Romantic Portraits and their Afterlives Media Arts in Dialogue (original) (raw)
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https://edinburghuniversitypress.com/book-reconfiguring-the-portrait.html
As technological practices of the portrait have proliferated across the media ecosystem in recent years, this canonical genre of identity and representation has provoked a new wave of scholarly attention and artistic experimentation. This collection of essays explores the stakes of that seemingly anachronistic comeback. It reframes portraiture as a set of cultural techniques for the dynamic performance of subjects entangled in specific medial configurations. Tracking the portrait across a wide range of media – literature, drawings, paintings, grave stelae, films, gallery installations, contemporary music videos, deep fakes, social media, video games, and immersive VR interfaces – the contributors interrogate and transform persistent metaphysical and anthropocentric assumptions inherited from traditional notions of portraiture.
Portraits & Poses ConferenCe Programme
This conference seeks to address the various modes and strategies through which female intellectuals (authors, scientists, educators, and others) sought to negotiate and legitimize their authority in Early Modern and Enlightenment Europe (1600-1800). The 17th and 18th centuries have often been described as a decisive period in terms of professionalization as well as disciplinary formation and/or consolidation in the arts and sciences. In the course of this period, learned women increasingly articulated an awareness of their public image and were actively involved in modelling these representations. There is a growing body of scholarship on such individual women’s (self)representation as intellectuals, that invites us to draw out its implications for early-modern cultural history more broadly.
Portraiture, Biography and Public Histories
Transactions of the Royal Historical Society
Portraits and biographies play a central role in engaging non-specialists with the past, and hence invite careful scrutiny. Major enterprises, such as the National Portrait Gallery in London and the Dictionary of National Biography, in both its original and Oxford versions, provide rich examples for reflecting on public history and on the relationships between types of writing about past times. These issues relate to literature as well as to history, given the prominence of biographies of literary figures, and the role of literary scholars as authors of biographies. Using materials concerning the artist John Collier (1850–1934), the publisher George Smith (1824–1901) and the surgeon James Paget (1814–1899), this article examines the relationships between portraits and biographies and the types of insight they afford. Colin Matthew's innovation of including portraits in the Oxford Dictionary, together with his own scholarship on William Gladstone (1809–1898), including his portra...
CFP: ON PORTRAITURE. THEORY, PRACTICE AND FICTION (LISBON, 26-28 APR 21
Artistic Studies Research Centre, Faculty of Fine Arts, University of Lisbon, April 26 - 28, 2021 Deadline: Nov 30, 2020 On Portraiture. Theory, Practice and Fiction. From Francisco de Holanda to Susan Sontag CIEBA – Artistic Studies Research Centre, Faculty of Fine Arts, University of Lisbon 26 - 28 April 2021 - Faculty of Fine-Arts, University of Lisbon
Portraiture. Facing the Subject, Manchester UP 1997
1996
The first image was a portrait. In classical mytholow, a lovely youth named Narcissus lay beside a pool gazing in adoration at his own reflection. Ignoring the loving attention ofthe nymph Echo, he wasted away, died and was metarnorphosdiintoa flower bearing his name. Another myth tells of the Maid of Corinth who, wishing to capture her lover before their separation, drew around the shadow cast by his head on the wall of a cave. In the Rible, St Veronica compassionat~ly pressed a cloth against Christ's face as he stumbled to Calvary, and found His trite image rniracttlouslv imprinted into the material. Christian legend relates that St Luke k a m e a painter because, having experienced a vision of the Virgin Mary, he was inspired to produce a faithful portrait of her.
Oral History in Art, the Visual Arts, 2013
In this chapter, we consider the experience of an art/research experiment that took place in the context of the annual conference of the British Sociological Association (BSA), held at the University of East London in April 2007. The essay is in four parts: in the first section, the researcher gives the context of the project that underpinned the BSA event, mapping its theoretical directions and methodological moves. In the second section, the artist tells stories of becoming through words and images. The force of the artist’s narrative challenges and reconfigures discursively constructed boundaries between the researcher and the artist, initiating a dialogic encounter that unfolds in the third section as a visual/textual interface. This encounter revolves around the quest for meaning, which is after all what oral history is about (Portelli, 2011). Our quest for meaning actually inspired us to write about and problematize the BSA event. In this light, the final section looks critically into some of the questions that have arisen, situating them within wider problematics in the field of oral histories and narrative research in the arts and beyond.
Love, Loss & Intimacy (exhibition catalogue), National Gallery of Victoria, 2010
More than any other technique, the immediacy of the drawn line evokes the bond that occurs between an artist and their subject. Love, Loss & Intimacy is a selection of drawings and prints from the National Gallery of Victoria collection by seventeenth and eighteenth-century European artists through to contemporary Australians. In addition, paintings, sculpture, photographs and media works, including one loan, will strengthen the representation of some artists. Mothers and lovers, sons and muses – the exhibition explores how the human emotions of desire, grief and affection tie the observer to the observed. For many artists drawing is a compulsive act demanding continuous, if not daily, practice. Self, family and friends become the most available models with their features easily sketched from memory. Over time, careful observation reveals to the artist those nuances of the physical form that best express the essence of their subject. Such as in the fluid line of Rembrandt etchings of his mother, father and wife Saskia or Giovanni Battista Piazzetta’s drawing of his son Giacomo. Edvard Munch’s The kiss IV, as well as works by William Orpen and Joy Hester, capture intimate moments of desire where the identity of an artist merges with their lover. Marie-Thérèse Walter and Jacqueline Roque were amongst the many women in Picasso’s life who initiated emotional responses in the artist, which he then energetically translated into the print medium. While the contoured flesh of Edward Burne-Jones’ model Antonia Cavia suggests the trust that develops in the quiet seclusion of the artist’s studio. Augustus John, along with his first wife Ida and his sister Gwen, adored his dark-haired bohemian muse Dorelia who featured in many of his works. J. M. Whistler’s keen observation of Arthur and Seymour Haden communicates the close relationship he had with his nephews. In contrast, the poignant loss of a child underlies Max Klinger’s sketch of his one-day old daughter Desirée. Despite the strength of these familial attachments it is inevitable that either circumstance, or personal choice, will sever them. Then love is replaced with loss.