Journal articles on the topic 'Portrait'
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Aslan qızı Məmmədova, Ləman. "Portrait treasury of great Azerbaijan female artists." SCIENTIFIC WORK 78, no. 5 (May 17, 2022): 31–37. http://dx.doi.org/10.36719/2663-4619/78/31-37.
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Məqalədə Maral Rəhmanzadə, Vəcihə Səmədova, Elmira Şahtaxstinskaya kimi görkəmli Azərbaycan rəssamlarının bəzi əsərləri təhlil edilmişdir. Maral Rəhmanzadənin, mahir fırça ustasının portret əsərləri incəsənətimizin tarixinə boyakarlığın qiymətli nümunələri kimi daxil olmuşdur. Böyük rəssamın portret janrında yüksək sənətkarlıq nümunəsi sayılan əsərləri son dərəcə özünəməxsusluğu ilə səciyyələnir. Maral Rəhmanzadənin yaradıcılığında başlıca xüsusiyyətlərdən biri Azərbaycan qadınına xas gözəlliyin, zərifliyin, məğrurluğun və zəngin mənəvi aləmin parlaq vəhdətidir. Azərbaycanın görkəmli rəssamı Vəcihə Səmədovanın tablolarında isə biz maraqlı rəng çalarları, milli kolorit, kompozisiyanın dinamikliyini və böyük ustalıq görürük. Görkəmli rəssamın belə xüsusiyyətləri ilə seçilən tabloları dünya muzeylərində layiqli yer tutur. Elmira Şaxtaxtinskaya isə daha çox plakat və dəzgah rəsmlərinin müəllifi kimi şöhrət tapmışdır. Rəssamın Azərbaycanın elm, ədəbiyyat və incəsənət xadimlərinin portretlər qalereyası yüksək sənətkarlığı ilə fərqlənir: Üzeyir Hacıbəyovun portreti, Hüseyn Cavidin portreti, Qara Qarayevin portreti, Əcəmi Naxçıvaninin portreti, Sultan Məhəmmədin portreti, Məhəmməd Füzulinin portreti, Məhsəti Gəncəvinin portreti və b. Açar sözlər: qadın rəssam, portret, XX əsr təsviri sənəti, rəssam, rəngkarlıq, bədii obraz, rəsm qalereyası Leman Aslan Mamedova Portrait treasury of great Azerbaijan female artists Abstract The article analyzes some of the works of such outstanding Azerbaijan artists as Maral Rahmanzade, Vajiha Samadova, Elmira Shahtakhstinskaya. The portraits of the great master of the brush Maral Rahmanzade entered the history of our art as valuable examples of painting. The works of the great artis, considered an example of high skill in the genre of portraiture, are distinguished by high originality. One of the main features of Maral Rahmanzade’s creativity is a bright unity of beauty, fragility, pride and rich spiritual world of Azerbaijan women. In the paintings of the outstanding Azerbaijan artist Vajiha Samadova, we see interesting shades of colour, national color, dynamism of composition and great skill. The painting s of the famous artist, characterized by such features, a worthy place in museums around the world. Elmira Shahtakhstinskaya is best known as the author of posters and picturesque paintings. Elmira Shahtakhstinskaya has created a portrait gallery of Azerbaijan culture and science figures, which is distinguished by high skill of execution: portrait of Uzeyir Hajibeyov, portrait of Huseyn Javid, portrait of Gara Garayev, portrait of Ajami Nakhchivani, portrait of Sultan Muhammad, portrait of Muhammad Fizuli, portrait of Mehseti Ganjavi, etc. Key words: artist, portrait, 20th century fine art, artist, painting, artistic image, art gallery
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Heikkilä, Martta. "From the Self-Image to the Image Itself." Glimpse 22, no. 1 (2021): 18–22. http://dx.doi.org/10.5840/glimpse20212214.
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In this article, I examine the idea of the portrait from two viewpoints: the ‘classical’ portrait as it appears in Jean-Luc Nancy’s post-phenomenological philosophy, and the recent self-portrait photographs or ‘selfies’ on social media. First, I consider the portrait’s value in Nancy’s theories of art: for him, portraits hold an important position among the genres of visual art, since they present themselves as distinctive images by extracting the innermost force of the portrayed person. Secondly, I take up the philosophical and political implications of Nancy’s notion of the portrait vis-a-vis the contemporary selfie culture. I suggest that, instead of emphasizing the model’s singularity as traditional artistic portraits do, the flow of selfies tends to create similarity. I begin by clarifying Nancy’s paradoxical claim that the human portrait may resemble a person only on the condition of not representing him or her. After this, I inquire about the philosophical position of selfies as constructed portraits that make visible the absence of the self. However, as I argue, they do this in a sense that differs from Nancy’s account of the portrait. As a result, I propose that the repetition and circulation of selfies has remarkably changed our view on the significance and, finally, the ontology of the portrait.
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Darmadi, Indra. "Tinjauan Visual Subyek Foto dalam Karya Fotografi Potret Henri Cartie-Bresson dan Richard Avedon." Magenta | Official Journal STMK Trisakti 1, no. 01 (August 26, 2017): 83–91. http://dx.doi.org/10.61344/magenta.v1i01.10.
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Photography potrait is a photography field that highlight the character and traits of someone. In the world of photography there are two world leaders who are pioneers of photography in portrait photography, Henri Cartier-Bresson and Richard Avedon. Both have different theories in doing portrait photography. Conflicts that arise between the two is whether portrait photography should be done naturally or with posing. Of course, both have similarities photographic portraits, which portray someone in a work of portrait photography. This paper will discuss some of the work of portrait photography of Henri Cartier-Bresson and Richard Avedon, and compare the two works to find the answer to whether or not subjects to pose in a portrait photography.
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Mikulcová, Anežka. "Profilové portréty ze sbírek Národního muzea." Časopis Národního muzea. Řada historická 190, no. 1-2 (2022): 3–18. http://dx.doi.org/10.37520/cnm.2021.001.
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A historic collection of the Department of Older Czech History of the National Museum, which includes, among others, a very extensive collection of portraits encompassing various techniques, from painted, graphic and photographic portraits, through ceroplastic portraits, portrait silhouettes and portrait medallions, to portrait busts. While painted portraits in the form of miniatures, small and large hanging paintings have been the subject of detailed scientific attention, other types of portraits have been somewhat neglected. The aim of this paper is to draw attention to the presence of ceroplastic works, portrait silhouettes and small portrait medallions in the collections of the National Museum and to describe the phenomenon of profile portraits by means of these examples.
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Wu, Yiqian, Hao Xu, Xiangjun Tang, Xien Chen, Siyu Tang, Zhebin Zhang, Chen Li, and Xiaogang Jin. "Portrait3D: Text-Guided High-Quality 3D Portrait Generation Using Pyramid Representation and GANs Prior." ACM Transactions on Graphics 43, no. 4 (July 19, 2024): 1–12. http://dx.doi.org/10.1145/3658162.
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Existing neural rendering-based text-to-3D-portrait generation methods typically make use of human geometry prior and diffusion models to obtain guidance. However, relying solely on geometry information introduces issues such as the Janus problem, over-saturation, and over-smoothing. We present Portrait3D , a novel neural rendering-based framework with a novel joint geometry-appearance prior to achieve text-to-3D-portrait generation that overcomes the aforementioned issues. To accomplish this, we train a 3D portrait generator, 3DPortraitGAN, as a robust prior. This generator is capable of producing 360° canonical 3D portraits, serving as a starting point for the subsequent diffusion-based generation process. To mitigate the "grid-like" artifact caused by the high-frequency information in the feature-map-based 3D representation commonly used by most 3D-aware GANs, we integrate a novel pyramid tri-grid 3D representation into 3DPortraitGAN. To generate 3D portraits from text, we first project a randomly generated image aligned with the given prompt into the pre-trained 3DPortraitGAN's latent space. The resulting latent code is then used to synthesize a pyramid tri-grid. Beginning with the obtained pyramid tri-grid , we use score distillation sampling to distill the diffusion model's knowledge into the pyramid tri-grid. Following that, we utilize the diffusion model to refine the rendered images of the 3D portrait and then use these refined images as training data to further optimize the pyramid tri-grid , effectively eliminating issues with unrealistic color and unnatural artifacts. Our experimental results show that Portrait3D can produce realistic, high-quality, and canonical 3D portraits that align with the prompt.
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Kotliar, Svitlana, and Iryna Zaspa. "Female Portrait in Photography Art: from Authenticity to Modernity." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 84–96. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235094.
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The purpose of the research is to analyze female photo portrait, the concept of female beauty in photography, the history of the origin and formation of female portrait in photography. Moreover, the aim was to trace the common and distinct features of a female portrait from the past to nowadays. It was decided to establish a role of female photo portrait in the art of photography, to prove its peculiarity and importance. The research methodology consists of the following parts: theoretical – analysis of the female beauty concept in the photo portrait, history of female portrait development in photography, empirical – study of relationships between female portraits of different times, comparative – comparison of modern and authentic portraits. In the course of cognitive synthesis and generalization of distinctive and similar features of female photo portraits of different times, special features of the female portrait were determined. Scientific novelty. For the first time, the history and formation of female photo portrait from authenticity to the nowadays were analyzed. The analysis was conducted based on photo portraits researches of different times. A detailed analysis of factors influencing the formation of this genre of photography was carried out. With the help of the theoretical analysis, the factors influencing the development of the female photo portrait were determined, its specifics and features were outlined. Conclusions. In the course of the article, we analyzed female portrait in photography and the concept of female beauty in different periods. With the help of the analysis of the history of development and formation of the female portrait photography genre, its role in the art of photography has been established. Peculiarities of female photo portrait as a genre of the art of photography were determined. Its peculiarity and importance have been proved. The factors influencing the concept of female beauty in photography, the development of female portrait and its features have been generalized.
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Sabeti, Shari. "Coming ‘Face to Face with the People who Shaped Scotland’: Portrait Galleries, Creative Writing and the Pedagogical Dynamism of the Portrait Image." Museum and Society 21, no. 1 (May 16, 2023): 45–61. http://dx.doi.org/10.29311/mas.v21i1.4077.
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Museum education literature has paid surprisingly little attention to the distinctiveness of portrait galleries or portraits as a genre, despite the fact that they provide ‘powerful spaces for pedagogy’ (Hooper-Greenhill 2020: 24). Taking an ethnographic approach, this article offers a detailed analysis of such pedagogies at work in one creative writing class based at the Scottish National Portrait Gallery. It describes two pedagogical regimes – the institution’s and the guide’s – and explores how they compete to frame the portraits in different ways. Focusing on two specific portraits, and the creative writing produced in response to them, it argues that while the portrait gallery’s implied pedagogy insists on the subject in the portrait, the class tutor focuses on the portrait as object. Employing Hans Belting’s theory of images (2011), the article concludes that there is a distinctive pedagogical dynamism inherent in the portrait genre, which can be mined for different educational purposes.
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Lindell, Annukka K. "No Cheek Bias." Empirical Studies of the Arts 35, no. 2 (August 8, 2016): 127–38. http://dx.doi.org/10.1177/0276237416661988.
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In the history of portraiture, left cheek poses dominate. However, self-portraits favor the right cheek. Previous studies consistently report left biases for portraits of others and right biases for self-portraits; only one study has examined self-portrait pose orientation across a single artist’s corpus. The present study investigated posing biases of prolific self-portraitist Vincent van Gogh. Posing orientation in single-figure portrait ( N = 174) and self-portrait ( N = 37) paintings was coded. Unlike other artists, van Gogh was equally likely to paint himself in left and right cheek poses. Similarly, portraits of others showed no difference in left and right cheek frequencies but were distinguished by the inclusion of midline poses. These data highlight the importance of single artist cases studies when investigating portrait posing biases.
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Akimova, Natalia V. "Portrait Poetics in Dostoevsky’s Novel “The Adolescent”." Current Issues in Philology and Pedagogical Linguistics, no. 4 (December 25, 2022): 167–82. http://dx.doi.org/10.29025/2079-6021-2022-4-167-182.
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The article is devoted to the analysis of the features of the construction of portrait characteristics, as well as determining the role of the portrait in revealing the image of the characters of Dostoevsky’s novel “The Adolescent”. The relevance of the article is determined by the study of the portrait as a means of exploring the inner world of characters, the ability to trace the evolution of the use of static and dynamic portraits. The purpose of the article was to study the portrait as a means of artistic and psychological analysis in relation to the author’s concept of personality, the aesthetic views of the writer and the problems of the work. The definition of the role of portrait characteristics in the novel “The Adolescent” is facilitated by the analysis of the principles of portrait construction, a comparative typological method that allows identifying the features of creating static and dynamic portraits. It is noted that in the novel “The Adolescent” the theme of the chaos of post-reform reality, moral and spiritual decay is reflected in the characters of the characters, and by introducing a new type of hero into the novel, first-person narratives, change the ways of creating portraiture. Static and dynamic portraits are colored by subjective assessment, the feeling of the hero-narrator. Portrait typing techniques depend on the content of the person being portrayed. The characters are one-liners, whose inner world is unambiguous, and in the future there are no significant changes in their perception of the world and behavior, are depicted in monologue portraits (Lambert, Makar Ivanovich, etc.). The image of ambivalent heroes, who were affected by “disorder” and spiritual decay, is revealed in dialogical static portraits (Kraft, Vasin, both Princes Sokolsky). Especially in the novel, portraits stand out-impressions of two of the most complex characters and the most important persons in the fate of a teenager – Versilov and Akhmakova. These portraits are imbued with an emotional element. The study of the poetics of the portrait has given reason to assert that in the “The Adolescent” the portrait not only reveals the dominant psychological characteristics of the character, but also becomes a refraction of the inner world of the teenager, his artistic and psychological characteristics.
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Abdul Rahim, Rosliza, Mumtaz Mokhtar, and Ishak Ramli. "A Review Of Alternative Ways Malaysian Artists Approach Self-portraits Painting." Idealogy Journal 8, no. 1 (April 1, 2023): 152–58. http://dx.doi.org/10.24191/idealogy.v8i1.415.
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Painting for presentation Self-portraits have been revolutionised on several occasions. To achieve different effects in their portrait painting, the artist experimented and manipulated various media. Portraits are commonly defined in art as a likeness of a person, particularly a face till shoulders, but there are other ways to define a portrait and a painting. There is a lack of comprehension and interpretation of the topic. As a result, the purpose of this research is to trace the history of the self-portrait. From the 1940s to the 2000s, reviews were written in the form of a year-by-year chronology, identifying the approach used by local painters. Conclusion: The shift in the art movement from naturalistic approaches to a variety of styles resulted in new interpretations and opportunities for artists to create exciting portrait paintings. The development of a new understanding of the term "portrait painting" resulted in new interpretations and suggestions for a new way of presenting self-portraits, contributing to an alternative and creative way of practising portrait painting for Muslim artists.
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Hayes, Susan, Nick Rheinberger, Meagan Powley, Tricia Rawnsley, Linda Brown, Malcolm Brown, Karen Butler, et al. "Variation and Likeness in Ambient Artistic Portraiture." Perception 47, no. 6 (April 27, 2018): 585–607. http://dx.doi.org/10.1177/0301006618770347.
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An artist-led exploration of portrait accuracy and likeness involved 12 Artists producing 12 portraits referencing a life-size 3D print of the same Sitter. The works were assessed during a public exhibition, and the resulting likeness assessments were compared to portrait accuracy as measured using geometric morphometrics (statistical shape analysis). Our results are that, independently of the assessors' prior familiarity with the Sitter’s face, the likeness judgements tended to be higher for less morphologically accurate portraits. The two highest rated were the portrait that most exaggerated the Sitter’s distinctive features, and a portrait that was a more accurate (but not the most accurate) depiction. In keeping with research showing photograph likeness assessments involve recognition, we found familiar assessors rated the two highest ranked portraits even higher than those with some or no familiarity. In contrast, those lacking prior familiarity with the Sitter’s face showed greater favour for the portrait with the highest morphological accuracy, and therefore most likely engaged in face-matching with the exhibited 3D print. Furthermore, our research indicates that abstraction in portraiture may not enhance likeness, and we found that when our 12 highly diverse portraits were statistically averaged, this resulted in a portrait that is more morphologically accurate than any of the individual artworks comprising the average.
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Shpak, Larisa Yu. "Roman sculptural portrait and votive portrait of the Roman republic time (preliminary comparative data on composite portraits)." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 3 (September 14, 2021): 96–108. http://dx.doi.org/10.32521/2074-8132.2021.3.096-108.
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The materials for the composite portraits were images from electronic antique collections of museums, image banks and catalogs. To obtain visual images of the studied groups, the composite portrait method was used in a digital program. Results and discussion. Unlike the roman sculptural portrait of the 1st century BC, which has a specific purpose and real prototypes, prototypes of votive terracotta heads of the 3rd – 1st centuries BC can be both real people and typified model-forms. The main differences between the composite roman portraits from the etruscan-italic votives relate to the orbital part of the face, the nose width and the upper lip hight. The composite images of the roman votives of Latium are similar to the composite roman sculptural portrait in the nose width. The morphological differences between the votive portrait and the Roman republican sculptural portrait can be a reflection of really different anthropological types, which does not except the presence of the cumulative (Greeks, Etruscans, Latins) canon of morphological form in votive portraits. Conclusion. The early Roman portrait, represented by two distinctive forms of portraiture, reveals different anthropological types. The extent to which a possible morphological canon of votive heads gifts is influenced by Greek prototypes can be determined by comparison with a composite Greek portrait.
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Pashchenko, R., V. Ivanov, and D. Tsyupak. "Usage of phase portraits in analysis of doppler signals reflected from drone rotors." RADIOFIZIKA I ELEKTRONIKA 25, no. 4 (2020): 18–29. http://dx.doi.org/10.15407/rej2020.04.018.
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Subject and Purpose. Comparative analysis of the shapes of phase portraits of Doppler signals (DS) reflected from drone rotating rotors is given with regard to different time delays. The shapes of DS phase portraits are examined for various rotational velocities and numbers of the rotating rotors. Methods and Methodology. A method using phase portraits is suggested for analysis of Doppler signals reflected from drone rotating rotors. The method determines the number of the rotors and estimates their rotational velocities. Results. It has been found that the shape of the phase portrait of the baseline signal is practically independent of the time delay and can be described as an occasional movement of the image point following the phase trajectory in the center of the phase portrait. The appearance of characteristic regions on the periphery of the phase portrait allows separating baseline and sounding signals. It has been shown that the shape of the DS phase portrait of the rotating rotor during the flight movement of the drone depends on the time delay value. With a larger delay, phase portraits similar in shape appear at regular intervals equal to the Doppler signal period. With a larger rotational velocity of the rotor, the rate of similar phase portrait appearance diminishes. Conclusion. During the sounding of drone rotating rotors, the shapes of DS phase portraits depend on the value of time delay. With a larger number of rotors in the drone flight, the periodic change character as to the DS phase portrait shape remains unchanged. In this case, DS phase portrait shapes differ substantially for different numbers of drone rotors
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SHYLO, Oleksandr, Natalia TIMOFEEVA, and Yury PYANIDA. "ABOUT THE PORTRAIT OF V. V. STASOV BY I. YU. REPIN FROM THE COLLECTION OF THE KHARKIV ART MUSEUM." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 1 (June 30, 2023): 84–94. http://dx.doi.org/10.33625/hudprom2023.01.084.
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TIn 1907, the collection of the Kharkiv Art and Industrial Museum received a portrait of V. V. Stasov from the author. The portrait was written by I. Repin in 1905 in Penaty. This was the last portrait of Stasov, created by Repin from life. A portrait from Kharkiv collection completes the series, which includes several pictorial images. These are portraits of 1873; 1883, created in Dresden during a joint trip of the artist and critic to Europe; 1889–1890 – in a red shirt; 1900 – in a fur coat. It is worth noting that out of five picturesque portraits, three are costumed, specially conceived as “portraits with disguises”. Why did the artist need this masquerade? What does this portrait say about Repin’s personality and Repin’s work? The history of the creation of this portrait is considered in two contexts: firstly, those artistic tasks that the artist solved in the whole series of the mentioned images of the critic; secondly, in the biographical context of the relationship between the artist and the critic for more than thirty years. It is shown how, from the first to the last portrait, the trajectory of the artist’s exit from the influence of the critic’s ideas and his acquisition of his own views on art is outlined. In accordance with this, the composition of the work changed from portrait to portrait, in which the artist’s arbitrariness in solving the image of the critic is increasingly manifested. Deciding on the composition of each of the portraits, Repin at least demonstrates how in his work there was a transition from complete immersion in the content of the critic’s monologue to their dialogic relationship and departure from Stasov’s postulates as his own artistic worldview was formed. The authors defend the point of view on the portrait of Stasov from the collection of Kharkiv Art Museum as an outstanding work of the late period of I. Yu. Repin, who still needs to be deeply researched.
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Kanter, Dawn. "Constructing and Using the Portrait Sitting as an Art-Historical Research Object." Aesthetic Investigations 6, no. 2 (December 31, 2023): 110–27. http://dx.doi.org/10.58519/aesthinv.v6i2.16887.
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Portraiture is said to have evolved from a collaborative social practice to an artist-centric one. I challenge this view by focusing on the portrait sitting. I develop a portrait-sitting ontology, and a portrait-sitting database. I do so with reference to works in London's National Portrait Gallery, because the gallery features noteworthy sitters, leading to rich interpersonal exchanges during sittings. An approach from my portrait-sitting database shows the contributions of sitters to portrait production, calls attention to shared social and cultural ideas behind particular types of portrait production, and supports new interpretations of portraits and new periodisations of portraiture.
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Thorlacius, Lisbeth. "The Good Portrait of the Academic Author." Nordicom Review 26, no. 2 (November 1, 2005): 85–101. http://dx.doi.org/10.1515/nor-2017-0260.
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Abstract This article aims to give the reader a language with which one can discuss portraits of academics and their usage. Moreover the four most frequently used genres of portraits of academic authors will be introduced. And it will be argued why insight into, and knowledge of these genres is crucial in order to make the correct choice of portrait in the light of the context. The most relevant genres within photography of academics can be found within four categories: The classical portrait, the staged portrait, the situational portrait and the news portrait. When choosing a portrait whether it is for the news, public relations or the back cover of a book it is useful to have a vocabulary about the visual elements concerning photography of academics. Such a language can be provided by semiotics, and in this context I have drawn on aspects of the semiotic theories of Ferdinand de Saussure, Roland Barthes, and Charles Sanders Peirce.
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Suka Asih K.Tus., Desyanti. "Potret Sebagai Data Pribadi Yang Di Komersilkan." Jurnal Ilmiah Raad Kertha 2, no. 1 (July 8, 2020): 81–100. http://dx.doi.org/10.47532/jirk.v2i1.154.
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Portraitis works of copyrighted photography with human objects. Personal data is data inthe form of personal identities, codes, symbols, letters or numbers of personal identifiers.Personal data includes personal life affairs including (history) someone's communication.Whereas in concept, personal data is not merely information about domestic sphere, but alsoinformation about professional history,professional and public life because a person'spersonal affairs also intersect with the relevant public affairs (interpesonal relationships andalso facts that occur in public spaces). Legitimacy of personal rights is regulated asconstitutional rights as regulated in Article 28G paragraph (1) of the 1945 Constitution ofthe Republic of Indonesia. Portrait in which there are human beings as objects is part ofpersonal data. Portrait is part of human identity that must be protected. The use of unlicensedportraits for commercial purposes can be detrimental to portrait owners not onlyeconomically, this action injures self-identity which can cause a bad image for that person.The use of portraits as personal data without permission for commercial purposes can besubject to criminal sanctions (Copyrights Law) and civil claims (Law on ElectronicInformation and Transactions). This paper discusses how portrait settings are as commercialdata. The purpose of this writing is that the output of the purpose of this paper is as the outputof the Beginner Lecturer Research compiled by the author with the title "CopyrightProtection on Portrait Photographs in Social Media".
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Mammadova, F. "Artistic features of portrait works of people’s artist Huseyngulu Aliev." Culture of Ukraine, no. 72 (June 23, 2021): 62–70. http://dx.doi.org/10.31516/2410-5325.072.09.
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Achieving a realistic view of the image on canvas or paper is a key requirement of the portrait genre. Since the establishment of the professional school of painting, the portrait has attracted the attention of Azerbaijani artists and has been widely used in their work. Thus, in our miniatures of the Middle Ages, as well as among the paintings created in the XIX–XXI centuries, you can find beautiful, eye-catching portraits with high artistic value. Thus, the portrait has always occupied one of the main places in Azerbaijani painting. Of course, the main object of the portrait genre is a person, so its spiritual world and position in society is the main theme of fine art. For many years, portraits in Azerbaijani painting have been mainly dedicated not only to creative intellectuals, but also to workers, collective farmers and labor pioneers. In portraits, on the one side, there is a generalization of images, and on the other side, there is a more democratic approach to the selection of models. The characters in the portraits are close people, friends, relatives of the artists, or strangers who are attracted only by their appearance. Elements of painting in the human image of Azerbaijani artists attract attention: color, texture experiment, spatial elements, format, etc. It is known that in order to create a realistic portrait, artists must master the perception of emotions in a person’s environment, as well as master the art of realist painting. Throughout the development of the portrait genre, artists are engaged in research, trying to convey the true image of a person in an objective way. In the portrait genre, the image of the century was clearly visible. In the portraits of Azerbaijani artists, generalized, energetic, strong images are often replaced by psychologically complex characters. There is a growing interest in the spiritual world of images, the tendency to reach the depths of thought and intellect, to create a portrait with a rich spiritual content. Portraits created by Azerbaijani artists in modern times differ in their main features, such as deep spirituality and strict intellect.
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Moon, Elizaveta A. "THE PHENOMENON OF THE GRAVESTONE PORTRAIT IN POLISH SARMATISM." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2021): 142–54. http://dx.doi.org/10.28995/2073-6401-2021-4-142-154.
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The article considers the phenomenon of the gravestone portrait as a structural element of funerals within the Sarmatyzm culture. It studies the main types of tombstone portraits and the materials on which they were made. The author tells that the tradition of making and fixing tombstone portraits originates from an ancient ritual about the participation of a double of a de- ceased person. It is noted that the tombstone portraits were nailed to the end of the coffin and was directed in such a way that it was visible to all participants of the funeral procession. Special attention was paid to the decoration and deco- ration of the tombstone portrait, and the figures of angels acted as decorations. In this regard, the church service was conducted being focused directly on the tombstone portrait. The conclusion is formulated that the gravestone portrait personified the deceased in the funeral procession.
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Saretzky, Gary D. "Portraita journal for portrait photographers." History of Photography 20, no. 3 (September 1996): 278. http://dx.doi.org/10.1080/03087298.1996.10443667.
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Gudymenko, Yu Yu. "TRADITION AND INNOVATION IN THE WORKS OF O. A. KIPRENSKY: PORTRAIT OF A. K. SCHWALBE." Arts education and science 1, no. 3 (2021): 94–100. http://dx.doi.org/10.36871/hon.202103012.
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The article considers one of the key works of the portrait genre of the 1800s — the portrait of Adam K. Schwalbe by Orest A. Kiprensky. The analysis of this work by several generations of art historians (Herman A. Nedoshivin, Natalia N. Kovalenskaya, Dmitry V. Sarabyanov, Yakov V. Brook, Irina V. Linnik) reveals its main substantial and formal features, and also clarifies issues related to the concepts of tradition and innovation. All those who have written about this work agree that the artistic image of A. K. Schwalbe's portrait is based on impressions of Rubens and Rembrandt. However, a more careful analysis of Kiprensky's work provides an opportunity to considerably expand the sources of possible borrowings not only from the masters of the past. Studying it in the context of the art of 1800s leads to the conclusion that the works of Kiprensky's contemporaries (in particular Salvatore Tonchi) contain the same motifs used in the portrait of Schwalbe, namely: attributes of "fur coat portraits", the full-face representation of the model and the tightness of space, sharp character and expressiveness of the portrait's appearance. To prove the thesis that Kiprensky was influenced by the art of his time, a large number of works (including those by unknown artists), both famous and little-known, are involved.
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Bardovskaya, Larisa V. "Portraits of Grand Duke Ludwig of Hesse: Return after Neglect." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 172–85. http://dx.doi.org/10.21638/spbu15.2021.201.
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The article is dedicated to the attribution of two portraits of an unknown German general in the Tsarskoye Selo Museum collection. One of them is a ceremonial knee-high portrait, the other is a small head portrait of the same general. In addition, one portrait was purchased in 1997 at the “Lenfilm” stage properties, the other has always been in the museum. It was believed that the head portrait, by an unknown artist, depicted Grand Duke Ludwig of Hesse-Darmstadt — father of future Russian Empress Alexandra Feodorovna. The weak inscription at the bottom of the knee-high portrait states that it is a copy done by Heinrich R.Kröh in 1896 in Darmstadt, based on Heinrich von Angeli`s original. On the backs of both canvases, monograms from the personal collection of Empress Alexandra Feodorovna were found: the interwoven Russian letters “A” and “F” under a crown and “№ 8” (ceremonial knee-high portrait) and “№ 65” (head portrait). Both images date back to the famous “Family portrait of Grand Duke Ludwig of Hesse”, commissioned by Queen Victoria for the Drawing-room of her Osborne-House in London. In the queen’s letters, it is noted that Angeli had started to work on the head sketches immediately upon his arrival in 1878. Alexandra Feodorovna brought one of them, her father’s head sketch, with her to Russia. Also, in the year of 1878 Angeli painted the knee-high ceremonial portrait with the same regalia for Grand Duke Ludwig’s residence in Darmstadt. The portrait is known in copies executed by Ludwig Hofmann-Zeitz (Royal Collections, London) and Heinrich Kröh (now in Tsarskoye Selo Museum). The fate of Kröh’s replica happened to be tragic. First it was seen in a photograph of the Empress’s study in the Winter Palace of the 1900s made by St. Petersburg photographer Karl Kubesh. The photo shows companion portraits of the Empress’s parents. Both portraits disappeared after the 1917 Revolution. The knee-high portrait of Ludwig was badly damaged and as a result was included into the stage props of the studio as it was deemed unnecessary. After many decades, the portrait was returned to the Tsarskoye Selo Museum collection.
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Meijer, Fred G. "De portretten van Jan van Huysum door Arnold Boonen en anderen." Oud Holland - Quarterly for Dutch Art History 108, no. 3 (1994): 127–36. http://dx.doi.org/10.1163/187501794x00440.
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AbstractThe Ashmolcan Museum in Oxford owns a portrait of Jan van Huysum, thc famous painter of still lifes and landscapes, which has always been considered a self-portrait (fig. 1). Stylistic comparison, however, justifies the attribution of this portrait to Arnold Boonen. As early as the mid-eighteenth century the artist and writer Jan van Gool mentioned and illustrated a portrait of Van Huysum by Boonen (fig. 3). That picture can very probably be identified with a painting which was on the London art market in 1981, allegedly as a self-portrait of Jan's father, Justus van Huysum (fig.4). In an Amsterdam auction of 1773 a third, smaller, portrait of Van Huysum by Boonen came up for sale, and in recent decadcs a (studio) version of the Oxford painting has been on the market (fig. 5). From old catalogues it would appear that still more portraits of the painter by Boonen have existed. Printed portraits of Jan van Huysum, among them illustrations in biographical works, were apparently all derived, one way or another, from portraits by Boonen (figs, 3 , 6 and 8-10); even Kremer's romantic representation of the artist known only from a print- appears to be distantly related (fig. 12). The source for a nineteenth-century lithograph remains somewhat uncertain, although it, too, was probably inspired by Boonen (fig. 11). Clearly not a portrait of Jan van Huysum is Heroman van der Mijn's painting at Amsterdam (fig. 13), but a work at Quimper, now considered by the museum to be an anonymous French portrait of an unknown man, might be a fairly early effigy of Jan van Huysum after all (fig. 14).
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Park, Jiyoung. "The Formation and Development of Prince Portraits : With a Special Focused on the Portrait of Prince Yeonying." Korean Journal of Art History 315 (September 30, 2022): 149–76. http://dx.doi.org/10.31065/kjah.315.202209.005.
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The Portrait of Prince Yeonying was the official prince portrait, or yejin 睿眞, that was commissioned by the king. Prince Yeonying (1694~1776) attended to his prince portrait in person and used it as a statement of his power at the junctures of his political career even after he ascended to the throne to become King Yeogjo (r. 1724~1776). This paper tracks the trajectory of prince portraits acquiring new significance as the visual proclamation of royal authority in the late Joseon. The Portrait of Prince Yeonying was bestowed upon the prince by his father, King Sukjong (r. 1674~1720) in 1714. That event played out politically favorable for the prince for whom the political support was not yet built on a stronghold. When he was appointed as Crown Prince to his brother, King Gyeongjong (1720~1724), Prince Yeonying had his official portrait to be painted once more, and thereby sought to proclaim visually his elevated position in court politics. After his coronation, he continued to turn to his prince portrait, eventually having it moved to the interior of the royal palace so that it could be regularly examined and treated. Furthermore, he allowed his heir apparent, Crown Prince Sado, and grandson, who later became King Jeongjo, to have their official prince portraits, establishing the production of prince portraits as a norm to be observed by later generations. King Yeongjo, in other words, added political significance to his own prince portrait, which was a one-time gift from his father, as a means to bolster the basis of political support for not only himself but also his successors. Through this trajectory, prince portraits came to play a critical role in the visual politics of late Joseon.
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Davidson-Ladd, Jane. "Commissioning a Visual Legacy: Louis John Steele and Sir John Logan Campbell." Back Story Journal of New Zealand Art, Media & Design History, no. 9 (July 1, 2021): 7–29. http://dx.doi.org/10.24135/backstory.vi9.61.
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In 2017, Louis John Steele’s portrait of Sir John Logan Campbell at Kilbryde, c.1902, emerged on the auction market after over a century in private hands. It is a fascinating portrait of one Auckland’s earliest and most celebrated Pākehā citizens. The portrait is Steele’s most ambitious portrait and shows him creatively adapting the British aristocratic portrait tradition to the New Zealand context. No commissioning documents have been traced for the portrait, however a close reading of the painting alongside Campbell’s papers reveal it is filled with highly personal symbolism. The provenance of the painting is also uncovered through this research. Examination of the Kilbryde portrait with Steele’s five other portraits of Campbell demonstrates Campbell’s desire to leave a lasting visual legacy.
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Kim, Hyungbum, Junyoung Oh, and Heekyung Yang. "A Transfer Learning for Line-Based Portrait Sketch." Mathematics 10, no. 20 (October 18, 2022): 3869. http://dx.doi.org/10.3390/math10203869.
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This paper presents a transfer learning-based framework that produces line-based portrait sketch images from portraits. The proposed framework produces sketch images using a GAN architecture, which is trained through a pseudo-sketch image dataset. The pseudo-sketch image dataset is constructed from a single artist-created portrait sketch using a style transfer model with a series of postprocessing schemes. The proposed framework successfully produces portrait sketch images for portraits of various poses, expressions and illuminations. The excellence of the proposed model is proved by comparing the produced results with those from the existing works.
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Ганичева, А. В., and А. В. Ганичев. "Model for matching portraits of teachers and trainees." МОДЕЛИРОВАНИЕ, ОПТИМИЗАЦИЯ И ИНФОРМАЦИОННЫЕ ТЕХНОЛОГИИ 8, no. 3(30) (September 19, 2020): 9–10. http://dx.doi.org/10.26102/2310-6018/2020.30.3.009.
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Актуальность данной работы обусловлена необходимостью учета при организации учебного процесса личностных качеств преподавателей и обучаемых. Важность решения данной проблемы определяется возможностью формирования у учащихся индивидуальных траекторий обучения. Набор характерных черт преподавателя образует его профессиональный психолого-педагогический портрет. Совокупность качеств личности учащегося образуют его психологический портрет. Совместный портрет преподавателя и учащегося показывает качества обоих и характеризует их совместную деятельность в учебном процессе. Для описания портретов в статье разработана математическая модель на основе порождающей автоматной грамматики.Сформулированы принципы построения модели динамического портрета. Определены характеристики портретов: объем, вес, значимость, важность, масса. Для каждой характеристики рассматривается скорость ее изменения во времени. Введены понятия активности и усилия по изменению активности портрета, сложность портрета, векторного пространства сложности портретов. В качестве результативной характеристики портрета рассмаривается работа по изменению активности портрета и изменение массы портрета. Для графического изображения портретов используются графы древовидной структуры. Для иллюстрации полученных результатов рассмотрен конкретный пример. Результаты его решения представлены графически. Для портрета, представленного графом древовидной структуры использованы характеристики связности, глубины, запутанности, качества. The relevance of this work is due to the need to take into account the personal qualities of teachers and students in the organization of the educational process. The importance of solving this problem is determined by the possibility of forming individual learning paths for students. A set of characteristic features of the teacher forms his professional psychological and pedagogical portrait. The totality of the student’s personality traits forms his psychological portrait. A joint portrait of the teacher and student shows the qualities of both and characterizes their joint activity in the educational process. To describe the portraits, the article developed a mathematical model based on the generating automaton grammar. The principles of building a model of a dynamic portrait are formulated. The characteristics of portraits are defined: volume, weight, significance, importance, mass. For each characteristic, the speed of its change over time is considered. The concepts of activity and efforts to change the activity of the portrait, the complexity of the portrait, and the vector space of the complexity of portraits are introduced. As an effective characteristic of a portrait, work on changing the activity of a portrait and changing the mass of a portrait is considered. Graphical representations of portraits use graphs of a tree structure. To illustrate the results, a specific example is considered. The results of his decision are presented graphically. For the portrait represented by the graph of the tree structure, the characteristics of connectivity, depth, complexity, quality are used.
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Tarasenko, O. "Image of the Family and People in the Artwork of Roman Petruck." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 227–34. http://dx.doi.org/10.33838/naoma.27.2018.227-234.
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Heroes of portraits of Roman Petruk are open-world creative people – his teachers, parents, of the same age – young artists, actors in whose faces the reality of the Spirit is manifested, the movement of life. The article analyzes Petruk's portraits of his teacher, an outstanding Ukrainian artist and teacher, Nikolai Andreevich Storozhenko and teachers of NAOMA. The ritual value of a portrait is shown, which provides the connection of the worlds - temporary and eternal. The symbolic content of portraits, the value of the conditional background in character characteristics is studied. The relationship between content and form, features of composition, symbols and stylistics of portrait images of the Ukrainian artist in the context of world art is revealed. Methods of iconography and iconography are used. The main thing in the school of Storozhenko: the means of art combine in man the lost integrity of the body, soul and spirit. In the compositions of Petruk, secular and cult art was consonant. Following the teacher, Roman communicates the time: man and family, family and people, people and humanity. In Storozhenko’s portraits Petruk asserts the highest hierarchy of the artist-creator. The connection with portraits of avant-garde masters is shown. The relationship between the portrait and the icon in the portraits of Petruk is studied. The icon confirms the dominant spirit of peace, and emotionality is important in a psychological portrait. The work of the artist combines the legacy of the art of Ancient Rus and Byzantium, the European and Ukrainian Baroque, romanticism, and academicism with modern trends. Neosynthesticism – in such a way named his method Petruk. The gallery of portrait images created by Roman Petruk (more than 100 works of painting and graphics) is a testimony to the spiritual battle of the artist for the dominant of spirit over matter. The general scientific significance of the article is the introduction of a modern Ukrainian portrait into the context of world art.
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Jeong, Ji-Youn, Jang-Jon Lee, and Min-su Han. "A Study on Replica Restoration Methods through Scientific Analysis of Seongju Lee Family’s Portraits." Journal of Conservation Science 38, no. 3 (June 30, 2022): 201–16. http://dx.doi.org/10.12654/jcs.2022.38.3.03.
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Materials and techniques u sed for two portraits ( Jo-nyeon L ee a nd S ung-in L ee) o f the Lee family from Seongju enshrined in Seongsan temple were scientifically analyzed, and based on the data, an optimal replica restoration method was designed. According to the expression technique investigation, both portraits were expressed mainly in line drawing, but there were differences in shoes, pupils, the color expression of flesh, overpainting, and traces of reinforcement. Pigment analysis revealed that a mixture of cinnabar and minium, organic pigment, azurite, malachite, lead white, and yellow pigment were used in common. In the case of Sung-in Lee’s portrait, seokganju and atacamite were also used. In addition, comparison with the contemporaneous portraits of gentry showed that the portrait style at the time was found in the two portraits, but the singularity was modified differently there. Based on the scientific analysis, it was decided to replicate the old color restoration for Jo-nyeon Lee’s portrait while for Sung-in Lee’s portrait, it was decided to replicate the phenomenon. Detailed coloring techniques were presented by supplementing the expression techniques that are difficult to confirm visually using scientific data. In addition, by measuring the chromaticity of representative positions in the portrait for each color and presenting the color reference value calculated as the average value, the current color of the artifact can be replicated and restored based on the objective data as much as possible.
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Hayes, Susan, Peter Caputi, T. S. Zaracostas, Maggie Henderson, Julie Telenta, Elspeth McCombe, Kim Christopher, et al. "Likeness, Familiarity, and the Ambient Portrait Average." Perception 49, no. 5 (April 7, 2020): 567–87. http://dx.doi.org/10.1177/0301006620905420.
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This artist-led research project involved 10 visual artists producing 10 ambient portraits and a portrait average of a locally familiar Sitter, and 10 ambient portraits and a portrait average of a less locally familiar Sitter. All were then assessed for likeness by more than 150 members of the general public attending an exhibition during Australia’s 2018 National Science Week. The results of this study are that portrait averages can be highly shape accurate and tend to be seen as a good likeness by all viewers. However, the portrait average is not necessarily the best likeness. Extending and validating our previous findings regarding the relationship of likeness, familiarity, and shape accuracy (as measured using geometric morphometrics) in portraiture, unfamiliar viewers favouring shape accurate depictions of a Sitter attained statistical significance. Familiar viewers, however, although also tending to view shape accurate depictions a good to very good likeness, were shown to have a stronger preference for portraits that exaggerate a Sitter’s facial distinctiveness, including an exaggeration of their head pose, providing such exaggerations are in approximate proportional agreement.
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Bonța, Claudia M. "Dinamica dintre portret și peisaj în secolul al XVIII-lea. Studiu de caz: Portret de Femeie de Johann Martin Stock." Studia Universitatis Babeș-Bolyai Historia Artium 66, no. 1 (December 30, 2021): 27–42. http://dx.doi.org/10.24193/subbhistart.2021.02.
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"The Second Half of the 18th Century Highlights a New Fashion in Painting, the Portrait in Landscape that Combines the Portrait and the Landscape. The long series of female portraits arouse admiration and are imitated all over Europe. The Transylvanian space joins the new artistic trend, and we owe some spectacular achievements in this field to one of the most famous painters of the genre, Johann Martin Stock. The National Museum of History of Transylvania shelters in its collections a compositional portrait signed by Johann Martin Stock, Portrait of a Woman, 1787, a remarkable success of the 18th century local painting. Keywords: portrait, rococo, landscape, 18th century painting, Johann Martin Stock. "
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Agafonov, Anatoly I. "Don Military Portrait: Attribution, Content, Interpretation." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 1 (213) (March 31, 2022): 33–44. http://dx.doi.org/10.18522/2687-0770-2022-1-33-44.
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The Don military portrait is studied as one of the directions of Russian portrait painting of the first half of the 19th century, closely connected with the Cossack class and cultural traditions, the formation of the officer corps and generals, the Don nobility. The dependence of images on public opinion and military-political events in the country, the skill and knowledge of professional and amateur artists, their belonging to local or academic creative schools is shown. As the part of the military portrait, the work stands out with the coat of arms of the Ataman of the Don Army, cavalry general Maxim Grigoryevich Vlasov, emphasizing his personal status and new social position. The attribution, content and interpretation of portraits is carried out using both traditional approaches and with the broad involvement of the historical and subject method, based on auxiliary historical disciplines - uniformology, genealogy, heraldry, phaleristics and prosopography. It is stated that when painting portraits, the artists sought to comply with the rules and requirements for uniforms, awards and heraldry. But there were also serious inaccuracies that mislead researchers. For the first time, the mechanism and methodology of the scientific study of a military portrait, which are important for the Don and Russian portraiture of the 19-20th centuries, are revealed in detail. The composition and symbolism of the portraits are characterized. The debatable issues of studying the Don portrait are characterized, various versions of their attribution and content are proposed on the basis of royal awards, imperial legislation, military events in Russia and abroad. The dates of the portraits are being clarified.
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Chantoury-Lacombe, Florence. "Le portrait en malade. Histoire de sa face cachée." Envisager, no. 8 (August 10, 2011): 31–51. http://dx.doi.org/10.7202/1005538ar.
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Cette étude consacrée à l’interprétation du portrait en malade tente de démontrer comment, à travers la littérature artistique de la Renaissance et dans le discours des historiens de l’art contemporains, le portrait représentant un personnage malade a fait l’objet d’une euphémisation dans laquelle une bonne santé de la peinture était privilégiée au détriment d’une interprétation plus probante du portrait pathologique. Par l’analyse de différents portraits de gens varioles, syphilitiques ou atteints d’autres pathologies à la Renaissance, il s’agit d’observer que la représentation du visage pathologique met à mal le statut même du portrait.
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Lenaghan, Julia. "Two portraits from Aphrodisias: late-antique re-visualizations of traditional culture-heroes?" Journal of Roman Archaeology 31 (2018): 458–73. http://dx.doi.org/10.1017/s1047759418001435.
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The “Last Statues of Antiquity”, the collaborative project directed by R. R. R. Smith and B. Ward-Perkins, gathers into a single database all extant late-antique portraits. As a member of the research team, I was given the opportunity to study all the portraits that are either known or conjectured to represent traditional culture-heroes. This exercise gave me “new” eyes for viewing two “old” portraits from Aphrodisias, until now not identifiable. One, excavated in 1982, is a clean-shaven portrait, once fancifully identified as Julius Caesar (fig. 2); the other, first published in 1958, is a bearded portrait broken off a bust (fig. 13).Neither of these two heads is immediately recognizable as a representation of any known individual by the scholarly method which works so well with portraits of Early and High Imperial Roman emperors: that is, neither is identifiable as following any known “portrait type” by the application of the rules of “Kopienkritik”, whereby a scholar establishes the indisputable dependence of two sculptures on a model by finding precisely shared details between two heads — details of hair locks, face, pose, or attributes. In late antiquity, however, fidelity to inherited models was more fluid, and a bold re-interpretation — in terms of contemporary portrait-style — was perhaps even to be desired. This is particularly true in the case of the portraits of traditional culture-heroes: the many highly variable portraits of Menander (here fig. 6) or of Socrates may serve to demonstrate this point.
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Daal, Jan M. van, and Branko F. van Oppen de Ruiter. "The Young Lady in Pink. New Light on the Life and Afterlife of an Ancient Portrait." Studies in Ancient Art and Civilisation 26 (December 18, 2022): 125–62. http://dx.doi.org/10.12797/saac.26.2022.26.07.
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A Roman-Egyptian mummy portrait of a young woman in a pink tunic is part of the Allard Pierson collection in Amsterdam. The portrait is well-known and a key piece of the collection, but has received little scholarly attention so far. The life and the afterlife of the portrait are therefore poorly understood. The authors approach the portrait from different perspectives: its provenance and acquisition, the artist’s materials and techniques, the dating conventions surrounding mummy portraits and their cultural context. The authors advocate for this in-depth multidisciplinary approach primarily because it spotlights specific areas in mummy portraits (in this case, the pearl earrings) where iconography, materials and techniques and ancient socio-economic developments converge. Provenance research proved important not only for securing the object’s bona fide acquisition, but also for tracing its second-life biography. These converging perspectives effectively cast light on research areas where more work remains desirable. In lieu of secure documentation of the archaeological findspot (which is the case with most mummy portraits) this approach is a powerful tool to nonetheless compose histories that help to understand the meaning of mummy portraits in the past and in the present and provide a durable framework for future research.
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Huang, Zhengyu, Yichen Peng, Tomohiro Hibino, Chunqi Zhao, Haoran Xie, Tsukasa Fukusato, and Kazunori Miyata. "DualFace: Two-stage drawing guidance for freehand portrait sketching." Computational Visual Media 8, no. 1 (October 27, 2021): 63–77. http://dx.doi.org/10.1007/s41095-021-0227-7.
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AbstractSpecial skills are required in portrait painting, such as imagining geometric structures and facial detail for final portrait designs. This makes it a difficult task for users, especially novices without prior artistic training, to draw freehand portraits with high-quality details. In this paper, we propose dualFace, a portrait drawing interface to assist users with different levels of drawing skills to complete recognizable and authentic face sketches. Inspired by traditional artist workflows for portrait drawing, dualFace gives two-stages of drawing assistance to provide global and local visual guidance. The former helps users draw contour lines for portraits (i.e., geometric structure), and the latter helps users draw details of facial parts, which conform to the user-drawn contour lines. In the global guidance stage, the user draws several contour lines, and dualFace then searches for several relevant images from an internal database and displays the suggested face contour lines on the background of the canvas. In the local guidance stage, we synthesize detailed portrait images with a deep generative model from user-drawn contour lines, and then use the synthesized results as detailed drawing guidance. We conducted a user study to verify the effectiveness of dualFace, which confirms that dualFace significantly helps users to produce a detailed portrait sketch.
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Volkov, Dmitriy V. "Portrait drawing of the Great Patriotic War. Documentary and artistic evidence of eyewitnesses." Science and School, no. 4, 2020 (2020): 43–53. http://dx.doi.org/10.31862/1819-463x-2020-4-43-53.
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The article highlights the need to create a portrait drawing in frontline conditions. One of the important factors is the creation of portrait images, posters, aimed at the propaganda of military activities in the Red Army. In addition, the artists were fully interested in creating sketches for paintings, portraits, diary entries reflecting reality not only for agitation, but also for the creation of creative works that contain their own view of the working days of the frontline soldiers. The analysis of the paintings shows how similar and at the same time different the portraits are. To a large extent, the differences are due to the place of battles, their complexity and the circumstances in which the portrait drawings were created. The images of people were united by moral and volitional desire for victory, the imprint of fatigue on the face, the experience of relatives and friends who became close in battle. One of the important aspects for understanding the portrait image is the conditions for creating a picture - it is a portrait after the battle with combat weapons, wounded in hospital, at a concert, in the working environment of the headquarters, writing a letter in a trench. The models for portraits were as a rule people close to the artists and who belonged to the combat unit where they served.
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Ziyu, Liu, Yao Mengying, and Cao Shugui. "Teaching Decision-Making Based on Online Learning Big Data of Tobacco Courses: The Perspective of Student Portraits." Tobacco Regulatory Science 7, no. 6 (November 3, 2021): 5413–26. http://dx.doi.org/10.18001/trs.7.6.32.
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The high-quality development and technological upgrading of the tobacco industry put forward higher requirements for the overall quality of talents. In the context of the increasing popularity of blended teaching, in order to help teachers, major in tobacco, tomake better teaching decisions in the teaching process, guide college students majoring in tobacco to better complete their studies and provide timely warnings for students’ unhealthy conditions, this article proposes a method to assist teachers in teaching decision-making based on student portraits constructed based on online learning big data. First, collect basic student information and student learning information from the online learning platform. Secondly, preprocess of the data, delete data and normalize dense data. Then, collect and classify student information to form a portrait of basic student information, a portrait of learning achievements, a portrait of learning active level and a portrait of learning status. Analyze the portrait to guide and assist students in their learning and to give early warning of bad learning conditions. At last, analyze the student portraits according to different rules and put forward corresponding suggestions according to the characteristics of different groups of college students. According to the learning situation of learners majoring in tobacco, the article constructs the student portrait label system and portrait model. According to the constructed student portrait, it puts forward learning suggestions for individual students and student groups respectively. In the field of tobacco teaching, it has certain reference significance and application value in providing decision-making reference for differentiated and individualized teaching and assisting teaching decision-making.
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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 the display of maternal feelings. Those features give an opportunity not only to determine an artistic expression of family portrait in the work of Vigee Le Brun, but also to understand a value of masterpieces for the client. For Russian women of the epoch the presentation of Self with a child became a type of revealing portrait which emphasized her image of mother and assumed the exaltation of a model by combining methods of ceremonial and chamber picture.
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Gracheva, Svetlana M. "Portrait in Contemporary Russian Painting in the Context of World Art: A Typology of the Genre." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 636–48. http://dx.doi.org/10.21638/spbu15.2021.404.
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In Russian fine art, portrait painting has been traditionally distinguished by extraordinary variety and depth, reflecting the figurative and stylistic searches of artists of different periods. Russian art historians have comprehensively studied the portrait genre in the history of art. At the same time, the well-established classification of genres does not allow to take into account completely the variety of trends and approaches to the depiction of a person in contemporary art. The understanding of the portrait genre’s boundaries in contemporary art is extremely blurred. Sometimes it means either any image of a person, or even the absence of one at all. It appears essential and important to consider the work of Russian artists in the context of international visual art practices to compose a more holistic picture connected with general cultural development. The article proposes to expand the established typology of the portrait genre adopted in Russian art. The already well-known typology of portrait painting can be updated with other types of portrait based on the semantic and semiotic analysis of artistic works of the late 20th — 21st century. It is important to study contemporary Russian portrait painting from the perspective of a variety of typological models, and to use the new language of contemporary art history to understand the processes taking place in Russian painting of the late 20th — 21st century, in order to facilitate the entry of Russian art into the international cultural context. An idea has been matured to create a National Portrait Gallery in Russia which would collect portraits and self-portraits of the greatest personalities of our era in a real and virtual space.
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Bradley, Bruce. "Newton's gift to Roger Cotes." Notes and Records of the Royal Society 66, no. 2 (April 4, 2012): 159–67. http://dx.doi.org/10.1098/rsnr.2011.0066.
Full textAbstract:
In 1712 Isaac Newton sent a portrait of himself to Roger Cotes, who was then working with Newton as the editor of the second edition of Newton's Principia . Cotes acknowledged the gift with thanks in a letter to Newton, but the identity of the portrait, presumed to be an engraving done from one of the original portraits in oil, is a mystery. There are only a few engraved portraits to consider as possibilities. Two of them have been suggested as the portrait that Newton sent to Cotes, but an examination of the dates of those engravings rules out that possibility. A third possibility exists as a unique print in the collection of the Wellcome Library, and it now seems a better, if not the only, candidate.
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Mir-Bagirzade, F. A. "Лятиф Керимов в изображениях художников по коврам и гобелену." Studia Culturae, no. 53 (February 20, 2023): 21. http://dx.doi.org/10.31312/2310-1245-2022-53-21-30.
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On the example of types of samples of decorative and applied art of Azerbaijan (carpet and tapestry), the author studied the images of the portrait of the artist, scientist and theorist Latif Kerimov in the works of carpet and tapestry artists. As students of L. Karimov, each of the Azerbaijani artists who created his portrait, having passed his creative path, created an inimitable portrait of the artist in his own style. These portraits were created in tribute to the gratitude of their mentor, who paved the way for them and left an indelible mark on the history of the decorative and applied arts of Azerbaijan. The portraits of these artists will remain in the legacy of the young generation of Azerbaijan.
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Stepanian-Rumyantseva, Elena V. "The Literary Portrait from Pushkin to Dostoevsky." Dostoevsky and world culture. Philological journal, no. 4 (2020): 86–104. http://dx.doi.org/10.22455/2541-7894-2020-4-86-104.
Full textAbstract:
The article explores the peculiarities of literary portraits and studies the interconnections and contrasts between painted and written portraits. The recognizability of a portrait in pictorial art is attained not only through physical resemblance but also through “artistic deformations” that the author introduces to the appearance of the portrayed. In a literary portrait, identification is achieved both by verbal and plastic detailing and by addressing the reader’s inner experience and imagination. Traditionally, the literary portrait in the Russian literature of the 19th century is based mostly on plastic characteristics, comparisons, and color accents, and because of this, it is often defined as “pictorial”. However, portraits by Pushkin and Dostoevsky stand out as exceptionally original, as if created from a different material. Pushkin avoids detailing, instead, he presents a “suggestive” portrait, i.e., a dynamic outline of the personality. The reader’s imagination is influenced not by details, but rather by the dynamic nature of Pushkin’s characters. Dostoevsky does not inherit Pushkin’s methods, though he also turns to a dynamic principle in describing the heroes of his novels. When they first appear, he presents them as if from different angles of vision, and their features may often be in discord, which makes the reader sense a contradictory impact of their personalities, as well as of their portraits. This kind of portrait is a dynamic message, where the reader follows the hero along unexpected and contrasting paths that the author previously mapped for him. From the beginning to the very end of their works, these two classics of Russian literature present the human personality as a being in a state of life-long development, always changing and always free in its existential choice.
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Stepanian-Rumyantseva, Elena V. "The Literary Portrait from Pushkin to Dostoevsky." Dostoevsky and World Culture. Philological journal, no. 4 (2020): 86–104. http://dx.doi.org/10.22455/2619-0311-2020-4-86-104.
Full textAbstract:
The article explores the peculiarities of literary portraits and studies the interconnections and contrasts between painted and written portraits. The recognizability of a portrait in pictorial art is attained not only through physical resemblance but also through “artistic deformations” that the author introduces to the appearance of the portrayed. In a literary portrait, identification is achieved both by verbal and plastic detailing and by addressing the reader’s inner experience and imagination. Traditionally, the literary portrait in the Russian literature of the 19th century is based mostly on plastic characteristics, comparisons, and color accents, and because of this, it is often defined as “pictorial”. However, portraits by Pushkin and Dostoevsky stand out as exceptionally original, as if created from a different material. Pushkin avoids detailing, instead, he presents a “suggestive” portrait, i.e., a dynamic outline of the personality. The reader’s imagination is influenced not by details, but rather by the dynamic nature of Pushkin’s characters. Dostoevsky does not inherit Pushkin’s methods, though he also turns to a dynamic principle in describing the heroes of his novels. When they first appear, he presents them as if from different angles of vision, and their features may often be in discord, which makes the reader sense a contradictory impact of their personalities, as well as of their portraits. This kind of portrait is a dynamic message, where the reader follows the hero along unexpected and contrasting paths that the author previously mapped for him. From the beginning to the very end of their works, these two classics of Russian literature present the human personality as a being in a state of life-long development, always changing and always free in its existential choice.
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Donde, Dipanwita. "Selfhood and Subjectivity in Sufi Thought: Image of a Mole on Emperor Akbar’s Nose." Teosofi: Jurnal Tasawuf dan Pemikiran Islam 11, no. 2 (October 8, 2021): 216–39. http://dx.doi.org/10.15642/teosofi.2021.11.2.216-239.
Full textAbstract:
This paper addresses the making of portrait-images of Mughal emperors, in which distinctness and particularity in individual features distinguished portraits of emperor Akbar from his ancestors and successors. Scholars have argued that the technique of ‘accurate’ portraits or mimesis was introduced to Mughal artists with the arrival of renaissance paintings and prints from Europe, brought by Jesuit priests to the Mughal court. However, the question of why Mughal emperors saw a need to arrive at portraiture in the likeness of individuals remains to be addressed. This paper argues that the desire to portray a ruler, in all his individual particularity, can arise only within a literary and intellectual matrix in which the individual is valued and where ideas about selfhood and subjectivity have already permeated the philosophical, political, and literary thought. Tracing the transhistorical and transcultural migration of ideas and motifs from Timurid Central Asia to Mughal India, this paper examines the transference of Sufi thought on image-making practices, particularly portraiture, in the imperial court of the Mughals in early seventeenth century.
Keywords: Portrait-images of Akbar, subjectivity, Sufi thought, poetics between text and image.
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Markulyak, Larysa Vasylivna. "Means of Character Portraying in Mykhailo Kotsiubynsky's Literary Works." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 14, no. 24 (2021): 36–43. http://dx.doi.org/10.34079/2226-3055-2021-14-24-36-43.
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The article examines a portrait as a means of creating a character in the works of Mykhailo Kotsiubynsky, an outstanding Ukrainian writer of the fin de sièclе period. It is traced that an important category of poetics is the portrayal of a character. It helps to better understand the writer's intention, to reveal his creative individuality, to understand the problems of prose. Various types of portraits are identified, and the features of portraying in the novels of M. Kotsiubynsky's works are analysed. It is proved that the portrait is an emphasis on the anthropocentrism of fiction. The significance of portraing in the context of the formation of the character's image is clarified. The author of the article believes that Mykhailo Kotsiubynsky was one of the first among the modernist writers to feel the need to search for new approaches in the depiction of artistic images in order to create not only his own world, but also an integral paradigm of the Ukrainian cultural space. In the end, the research helped him develop his own holistic and unique style, a creative manner in which the writer translates the vision angle from a blind reflection of reality into the psychology of his characters. This work of M. Kotsiubynsky went beyond the realism discourse, absorbing the main features of neo-romanticism. It is traced that the neo-romantic stream of the story is more expressive with the ethnographic part, which is complemented by the portraits of the characters. It is due to the ethnographic portrait that the mental characteristics of the characters are reflected. In the story “Shadows of Forgotten Ancestors” M. Kotsiubynsky skilfully uses an ethnographic portrait, supplementing it with a psychological one, which helps to strengthen the mental features of the characters, to create vivid images. It has been proved that it is the character's portrait as a component of the human image that acquires special significance in the repertoire of Mykhailo Kotsiubynsky's works. It helps to better reveal the nature of the character and to better understand the nature of his actions. At the same time, M. Kotsiubynsky goes beyond the limits of ethnographic descriptiveness: he is interested in the soul of a person and human nature in general, therefore the writer resorts to a combination of ethnographic features of a portrait with its psychological manifestations. It is proposed to consider a portrait as a means of expressiveness in revealing the ideological content of a prose work. The role of the artistic detail is substantiated, which emphasizes the semantic content of the psychological portrait on the one hand, and, on the other, it enriches the ethnographic gamma of the writer's prose. It is traced that the use of contrast creates a dynamic that serves the emergence of a cohesive image. Portrait descriptions are not only plot elements, but are full-fledged components of the work. It has been established that the image of the writer himself also appears through the portrait characterization of the characters, so the representation of a work of art occurs through the prism of the artist's individual perception.
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Faries, Molly, and Matthias Ubl. "A New Attribution to Jan van Scorel." Rijksmuseum Bulletin 65, no. 4 (December 15, 2017): 354–71. http://dx.doi.org/10.52476/trb.9768.
Full textAbstract:
This article posits a new attribution to Jan van Scorel of the imposing, frontal portrait of Joost Aemsz van der Burch (c. 1490-1570), Antwerp, The Phoebus Foundation, especially as compared with Scorel’s portrayal of Reinoud III van Brederode (1492-1556), Lord of Vianen, Amsterdam, Rijksmuseum. Other portraits by Jan van Scorel that are related in terms of patronage are also discussed, including Portrait of Janus Secundus (1511-1536), The Hague, Haags Historisch Museum; Portrait of a Man in a private collection in England; Portrait of Jean II de Carondelet (1469-1545), Brussels, Musées royaux des Beaux-Arts de Belgique; Portrait of Joris van Egmond (1504-1559), Amsterdam, Rijksmuseum; and Portrait of a Man, Antwerp, The Phoebus Foundation. These provide insights into Scorel’s development of portraiture on amore monumental scale, his distinction as a portraitist from his contemporary, Jan Cornelisz Vermeyen, and his clientele at courts in Breda, Mechelen and Brussels.
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Micklewright, Nancy. "An Ottoman Portrait." International Journal of Middle East Studies 40, no. 3 (August 2008): 372–73. http://dx.doi.org/10.1017/s002074380808094x.
Full textAbstract:
This carefully composed portrait of a high-ranking Ottoman bureaucrat is striking for several reasons. First, at nearly 16 by 13 inches, it is at least four times larger than most portraits of this period and lacks the ornamental cardboard frame into which portraits were commonly placed, instead being pasted directly onto a cardboard support. Second, although there is a long tradition of documenting men at work or places of business in the photography of the late Ottoman Empire, these images tend to privilege traditional occupations (e.g., itinerant merchants or craftsmen) and sites of commerce, such as outdoor markets, the covered bazaar, or shops along the Grande Rue de Pera in Istanbul. Third and finally, in its setting, the objects chosen to be included on the desk, and the pose of the central figure, the portrait insists upon the modernity of the subject as its primary message, raising questions about its intended audience.
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Popko, O. N. "Ceremonial portraits of Prince Peter Lvovich Wittgenstein in the context of his iconography." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 66, no. 3 (August 5, 2021): 333–42. http://dx.doi.org/10.29235/2524-2369-2021-66-3-333-342.
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The article is devoted to the study of three ceremonial portraits of Prince Peter Lvovich Wittgenstein, a general of the Russian army and the richest landowner in Belarus in the 19th century. Most of ceremonial portraits of 19th century military men were perished in the whirlwind of wars and revolutions of the 20th century. Finding each such work, even outside our country, is of great interest.The prince’s maternal ancestors were representatives of the most famous aristocratic family in the history of Belarus. His father was the son of a Russian field marshal, hero of the war with Napoleon. Prince Peter did not leave children, all of his portraits are now outside Belarus about the descendants of his sister and brother.The paintings were revealed by the author himself, have not been studied before.The earliest portrait dates from the 1850s. and represents the prince in the uniform of a junior officer of the Horse Guards Regiment. The author’s name is not known, there is a copy of J. N. Bernhardt. The next portrait was painted by an unknown artist around 1864. The latest portrait represents a prince in a general’s uniform, completed by the Austrian artist Z. L’Alleman in 1888 after the death of his hero. Two copies of this portrait are also kept in private collections of his descendants.The article presents descriptions of portraits and their copies, analysis of the history of creation and existence in the context of the prince’s biography and his iconography, through the prism of the Russian and European tradition of writing ceremonial portraits of government officials.
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Kaspina, Maria M. "PORTRAIT OF THE RYBNITSER REBBE AND WAYS OF COMMUNICATION WITH HIM." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 5 (2021): 54–68. http://dx.doi.org/10.28995/2686-7249-2021-5-54-68.
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The article examines the practices associated with the veneration of the portrait of the Rybnitser Rebbe (Chaim Zanvl Abramovich, 1902–1995) that are currently common among natives of Rybnitsa (now Transnistria). The study is based on field research in Rybnitsa in 2011–2019, as well as on the analysis of hagiographic literature in Yiddish and Hebrew, published in the United States after the death of the rebbe. The ambivalent attitude towards the depiction of the tzaddik is studied in the context of general ideas concerning portraits of rabbis in Hasidism. In many oral narratives, the motive of the constant justification of the practice of referring to the portrait of Chaim Zanvl remains. The image of the rebbe, a portrait printed on canvas, is kept in almost every family that remember the Rybnitser rebbe. The portrait was given to the people of Rybnitsa by the rebbe’s widow, who in the early 2000s collected materials for writing a hagiographic book about her husband. The photograph for the portrait was made in the classical style of rabbinical portraits of the 19th and 20th centuries. The Rebbe is depicted sitting over a holy book, in ritual dresses such as tallit with tefillin on his head, looking straight at the viewer. Despite the fact that it is not customary for Jews to have icons, pictures, etc., the interviews reveal the fact that the portrait of the tzaddik functions precisely like holy image. People talk to the portrait and pray to it; they hang it in a significant place at their homes; they keep it as a card in a wallet or as a small picture on key chains, in cars and on phone screensavers. In addition, for people from Rybnitsa the portrait of Chaim Zanvl becomes an icon of Jewish identity, a tool of social connection within the community and beyond.