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Face time : a history of the photographic portrait
From the daguerreotype to the digital age, 'Face Time' is an accessible introduction to one of photography's most popular subjects: ourselves. With over 250 illustrations, it presents rarely seen treasures alongside works by the greatest names in photography, including 19th-century pioneers Hippolyte Bayard and Julia Margaret Cameron, 20th-century masters Edward Weston, Lee Miller and Richard Avedon, and contemporary groundbreakers Newsha Tavakolian, Rineke Dijkstra and Zanele Muholi. It also immortalises some of photography's most iconic subjects, such as Queen Elizabeth II, Barack Obama, Marilyn Monroe, Frida Kahlo, Truman Capote and many others.
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Portraiture and politics in Revolutionary France
Portraiture and Politics in Revolutionary France challenges widely held assumptions about both the genre of portraiture and the political and cultural role of images in France at the beginning of the nineteenth century. After 1789, portraiture came to dominate French visual culture because it addressed the central challenge of the Revolution: how to turn subjects into citizens. Revolutionary portraits allowed sitters and artists to appropriate the means of representation, both aesthetic and political, and articulate new forms of selfhood and citizenship, often in astonishingly creative ways. The triumph of revolutionary portraiture also marks a turning point in the history of art, when seriousness of purpose and aesthetic ambition passed from the formulation of historical narratives to the depiction of contemporary individuals. This shift had major consequences for the course of modern art production and its engagement with the political and the contingent.
eBook
Fathom
In \"Fathom\", 39 portrait photographs are reproduced on full-page plates. It is Bernhard Fuchs second series of portraits and, like all of his other series to date, was several years in the making. We see people, photographed in the existent light of interior spaces, who handle the unspoken dialogue with the photographer in an enquiring manner. This creates peculiar atmospheres of proximity and distance, the like of which is prevalent in Bernhard Fuchs other series.
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The Art of Professing in Bourbon Mexico
In the eighteenth century, New Spaniards (colonial Mexicans) so lauded their nuns that they developed a local tradition of visually opulent portraits, called monjas coronadas or “crowned nuns,” that picture their subjects in regal trappings at the moment of their religious profession and in death. This study identifies these portraits as markers of a vibrant and changing society that fused together indigenous and Euro-Christian traditions and ritual practices to construct a new and complex religious identity that was unique to New Spain.To discover why crowned-nun portraits, and especially the profession portrait, were in such demand in New Spain, this book offers a pioneering interpretation of these works as significant visual contributions to a local counter-colonial discourse. James M. Córdova demonstrates that the portraits were a response to the Spanish crown’s project to modify and modernize colonial society—a series of reforms instituted by the Bourbon monarchs that threatened many nuns’ religious identities in New Spain. His analysis of the portraits’ rhetorical devices, which visually combined Euro-Christian and Mesoamerican notions of the sacred, shows how they promoted local religious and cultural values as well as client-patron relations, all of which were under scrutiny by the colonial Church. Combining visual evidence from images of the “crowned nun” with a discussion of the nuns’ actual roles in society, Córdova reveals that nuns found their greatest agency as Christ’s brides, a title through which they could, and did, challenge the Church’s authority when they found it intolerable.
eBook
The practical guide to drawing portraits
In this guide, budding artists obtain practical advice in a range of approaches to portraiture.
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Petrarch and Sixteenth-Century Italian Portraiture
The volume presents a wide-ranging investigation of the ways in which Petrarch's legacy informed the relationship between visual and literary portraits in sixteenth-century Italy. Petrarch's vast literary production influenced the intellectual framework in which new models of representation and self-representation developed during the Renaissance. His two sonnets on Laura's portrait by Simone Martini and his ambivalent fascination with the illusionary power of portraiture in his Latin texts - such as the Secretum, the Familiares and De remediis utriusque fortune - constituted the theoretical reference for artists and writers alike. In a century dominated by the rhetorical comparison between art and literature (ut pictura poësis) and by the paragone debate, the interplay between Petrarch's oeuvre, Petrarchism and portraiture shaped the discourse on the relationship between the sitters' physical image and their inner life. The volume brings together diverse interdisciplinary contributions that explore the subject through a rich body of literary and visual sources.
eBook
Portraits
This text dedicated to the portraiture of legendary photographer Terence Donovan (1936-1996). Donovan's interest in portraiture spanned the entirety of his four-decade career, when he worked for major British and international magazines including Vogue, Marie Claire, Harper's Bazaar and Elle.
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The Celebrity Monarch
Empress Elisabeth of Austria (1837-1898), wife of Habsburg Emperor Francis Joseph I, was celebrated as the most beautiful woman in Europe. Glamorous painted portraits by Franz Xaver Winterhalter and widely collected photographs spread news of her beauty, and the twentieth-century German-language film trilogy Sissi (1955-57) cemented this legacy. Despite the enduring fascination with the empress, art historians have never considered Elisabeth’s role in producing her public portraiture or the influence of her creation. The Celebrity Monarch reveals how portraits of Elisabeth transformed monarchs from divinely appointed sovereigns to public personalities whose daily lives were consumed by spectators. With resources ranging from the paintings of Gustav Klimt and Elisabeth’s private collection of celebrity photography to twenty-first century collages and films by T. J. Wilcox, this book positions Elisabeth herself as the primary engineer of her public image and argues for the widespread influence of her construction on both modern art and the emerging phenomenon of celebrity.
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