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Journal articles on the topic 'Portraits'
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1
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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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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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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Rendon, Laura, Tarek Taifour, Cynthia R. Ventrella, Ana Seara, and Adamo A. Donovan. "Personal Protective Equipment Portraits Canada (PPC)–Humanization and surveying mask-wearing nationally." PLOS ONE 19, no. 2 (February 23, 2024): e0298052. http://dx.doi.org/10.1371/journal.pone.0298052.
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Background Personal Protective Equipment (PPE) Portraits is a hybridized art and medical intervention that lessens the alienating appearance of PPE through wearable, smiling headshot pictures. During the pandemic, the use of these portraits was expanded, but Canadian initiatives offered portraits only to immediate stakeholders. PPE Portraits Canada (PPC) aimed to provide PPE portraits to any Canadian healthcare institution and surveyed healthcare workers (HCW) regarding these portraits’ impact. Methods University student volunteers founded PPC via online platforms and coast-to-coast collaborations that allowed any HCW nationwide to request a free portrait via an accessible online form. PPC has gathered feedback from participating HCWs directly via an anonymous and bilingual survey. Results 70% of HCWs wore their portraits “always” or “usually”, 69% of HCWs “definitely would” recommend their portrait, 89.5% of HCWs found that the PPE portraits made a difference in their experiences with patients and 74% found the same for their colleagues. The pre- and post-effect of the portraits, led to a 37.5% greater likelihood that HCWs felt “connected” or “very connected” to patients/residents. For the thematic analysis, 70% or more of the comments were rated as positive, with less than 5% of comments being rated as negative. Conclusion This model’s logistical framework can be expanded beyond PPE portraits to other initiatives with limited resources, allowing them to reach and positively impact diverse populations. HCW feedback was predominantly positive. The optimal design and impact of PPE portraits on patients and HCWs should be studied further to improve portrait adoption.
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Luque, Amalia, Julio Barbancho, Javier Fernández Cañete, and Antonio Córdoba. "Phase Shadows: An Enhanced Representation of Nonlinear Dynamic Systems." International Journal of Bifurcation and Chaos 27, no. 14 (December 30, 2017): 1730051. http://dx.doi.org/10.1142/s0218127417300518.
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Many nonlinear dynamic systems have a rotating behavior where an angle defining its state may extend to more than 360[Formula: see text]. In these cases the use of the phase portrait does not properly depict the system’s evolution. Normalized phase portraits or cylindrical phase portraits have been extensively used to overcome the original phase portrait’s disadvantages. In this research a new graphic representation is introduced: the phase shadow. Its use clearly reveals the system behavior while overcoming the drawback of the existing plots. Through the paper the method to obtain the graphic is stated. Additionally, to show the phase shadow’s expressiveness, a rotating pendulum is considered. The work exposes that the new graph is an enhanced representational tool for systems having equilibrium points, limit cycles, chaotic attractors and/or bifurcations.
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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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Miller, Eugene F., and Barry Schwartz. "The Icon of the American Republic: A Study in Political Symbolism." Review of Politics 47, no. 4 (October 1985): 516–43. http://dx.doi.org/10.1017/s003467050003713x.
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Portraits of heroes and leaders have been among the most widely diffused and deeply cherished of all political symbols. The political functions of such portraits grow out of distinctive semiotic qualities that set the portrait apart from other types of symbols. Judging from their public reception, George Washington's portraits — and, we believe, many state portraits — have the qualities of likeness, manifestiveness, moral efficaciousness, and sacredness that traditionally were ascribed to religious icons. From these qualities the state portrait gains a special power to bridge the distances of space and time and bring a society's representative men and women to living presence for its members. By evoking loyalties and attachments not only to the persons portrayed but also to the larger collectivities that those persons represent, state portraits function as important agencies of political integration and solidarity.
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McQuade, Molly. "Portraits and the Portraitist." Hopkins Review 11, no. 1 (2018): 146–56. http://dx.doi.org/10.1353/thr.2018.0025.
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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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Kim, Handong, Junho Kim, and Heekyung Yang. "A GAN-Based Face Rotation for Artistic Portraits." Mathematics 10, no. 20 (October 18, 2022): 3860. http://dx.doi.org/10.3390/math10203860.
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We present a GAN-based model that rotates the faces in artistic portraits to various angles. We build a dataset of artistic portraits for training our GAN-based model by applying a 3D face model to the artistic portraits. We also devise proper loss functions to preserve the styles in the artistic portraits as well as to rotate the faces in the portraits to proper angles. These approaches enable us to construct a GAN-based face rotation model. We apply this model to various artistic portraits, including photorealistic oil paint portraits, watercolor portraits, well-known portrait artworks and banknote portraits, and produce convincing rotated faces in the artistic portraits. Finally, we prove that our model can produce improved results compared with the existing models by evaluating the similarity and the angles of the rotated faces through evaluation schemes including FID estimation, recognition ratio estimation, pose estimation and user study.
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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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Ekkart, Rudolf E. O. "De Rotterdamse portrettist Jan Daemen Cool (ca. 1589 -1660)." Oud Holland - Quarterly for Dutch Art History 111, no. 4 (1997): 201–20. http://dx.doi.org/10.1163/187501797x00230.
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AbstractUntil now, the Rotterdam portraitist Jan Daemen Cool was known in the literature only as the maker of a group portrait painted in 1653 of the governors and administrator of the Holy Ghost Hospital at Rotterdam, and of a portrait of Piet Hein, which is dated 1629. Closer scrutiny of his activities reveals that the artist, who never signed his work, was Rotterdam's leading portrait painter in the second quarter of the 17th century. Jan Daemen Cool was born in Rotterdam in 1589 or thereabouts. He may have studied with Michiel Jansz. van Mierevelt in Delft, where he married Agniesje Jaspersdr. in 1613 and was admitted to the guild in 1614. He probably returned to Rotterdam in 1614 and spent the rest of his life there. After his first wife's death in 1622 he married again in 1623, this time to Lijsbeth Cornelisdr., the widow of Lowijs Porcellis. Many archive records indicate that Cool was a very prosperous man. After the death of his second wife in 1652. he bought himself a place in the Rotterdam almshouse; he also pledged to paint a group portrait of the governors. He died in 1660. An important starting point in reconstructing the artist's oeuvre is the portrait of the governors of 1653 (cat.no. 28), the authorship of which is substantiated by archive records. However, the portrait of Piet Hein, painted in 1629 (cat.no. I, 1st version), attributed on the basis of the inscription on Willem Hondius' print, is not an authentic Cool but probably an old copy after a portrait which he had painted a few years earlier. A systematic investigation of Rotterdam portraits from the period between 1620 and 1660 has yielded a closely related group of portraits which may be regarded as the work of one man and which include the 1653 governors piece. Combining this information with additional data and further indications has facilitated the reconstruction of Jan Daemen Cool's oeuvre. Pride of place in that oeuvre is occupied by a group of four family portraits painted between 1631 and 1637 and now in the museums at Lille (cat.no. 4), Edinburgh (cat.no. 6), Rotterdam (cat.no. 16) and Brussels (cat.no. 19). Hitherto these portraits have usually been assigned to Jacob Gerritsz. Cuyp. They are all situated in a landscape and represent an important step in the development of this type of family group in Dutch portraiture. A series of portraits of individual sitters painted be-for 1640, including companion pieces, some them identifiable a people who lived in Rotterdam, arc entirely consistent in style and execution with the aforementioned g group portraits. Elements in the portrait of Johan van Yck with his wife and son, painted in 1632 (cat.no. 5), correspond very closely with these works, but there are also discrepancies which suggest cooperation with another painter or later overpaints. A series of individual portraits dating to 1640 - 1654 link the first group of paintings and the late governors piece, the composition of which is quite exceptional in the entire production of such paintings in 17th-century Holland. Here, as in his early family groups, the artist shows himself to be quite an adroit arranger of f gures. Although this painting and two others of 1654 clearly show that he continued to paint after enterning the almshouse, ture is no extant work from the last years of his life. Along the Rotterdam portraits of the rest ched period are a few - likewise unsigned - family groups which are strongly influenced by Cool but are obviously the work of a less proficient hand (figs. 5 and 6). Comparison with a signed portrait of 1649 (fig. 7) enables them to be assigned to the painter Isaack Adamsz. de Colonia (ca. 1611-1663), presumably a pupil of Cool's. Although the work of Jan Daemen Cool bears a resemblance to that of such artists as Michiel van Mierevelt and Jan Anthonisz. van Ravesteyn, his oeuvre has a distinctive character that is most in evidence in his group portraits. There are obvious correspondences with painters such as Jacob Gerritz. Cuyp of Dordrecht, to whom various works by Cool were hitherto attributed, and Willem Willemsz. van Vliet of Delft - artists who likewise developed their own characteristic styles.
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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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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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Suka Asih K.Tus, Desyanti. "HAK EKONOMI DAN HAK MORAL KARYA CIPTA POTRET DI SOSIAL MEDIA." VYAVAHARA DUTA 14, no. 1 (September 19, 2019): 12. http://dx.doi.org/10.25078/vd.v14i1.1099.
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<p>Copyright is an exclusive right which contains economic rights and moral rights. Portrait is part of a protected creation. In a portrait that is distributed offline or online through social media, namely economic rights and moral rights that must be presented and adhered to by users. Copyright infragement that still occur for portraits on social media are related to violations of economic and moral rights. The use of portraits on social media without permission for commercial purposes is a form of violation of economic rights. While the form of violations of moral rights over portraits is not to include the creator or source of portraits used in social media. The regulation and protection of economic and moral rights of portraits on social media are regulated in the Copyright Law. Economic rights are stipulated in Article 12 to Article 15. Moral rights are stipulated in Article 5 to Article 7.</p>
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Parker, Diane L., and Anthony J. Picard. "Portraits of Susie: Matching Curriculum, Instruction, Find Assessment." Teaching Children Mathematics 3, no. 7 (March 1997): 376–82. http://dx.doi.org/10.5951/tcm.3.7.0376.
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Assessment can be thought of as an attempt to create a portrait of a student's learning. But portraits can vary according to what the artist chooses to focus on, and assessment portraits are no different in this respect. In this article, we examine two assessment portraits of one student and show how they relate to issues of curriculum and instruction.
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Mari, Emanuela, Alessandro Quaglieri, Giulia Lausi, Maddalena Boccia, Alessandra Pizzo, Michela Baldi, Benedetta Barchielli, Jessica Burrai, Laura Piccardi, and Anna Maria Giannini. "Fostering the Aesthetic Pleasure: The Effect of Verbal Description on Aesthetic Appreciation of Ambiguous and Unambiguous Artworks." Behavioral Sciences 11, no. 11 (October 23, 2021): 144. http://dx.doi.org/10.3390/bs11110144.
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Background: Aesthetic experience begins through an intentional shift from automatic visual perceptual processing to an aesthetic state of mind that is evidently directed towards sensory experience. In the present study, we investigated whether portrait descriptions affect the aesthetic pleasure of both ambiguous (i.e., Arcimboldo’s portraits) and unambiguous portraits (i.e., Renaissance portraits). Method: A total sample of 86 participants were recruited and completed both a baseline and a retest session. In the retest session, we implemented a sample audio description for each portrait. The portraits were described by three types of treatment, namely global, local, and historical descriptions. Results: During the retest session, aesthetic pleasure was higher than the baseline. Both the local and the historical treatments improved the aesthetic appreciation of ambiguous portraits; instead, the global and the historical treatment improved aesthetic appreciation of Renaissance portraits during the retest session. Additionally, we found that the response times were slower in the retest session. Conclusion: taken together, these findings suggest that aesthetic preference was affected by the description of an artwork, likely due to a better knowledge of the painting, which prompts a more accurate (and slower) reading of the artwork.
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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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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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Hayes, Susan. "Analysing Texture in Portraits." Perception 49, no. 12 (December 2020): 1283–310. http://dx.doi.org/10.1177/0301006620975705.
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This case study is an initial exploration as to whether the depiction of texture in a set of portraits, all portraying the same Sitter, is related to the familiar likeness assessments reported in a companion paper containing a principal component analysis (PCA) of the portraits’ depiction of shape. Somewhat unexpectedly, a texture PCA failed to discriminate the high from low likeness portraits, despite experimentation with different pre-processing methods to reduce the portraits’ high level of uninformative, image-level texture variability. There were some findings arising from these analyses, and while only indicative at this stage, include that linear histogram matching is effective in reducing variability in portrait brightness; that depicting, and perhaps exaggerating, shading relating to lighting direction may enhance portrait likeness; and, that whether minimised or exaggerated, lighting direction can be portrayed somewhat anomalously. Furthermore, and in agreement with findings from photographs, shape and texture were not found to be independent variables, and shape-free image registration, while very usefully enabling a comparison of closely corresponding pixel coordinate values, could itself be a confounding factor for undertaking a texture PCA with portraits produced under relatively ambient conditions.
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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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Murphy, Siobhan. "Screendance Portraiture: Truth, Transaction, and Seriality in 52 Portraits." Dance Research Journal 52, no. 3 (December 2020): 42–57. http://dx.doi.org/10.1017/s0149767720000376.
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The article examines the hybrid genre of screendance portraiture through the example of 52 Portraits by Jonathan Burrows and collaborators (2016). It unpacks three concepts that are foundational to visual art portraiture and suggests how each might apply to screendance portraits: the truth seeking impulse of portraiture; the portrait transaction, and the relationship between likeness, type and seriality. The article shows how 52 Portraits both relies on and departs from the productive counterpoints found within the portraiture tradition. In so doing, the article builds toward an emergent framework for understanding how screendance portraits function.
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Rodríguez-Licea, Martín-Antonio, Francisco-J. Perez-Pinal, José-Cruz Nuñez-Pérez, and Yuma Sandoval-Ibarra. "On the n-Dimensional Phase Portraits." Applied Sciences 9, no. 5 (February 28, 2019): 872. http://dx.doi.org/10.3390/app9050872.
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The phase portrait for dynamic systems is a tool used to graphically determine the instantaneous behavior of its trajectories for a set of initial conditions. Classic phase portraits are limited to two dimensions and occasionally snapshots of 3D phase portraits are presented; unfortunately, a single point of view of a third or higher order system usually implies information losses. To solve that limitation, some authors used an additional degree of freedom to represent phase portraits in three dimensions, for example color graphics. Other authors perform states combinations, empirically, to represent higher dimensions, but the question remains whether it is possible to extend the two-dimensional phase portraits to higher order and their mathematical basis. In this paper, it is reported that the combinations of states to generate a set of phase portraits is enough to determine without loss of information the complete behavior of the immediate system dynamics for a set of initial conditions in an n-dimensional state space. Further, new graphical tools are provided capable to represent methodically the phase portrait for higher order systems.
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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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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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Stone, Ian R. "The Arctic portraits of Stephen Pearce." Polar Record 24, no. 148 (January 1988): 55–58. http://dx.doi.org/10.1017/s003224740002235x.
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AbstractBetween 1851 and 1877 Stephen Pearce (1819–1904) painted, among many other subjects, portraits of most of the distinguished 19th century British Arctic explorers. This article outlines Pearce's life, presents his most celebrated painting ‘The Arctic Council discussing a plan ofsearch for John Franklin’, and catalogues the 25 Arctic portraits held by the National Portrait Gallery. A selection of four portraits spanning the artist's working life is illustrated.
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Yan, Yuchun, and Hyeon-Jeong Suk. "Affective Effect of Multi-source Portraits Under Various Illuminants on One Scene." Journal of Imaging Science and Technology 64, no. 2 (March 1, 2020): 20509–1. http://dx.doi.org/10.2352/j.imagingsci.technol.2020.64.2.020509.
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Abstract When portraits taken under various illuminants are placed together, they appear disparate from each other due to observers’ chromatic adaption to each portrait locally. Because the human perception has strong attachment to the memory color of human skin, it may cause an affective effect. This study intends to identify the affective effect of viewing multiple number of portraits whose white balance are not aligned. A visual assessment was conveyed, where portraits from different sources were matched. To simulate various illuminant conditions, three alterations of white balance were prepared for each portrait-warm (3000 K), neutral (6500 K), and cool tones (8000 K). This makes nine combinations for each stimulus. In Study I, 31 Korean college students were presented with a random one by one combination. Based on their subjective judgments on five criteria—authenticity, naturalness, professionality, content conveyance, and overall satisfaction—a statistical analysis was performed. In Study II, a creative writing session was followed in that the participants presumed the message of the portrait matches, and the content analysis was conducted. The results showed that a match of neutrally balanced portraits best appealed authentic and professional styles while minimizing any affective bias. When matches consisted of contrasting tones, on the other hand, they delivered content conveyance better while sacrificing naturalness of portraits. The white balance is limited to three types though this study provides evidence that it is a matter of choice to align, adjust, or alter the white balance of multi-sourced portraits depending on the aiming affective effect.
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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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Felber, Lynette. "THE LITERARY PORTRAIT AS CENTERFOLD: FETISHISM IN MARY ELIZABETH BRADDON'SLADY AUDLEY'S SECRET." Victorian Literature and Culture 35, no. 2 (June 29, 2007): 471–88. http://dx.doi.org/10.1017/s1060150307051583.
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FROM “MY LAST DUCHESS”toThe Picture of Dorian Gray, portraits are ubiquitous in Victorian literature – lurking behind velvet curtains or stowed in locked attics, their canvases turned to the wall. The literary portrait, a variation on the copious nineteenth-century description typical of the Victorian novel, provides a verbal representation of physical appearance that most conspicuously functions to establish character. Literary portraits work vicariously, asking readers to conceptualize imaginatively what the characters actually see, requiring that they visualize a painting – see it in their mind's eye. Verbal and visual, private and portable, the literary portrait is a memento of an exciting reading experience. To better understand the appeal of literary portraits in the Victorian era, we might explore the effects of verbal description and the psychosexual impulses motivating the production of literary portraits. Victorian literary portraits commonly fetishize female subjects for a purportedly male gaze; even post-Freud, psychoanalysts view fetishism as a primarily masculine proclivity (Metz 89). Novels such as Mary Elizabeth Braddon'sLady Audley's Secret(1862), to name only one among many, present a fetishistic portrait that seems to be a classic illustration of Mulvey's observation that “[i]n a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female” (11). Film theory offers literary critics ways to theorize specularization – the behavior of “looking” – that precinematic viewers could not yet articulate.
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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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Donath, Judith, Alex Dragulescu, Aaron Zinman, Fernanda Viégas, and Rebecca Xiong. "Data Portraits." Leonardo 43, no. 4 (August 2010): 375–83. http://dx.doi.org/10.1162/leon_a_00011.
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Data portraits depict their subjects' accumulated data rather than their faces. They can be visualizations of discussion contributions, browsing histories, social networks, travel patterns, etc. They are subjective renderings that mediate between the artist's vision, the subject's self-presentation, and the audience's interest. Designed to evocatively depict an individual, a data portrait can be a decorative object or be used as an avatar, one's information body for an online space. Data portraits raise questions about privacy, control, aesthetics, and social cognition. These questions become increasingly important as more of our interactions occur online, where we exist as data, not bodies.
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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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Matyunina, Daria Stanislavovna, and Mariya Viktorovna Nozdracheva. "“Crossed-out psychologism” of female salon portrait of the Art Nouveau: portraits of Elena Olive by the artist Konstantin Somov and Marina Makovskaya by Alexander Golovin." Культура и искусство, no. 4 (April 2021): 30–42. http://dx.doi.org/10.7256/2454-0625.2021.4.35467.
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In view of female portrait of the turn of the XIX – XX centuries, which stylistically belongs to “salon” painting of the Russian Art Nouveau, the authors analyzes the two works by the artists of “The World of Art” association – the portrait of Elena Olive by Konstantin Somov (1914) and the portrait of Marina Makovskaya by Alexander Golovin (1912). Both portraits are attributed to the series of female portraits created by Konstantin Somov and Alexander Golovin in the early 1910s. The general circle of the artists’ clients, similar formats of works, compositional and stylistic techniques allow drawing parallels between the selected portraits and finding certain conceptual similarity. The determination of stylistic, formal and conceptual patterns of both works against the background of the series of similar portraits created by the artists indicates that the generally accepted criterion of “psychologism” of the images in assessing these works is inapplicable. The female portrait of the Art Nouveau appease to be representative, creating “stylish” images of the contemporaries, meeting the tastes of the clients and the moods of Belle Epoque, but virtually not oriented towards personal characteristics and psychologism of the image in traditional sense. However, in the considered portraits, the researchers reveal generalizations and characteristics that describe the psychology of the depicted models in a different way, as well as form a three-dimensional female image of the turn of centuries: the phenomenon of “hidden psychologism”, the prospects for studying which are outlined in this work.
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Vidmar, Polona. "Cæsari in mis omni hora fidelis servivi: The Portraits of Sigismund Herberstein and Walter Leslie in Diplomatic Robes." Radovi Instituta za povijest umjetnosti, no. 43 (December 31, 2019): 75–90. http://dx.doi.org/10.31664/ripu.2019.43.06.
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This paper discusses the portraits of two imperial ambassadors to the Ottoman Porte, Sigismund Baron Herberstein, who met with Sultan Suleiman the Magnificent in 1541, and Walter Count Leslie, who led the Grand Embassy to Sultan Mehmed IV in 1665–1666. The portraits are discussed in the context of their commissions, focusing on the diplomatic robes and the self-representative intentions of the commissioners. Herberstein’s decision to illustrate his autobiographical works with full body portraits is presented in the context of glorifying poems printed in some prestigious editions of his works, and in the context of the family’s portrait galleries. New light is shed on the painted portraits of Walter Leslie based on documents from the family archives, as well as on engraved portraits of the ambassador illustrating the travelogue of his mission.
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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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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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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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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.
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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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Wang, You Juan. "Portrait in the book “Journey to the Kirillo-Belozersky Monastery...” by S. P. Shevyrev." Philology. Issues of Theory and Practice 17, no. 6 (June 25, 2024): 1958–64. http://dx.doi.org/10.30853/phil20240281.
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The research aims to characterize the peculiarities of portrait construction in S. P. Shevyrev’s book “Journey to the Kirillo-Belozersky Monastery…” (1850). The content of the paper consists of a general characterization of Shevyrev’s role in the history of Russian culture in the 19th century, a brief overview of literary approaches to the problem of portraiture, and a detailed analysis of the typology of portraits in Shevyrev’s book. The scientific novelty of this paper is determined, first of all, by the limited study of Shevyrev’s work under consideration. Despite the growing interest in S. P. Shevyrev’s writings, the literary facets of his talent remain not only unappreciated, but even undescribed and unsystematized. In addition, the novelty is accounted for by the chosen research perspective – the analysis of the features of the portrait typology and poetics in the book “Journey to the Kirillo-Belozersky Monastery…”. In the process of analysis, a literary perspective on the problem of portraiture as an artistic technique in Shevyrev’s book was formed for the first time. A typology of portraits was also compiled, in which the following groups were identified: portraits of 1) “ordinary people”; 2) spiritual figures and “enlightened” people (teachers, scientists); 3) hagiographic portraits (Nilus of Sora, Cyril of Beloozero, Nicetas Stylites, etc.); 4) “frontier portraits” (i.e., those that emphasize the image of a “frontier person”). As a result of the research, it was observed that the nature of the writer’s portraits is determined by the sketching (realistic) and hagiographic (rhetorical) principles of depiction. The paper contributes to the study of S. P. Shevyrev’s creative work, as well as enriches the understanding of the picture of sketch prose development in the mid-19th century: it includes Shevyrev’s “journey” in the list of writings, expands the understanding of the typology of the sketch portrait.
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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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Zelen, Joyce. "The Self-Promotion of a Libertine Bad Boy." Rijksmuseum Bulletin 66, no. 4 (December 15, 2018): 362–85. http://dx.doi.org/10.52476/trb.9764.
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The Rijksmuseum in Amsterdam owns one of the most curious portraits ever made in the seventeenth century – the likeness of the Dutch classical scholar and notorious erotomaniac Hadriaan Beverland (1650-1716), who was banished from the Dutch Republic in 1679 because of his scandalous publications. In the portrait – a brunaille – the libertine rake sits at a table with a prostitute; a provocative scene. Why did this young humanist promote such a confrontational image of himself? In this article the author analyses the portrait and explores Beverland’s motives for his remarkable manner of self-promotion, going on to argue that it was the starting point for a calculated campaign of portraits. Over the years Beverland commissioned at least four more portraits of himself, including one in which he is shown drawing the naked back of a statue of Venus. Each of his portraits was conceived with a view to giving his changeable reputation a push in the right direction. They attest to a remarkable and extraordinarily self-assured expression of identity seldom encountered in seventeenth-century portraiture.
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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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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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Pynttäri, Veli-Matti. "Matti Kurjensaaren muotokuvat muista, muistista ja minästä." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 4 (December 31, 2016): 39–51. http://dx.doi.org/10.30665/av.66178.
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Matti Kurjensaari’s Portraits of Others, On Memory and Himself
In the late 1960s and early 1970s Matti Kurjensaari (1907–1988) published three collections of essays that comprised portraits of well-known gures in Finnish political and cultural life. e portrait essays included in Veljeni merellä myrskyävällä (“My Brothers on the Stormy Sea”, 1966), Kansakunnan kaapin päällä (“On the Top of Nation’s Mantelpiece”, 1969) and Silmätikut (“The Eyesores”, 1971) had an ambivalent reception as it was debated whether the pieces should be read as essays or as mere gossip.
In the article the portraits are read as essays since Kurjensaari constantly blurs the separation between the objects of the portraits and the writing subject, that is, himself. Consequently the portraits by Kurjensaari display a typical essayistic characteristic by being an intimately personal form of writing. Kurjensaari himself perceived his portraits as essays on the grounds that they are always concerned with a larger scope than that of individual persons. As essays, notes Kurjensaari, the portraits depict individuals precisely as actors in the larger drama of history. As essays the portraits had a function as a genre to negotiate with what it meant to be Finnish and show how the history of the nation had always a place in the individual lives.
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Uspenskij, Boris A. "From a Coat of Arms to a Parsuna (Portrait of Princess Sophia Alekseуevna “in the Eagle”)." Slovene 10, no. 1 (2021): 113–56. http://dx.doi.org/10.31168/2305-6754.2021.10.1.7.
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The article is devoted to the portraits of Princess Sophia Alekseyevna placed in the representation of the two-headed eagle (so-called portraits “in the eagle”). There are three paintings of this kind and an engraving (the latter has not survived). The engraving was made by Leon or Alexander Tarassevich in 1689 (it is not excluded that Alexander Tarassevich and Leon Tarassevich were one and the same person with a double name) while the portraits seem to have been modelled on the engraving. The composition in question has undoubtedly a Western prototype: the portraits of Sophia Alekseyevna imitated a portrait of Leopold I, the Holy Roman emperor. However in the Russian context the portraits of the Princess could be perceived as a modification of the Russian coat of arms where traditionally there was an image of the monarch within the two-headed eagle. There are grounds to believe that the portraits were intended for the coronation of Sophia Alekseyevna which seems to be planned on the 1st of September 1689.
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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.
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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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Korolija-Crkvenjakov, Daniela, Snežana Mijić, and Željko Mandić. "Portraits on canvas from photos as a 19th-century portrait making technique." Zbornik Akademije umetnosti, no. 10 (2022): 115–29. http://dx.doi.org/10.5937/zbaku2210115k.
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The relationship between painting and photography has been dynamic since its invention in 1839. Seeking its place among the arts, photography was a useful tool for many. In this way portraits were made, which before the invention of photography were the privilege of higher social strata, and their production required spending long hours in a painting studio. With the advent of photography, portraits of individuals and entire families have become much more accessible to ordinary people, and the new technique has gained immense popularity. The possibility of getting portraits from photos as a status symbol was very tempting. In order to respond to such requests from clients, photographic studios teamed up with painters to create oil portraits painted from photography made on canvas. Such portraits became a substitute for classic painted portraits, but they were created faster and were less expensive. Often portraying important historical figures, they have found their place in museum collections. In addition to documentary value, they are also important for the history of art techniques, due to the specific way of production. Despite their popularity at the time of their creation, modern analyses of oil painted portraits made from photography on canvas are rare, and have been published mostly in conservation journals. After the introduction to the techniques and materials described in the literature, the paper presents two oil portraits from a photography made on canvas: a portrait of Isaija Oluić, abbot of the Krupa Monastery, from the fund of the Dalmatian Diocese of the Serbian Orthodox Church, made by Vlaho Bukovac, and a portrait of Nika Mihajlović, prominent Sombor lawyer and philanthropist, from the fund of the City Museum in Sombor, painted by Uroš Predić. The analytical approach to the identification of oil painting techniques from photography (optical analysis and the analysis of materials) was pointed out, as well as the fact that they are sensitive objects in museum collections, the protection of which should be given due attention.
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van Deinsen, Lieke. "Visualising Female Authorship. Author Portraits and the Representation of Female Literary Authority in the Eighteenth-Century Dutch Republic." Quaerendo 49, no. 4 (December 12, 2019): 283–314. http://dx.doi.org/10.1163/15700690-12341449.
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Abstract This article discusses printed author portraits of women writers as vehicles of public image in the male-dominated eighteenth-century book market. It shows how Dutch women writers responded to the growing demand for author portraits and used their portrait engravings to shape their public image. It proved to be a fine line between showcasing literary aspirations and maintaining female modesty.