firmly defined gender roles, this article investigates the representation of women in the Depositions, creating what we have termed “lexico-grammatical portraits” of particular categories of woman. In li

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23

Risnawati, Eris, and Maharani Fitria. "Potret Kekerasan Terhadap Kaum Perempuan Yang Terjadi Di Dalam Novel “A Beautiful Mistake” Karya Saviana Jose." PIKTORIAL : Journal of Humanities 2, no. 2 (2020): 92. http://dx.doi.org/10.32493/piktorial.v2i2.7628.

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The purpose of this study are (1) A portrait of women that occurs in the novel A Beautiful Mistake by Saviana Jose, and (2) violence against women that occurs in the novel A Beautiful Mistake by Saviana Jose. The research uses qualitative type with scientific method. The data in this research are sentences containing gender injustice in the novel A Beautiful Mistake. The data sources in this study are primary data and secondary data. Primary data sources used in this study are data taken from a collection of journals, books and other supporting articles such as magazines discussing gender inju

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24

Ziegler, Georgianna. "Portraits of a Lady: The Self-Presentation of Esther Inglis, Protestant Limner." Renaissance Quarterly 76, no. 2 (2023): 542–88. http://dx.doi.org/10.1017/rqx.2022.440.

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Esther Inglis (ca. 1570–1624), a Franco-Scottish writer, is known for her manuscript books, written in many handwriting styles and decorated with pen or brushwork in black-and-white or color. About twenty-five of her sixty or so surviving manuscripts contain self-portraits, which until now have not been examined in detail. This essay surveys the developing author portrait in manuscript and print for French women writers, along with portrait engravings and miniatures, considering their influence on Inglis. It shows further how she created a self within the broader context of transnational Prote

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25

Carpenter, Cari. "Indian Territory Reimagined: Ora Eddleman Reed's Twin Territories." American Periodicals: A Journal of History & Criticism 33, no. 2 (2023): 136–51. http://dx.doi.org/10.1353/amp.2023.a911653.

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ABSTRACT: Twin Territories was a newspaper in Indian Territory from 1898 to 1905 that included the latest regional news, historical information about various tribes, and the column "What the Curious Want to Know." It also incorporated a variety of photographs of American Indian women, portraits of officials, and landmarks. The newspaper actively sustained a national audience. Ora Eddleman Reed understood her role as an editor in Indian Territory in part as a responsibility to correct inaccurate, dangerous representations of Natives people in the US. In addition to countering stereotypes of wom

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26

Butovskaya, M. L., V. V. Rostovtseva, A. A. Mezentseva, and A. Mabulla. "Maasai Identify Male Altruists by Facial Appearance." Experimental Psychology (Russia) 16, no. 3 (2023): 7–18. http://dx.doi.org/10.17759/exppsy.2023160301.

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<p>In this experimental study, we continue investigating an association between facial morphology and individual psychological characteristics. The study was conducted in the population of Maasai (Ngorongoro, Tanzania) in two stages during field trips in 2016 and 2021. At the first stage, we collected anthropological photo portraits from 305 individuals (123 women and 182 men) and interviewed them to identify the propensity to help others. Six generalized morphed portraits of Maasai (men and women) were created based on individual propensity to help. At the second stage of the study, por

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Campbell, Erin J. "Prophets, Saints, and Matriarchs: Portraits of Old Women in Early Modern Italy*." Renaissance Quarterly 63, no. 3 (2010): 807–49. http://dx.doi.org/10.1086/656929.

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AbstractThis essay examines portraits of old women that were produced for the households of the professional and elite classes in Emilia-Romagna, Lombardy, and the Veneto during the second half of the sixteenth century, when, as a result of religious and social reform, women's lives came under increasing scrutiny. By interpreting the portraits within the context of prescriptive texts on the stages of women's lives, this study argues that the portraits provide evidence for the pivotal role of old women within the moral and symbolic order of the family, as well as in the wider community beyond t

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Godden-Rasul, Nikki. "Portraits of women of the law: re-envisioning gender, law and the legal professions in law schools." Legal Studies 39, no. 3 (2019): 415–31. http://dx.doi.org/10.1017/lst.2018.41.

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AbstractThis paper explores law school portraits of women in law as a way to challenge the over-representation of men in law. Portraiture is a long-standing means by which professions celebrate worthy individuals and reproduce institutional values. In relation to law and the legal professions, portraits are predominantly of men and link law with masculine attributes, contributing to the visual and actual marginalisation of women in law's past and present. The paper begins by setting out why portraits of women exhibited in UK law schools are an important way to challenge gender inequalities in

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Halpern-Amaru, Betsy. "Portraits of Biblical Women in Josephus' Antiquities." Journal of Jewish Studies 39, no. 2 (1988): 143–70. http://dx.doi.org/10.18647/1405/jjs-1988.

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30

Gamberi, Valentina. "Escaping from Rama: Portraits of Indian women." Culture and Religion 15, no. 3 (2014): 354–72. http://dx.doi.org/10.1080/14755610.2014.945469.

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31

David, Carol. "Investitures of Power: Portraits of Professional Women." Technical Communication Quarterly 10, no. 1 (2001): 5–29. http://dx.doi.org/10.1207/s15427625tcq1001_1.

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Sheumaker, Helen. "Portraits of Women in the American West." Western Historical Quarterly 38, no. 2 (2007): 239–40. http://dx.doi.org/10.1093/whq/38.2.239.

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33

DeJong, William. "Rape and Physical Attractiveness: Judgments concerning Likelihood of Victimization." Psychological Reports 85, no. 1 (1999): 32–34. http://dx.doi.org/10.2466/pr0.1999.85.1.32.

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Subjects in two studies were shown portraits of 32 young women who varied widely in physical attractiveness. Subjects were told that half of these women had been victims of a crime and half had not. Their job was to sort the portraits correctly into those two categories. In both studies, attractive women were more often categorized as victims of rape. In Study 2, attractive women were not more likely to be categorized as having been beaten and robbed. Correlation analyses showed that the association between physical attractiveness and presumed criminal victimization was significantly higher fo

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34

ANKYIAH, FRANCIS. "Riding against patriarchy." Sexuality and Gender Studies Journal 1, no. 2 (2023): 11–23. http://dx.doi.org/10.33422/sgsj.v1i2.478.

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Equestrian portraiture has historically upheld gender norms by depicting powerful men and excluding women artists. 17th and 18th-century equestrian portraits of women depicted them as passive objects, often overshadowed by their male counterparts. These portraits reinforced traditional gender roles and upheld the patriarchal hierarchy prevalent during that time. This paper examines how Ghanaian contemporary artist Sarfowaa challenges patriarchal traditions through feminist self-portraiture in appropriated historical equestrian paintings. Through visual analysis of composition, techniques, symb

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Høiris, Ole. "Den skæggede eskimo." Kuml 53, no. 53 (2004): 275–308. http://dx.doi.org/10.7146/kuml.v53i53.97502.

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The bearded Eskimo Looking at old Inuit and North American Indian portraits one can see that the men very often have a full beard; these representations are in this respect factually inaccurate and also in conflict with the written texts from the Renaissance that describe these people as beardless. Based on actual examples, this article shows how this can be explained with reference to Renaissance anthropology: the beard showed what kind of humans those natives really were, which was far more important than showing exactly what they looked like in a mirror.Martin Frobisher’s expeditions in sea

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36

Sun, Dian. "The Awakening of Feminist Artistic Expression: A Comparative Study of the Self-Portrait of Frida Kahlo and the Self-Portrait of Élisabeth Vigée Le Brun." Journal of Education, Humanities and Social Sciences 27 (March 5, 2024): 337–42. http://dx.doi.org/10.54097/fgmhf957.

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The topic of feminism was not discussed by scholars until the 20th century, but it has become a highly debated issue in today's society. Female portrait artists have been historically marginalized due to the origins of portraiture being intended to please male viewers. In the past, women were predominantly viewed as mothers and housewives within the social context. However, the research has revealed that numerous female artists defied the societal norms of the time and made unique efforts to achieve independence as professional women. In the long history of painting, there have been many femal

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37

Son, Myenghee. "Features and Functions of Sŏnwŏnjŏn of the Late Chosŏn Period Reflected in Ritual Foods and Vessels, Interior Setting, and the Enshrined Portraits." Korean Journal of Art History 312 (December 31, 2021): 35–74. http://dx.doi.org/10.31065/kjah.312.202112.002.

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Sŏnwŏnjŏn (璿源殿, Hall of Jade Source) stands out from other royal portrait halls within the late Chosŏn period on account of its unofficiality. This comes through in its rites, ritual foods and vessels, interior setting, and the enshrined portraits. Sŏnwŏnjŏn was an informal sacred hall where royal family members could personally present offerings and worship before portraits of late Chosŏn kings in the inner court. Birthday tea rituals (誕辰茶禮), which drew on non-Confucian traditions, were established as the representative rite of this hall. Unlike many other ritual halls at the time, these tea

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38

Hsu, Chi-Wei. "Alice Neels Female Nudes: Society, Feminism and Art." Communications in Humanities Research 3, no. 1 (2023): 648–62. http://dx.doi.org/10.54254/2753-7064/3/20220547.

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Alice Neel is one of the most prolific contemporary American artists, a realist in an age of abstraction. Her tenacity in portraying the people, the world and the issues that come with them led her portraits to carry not just a likeness to the subject, but also the subjects social, political, economic baggage. With that, Neels candor in portraying her subjects also allowed for representation of women of all circumstances, something historically lacking. Specifically, in her ground-breaking nude portraits of women, she breaks down previous conception of female nudes by incorporating the status

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39

Bauer, Denise. "Alice Neel's Feminist and Leftist Portraits of Women." Feminist Studies 28, no. 2 (2002): 374. http://dx.doi.org/10.2307/3178749.

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Schaeffer, Kurits R., and Ranjini Obeyesekere. "Portraits of Buddhist Women: Stories from the Saddharmaratnāvaliya." Journal of the American Oriental Society 124, no. 1 (2004): 208. http://dx.doi.org/10.2307/4132207.

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Preble-Niemi, Oralia, Bridget Kevane, and Juanita Heredia. "Latina Self-Portraits: Interviews with Contemporary Women Writers." Hispania 84, no. 3 (2001): 477. http://dx.doi.org/10.2307/3657795.

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Pointon, Marcia. "Interior Portraits: Women, Physiology and the Male Artist." Feminist Review, no. 22 (1986): 5. http://dx.doi.org/10.2307/1394934.

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Masmoudi, Ikram. "Portraits of Iraqi women: between testimony and fiction." International Journal of Contemporary Iraqi Studies 4, no. 1&2 (2010): 59–77. http://dx.doi.org/10.1386/ijcis.4.1-2.59_1.

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Pointon, Marcia. "Interior Portraits: Women, Physiology and the Male artist." Feminist Review 22, no. 1 (1986): 5–22. http://dx.doi.org/10.1057/fr.1986.1.

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Kong, Sherry Tao. "Breaking Barriers: Portraits of Inspiring Chinese-Indonesian Women." Bulletin of Indonesian Economic Studies 50, no. 1 (2014): 145–46. http://dx.doi.org/10.1080/00074918.2014.896310.

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He, Chengzhou. "Hedda and Bailu: Portraits of Two "Bored" Women." Comparative Drama 35, no. 3-4 (2001): 447–63. http://dx.doi.org/10.1353/cdr.2001.0011.

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47

Olorunnisola, Kanyinsola. "The Women in My Life Are Unfinished Portraits." Transition 131, no. 1 (2021): 174–90. http://dx.doi.org/10.2979/transition.131.1.15.

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Le Cadet, Nicolas. "Quatre héroïnes en une: art du portrait et féminisme chez Marguerite de Navarre ( L’Heptaméron , 15)." French Forum 47, no. 2-3 (2022): 125–38. http://dx.doi.org/10.1353/frf.2022.a914325.

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Abstract: Nouvelle 15 of the Heptaméron follows the love life of an aristocratic woman over a long period of time: married at a very young age to a husband who completely neglects her in favor of a lady of the court, she first patiently endures her situation before experiencing three successive adulterous loves. In this sentimental education for women, the heroine constantly metamorphoses as she learns: far from a figure presented as unambiguously vicious or virtuous, she evolves in a gray area rich in multiple virtualities and never ceases to amaze the reader with her speeches or her attitude

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Laing, Ellen Johnston. "Picturing Men and Women in the Chinese 1911 Revolution." Nan Nü 15, no. 2 (2013): 265–316. http://dx.doi.org/10.1163/15685268-0152p0003.

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In the late nineteenth and early twentieth century many Han Chinese, under the leadership of Sun Yatsen (1866-1925) and others sought to overthrow the Manchu Qing dynasty. This movement culminated in the Revolution which began in October 1911 and ultimately deposed the Qing imperial household, permitting the establishment of a republican government. As the Revolution progressed, the commercial popular print business, through inexpensive lithographs and woodblock prints, provided citizens with illustrations of important events in the Revolution, as well as portraits of male and female participa

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Small, Flicka. "Review of Vicereines of Ireland: Portraits of Forgotten Women, by Myles Campbell." Review of Irish Studies in Europe 5, no. 1 (2022): 129–30. http://dx.doi.org/10.32803/rise.v5i1.2935.

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