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Tom Waits
\"A collection of portraits of musician Tom Waits, the result of a 30-year collaboration with photographer and illustrator Matt Mahurin This book is a testament to the unique collaboration, going back three decades, between the photographer and illustrator Matt Mahurin and the musician Tom Waits. Having shot magazine portraits, album covers, and music videos of Waits, Mahurin was inspired to resurrect 100 dormant film negatives as a jumping off point to explore his own surreal, poetic, and occasionally dark vision. The images vary from traditional portraits to ones that capture Waits in concert--but the majority are imagined scenes in which Waits is more muse than musician. In addition to the diverse images, the book includes a foreword by Waits, an essay by Mahurin on their longtime collaboration, and 20 original paintings, drawings, photographs, and digital images inspired by Waits's song titles.\"--Publisher's website.
Book
Portraits as a Sign of Possession
Cardinals' portraits were not only intended for private residences and painted by famous artists, but were also produced in multiple copies of variable quality that still can be found on the art market. In these paintings, often based on portrait prints, likeness or artistic merit were not the most important criteria. Inventories show that most of these copies were actually made for religious institutions, such as orders and confraternities, of which these cardinals were appointed protector. This essay deals with the question of how and when these portraits were obtained and where they were displayed; by means of this spatial contextualization, it explains the legal function of these portraits within these institutions.
Book Chapter
Van Dyck, Rembrandt, and the portrait print
\"In the last decade of his life, Anthony van Dyck (1599-1641) undertook a printmaking project that changed the conventions of portraiture. In a series later named The Iconography, he portrayed artists alongside kings, courtiers, and diplomats--a radical departure from preexisting conventions. He also depicted his subjects in novel ways, focusing on their facial features often to the exclusion of symbolic costumes or props. In addition to illustrating approximately 60 works by Van Dyck and other artists from his era--particularly Rembrandt--this catalogue traces the artist's influence over hundreds of years. Showcasing both 17th-century portraits in a variety of media and portrait prints by a wide range of artists spanning the 16th through the 20th century--including Albrecht Durer, Hendrick Goltzius, Francisco de Goya, Edgar Degas, and Jim Dine--the book demonstrates the indelible mark that Van Dyck left on the genre\"-- Provided by publisher.
Book
Lest we forget : the Great War : World War I prints from the Pritzker Military Museum & Library
\"Lest We Forget: The Great War is a fitting tribute to the memory of those who served during World War I. Each print in the book is a story within itself and the narrative and accompanying photos are extraordinarily informative. Within the chronology and 'traditional' recitation of the war's progress are outstanding discussions of the campaigns outside the Western Front (a true world war), conscription, the impact of the influenza epidemic, and many other special topics.\" Review by General David Bramlett, US Army (Retired)
Book
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
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