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Journal articles on the topic 'Portraiture'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 February 2023

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1

Brown, Maurice, and Richard Brilliant. "Portraiture." Journal of Aesthetic Education 28, no. 2 (1994): 111. http://dx.doi.org/10.2307/3333280.

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2

Hulse, Clark, Richard Brilliant, Richard Wendorf, and Marcia Pointon. "Portraiture." Art Bulletin 75, no. 2 (June 1993): 327. http://dx.doi.org/10.2307/3045953.

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3

Jackett, Amy Elizabeth. "Australian Portraiture." International Journal of the Arts in Society: Annual Review 6, no. 3 (2011): 67–74. http://dx.doi.org/10.18848/1833-1866/cgp/v06i03/36033.

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4

Hentschel, Klaus. "Spectroscopic Portraiture." Annals of Science 59, no. 1 (January 2002): 57–82. http://dx.doi.org/10.1080/00033790110034784.

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5

Peterson, Christian A. "Home Portraiture." History of Photography 35, no. 4 (November 2011): 374–87. http://dx.doi.org/10.1080/03087298.2011.606727.

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6

Straka, Annie. "Structuring arts-based analysis in portraiture research." Qualitative Research Journal 20, no. 1 (October 5, 2019): 76–85. http://dx.doi.org/10.1108/qrj-05-2019-0045.

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Purpose The purpose of this paper is to describe the development of an innovative arts-based analysis process within the framework of portraiture methodology. The paper provides an example of how to incorporate multi-modal forms of analysis within the portraiture framework and offers a fluid, qualitative “recipe” for researchers interested in using portraiture methodology. Design/methodology/approach The study described in this paper explores vulnerability and resilience in teaching, using poetry and visual art as integrated elements of the portraiture process. Portraiture is a qualitative, feminist, artistic methodology that draws from ethnography and phenomenology to describe, understand and interpret complex human experiences. Findings This research resulted in the methodological development of three stages of analysis within the portraiture process: drafting vignettes, poetic expression and artistic expression. These stages of data analysis highlight the methodological richness of portraiture and center the researcher’s engagement in creative, intuitive and associative processes. Research limitations/implications This study contributes to existing scholarship that extends portraiture methodology by including additional aesthetic elements and offers a roadmap for what a multi-modal, arts-based analysis process might look like within the portraiture framework. Originality/value The study presented in this paper serves as an example of qualitative research that expands methodological boundaries and centers the role of intuition, association and creativity in research. This work serves as a unique and important contribution to the portraiture literature, offering a provocative roadmap for researchers who are drawn to portraiture as an appropriate methodology to explore their inquiry.
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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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Cohen, Paul. "Stein’s Postmodern Portraiture." Interdisciplinary Literary Studies 9, no. 2 (2008): 17–28. http://dx.doi.org/10.2307/41210292.

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9

Sellin, Paul R. "Uses of Portraiture." Dutch Crossing 23, no. 2 (December 1999): 163–89. http://dx.doi.org/10.1080/03096564.1999.11784114.

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10

Grootenboer, H. "Portraiture as Encounter." Oxford Art Journal 37, no. 2 (June 1, 2014): 211–15. http://dx.doi.org/10.1093/oxartj/kcu008.

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Borgatti, Jean M. "Portraiture in Africa." African Arts 23, no. 3 (July 1990): 34. http://dx.doi.org/10.2307/3336827.

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12

Knoppers, Laura Lunger. "The Politics of Portraiture: Oliver Cromwell and the Plain Style*." Renaissance Quarterly 51, no. 4 (1998): 1283–319. http://dx.doi.org/10.2307/2901968.

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AbstractLong dismissed as aping monarchical forms, Cromwellian portraiture has been neglected by art historians, historians, and literary critics alike. But rather than simply mimicking monarchical iconography, Cromwellian portraiture reflected the character — and contradictions — of Cromwell's own plain style. Paintings by Robert Walker, Samuel Cooper, and Peter Lely all drew upon and significantly revised courtly and idealized Van Dyck portraiture. During the protectorate, Cromwellian portraiture became less, not more, courtly, and the final portrait of Cromwell by Edward Mascall was the most puritan and plain style of all. Visual satire on Cromwell after 1660 attested to the ongoing influence of the plain style as an alternative mode of piety and of power.
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13

Wango, Kamau. "The Role of Hyperrealism in Painted Portraiture –Engaging Culture: Analysis of Portraiture by Eddy Ochieng." East African Journal of Interdisciplinary Studies 2, no. 1 (December 9, 2020): 157–79. http://dx.doi.org/10.37284/eajis.2.1.246.

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Portraiture remains one of the most fascinating genres of Art; it is engaging, intriguing and often, perhaps, a little controversial. Portraiture has been executed through the centuries in a variety of styles and media and for different purposes, from the ancient Egyptian cave paintings, through the medieval civilisations to the renaissance, new world, the great divide, modern era and ultimately to post-modernism pop art portraiture. One question that has always resurfaced in the interrogation of portraiture is what is the role of portraiture. There have also been incessant questions about the effectiveness or even need for some painting styles used in portraiture as well as other genres. Within contemporary Art, one of these styles that have often generated passionate arguments between those who love it and those who do not subscribe to it is hyperrealism. Detractors of hyperrealism, which started in the early 1970s, have consistently argued that by virtue of its reliance upon photography, what it seeks to portray is already achieved through photography and hence it is artistically ‘pointless’ since it serves no further visual purpose. Dwelling specifically on this artistic ‘pointlessness’, they have even questioned whether hyperrealism is Art or just a very refined and admirable show of skill. Proponents of hyperrealism, however, bask in the satisfaction that it retrieves all photographic cues from a digital image or a high-resolution photograph and converts or transforms these into a different realm of artistry and perfection by the placement of even more minute and meticulous details that would otherwise be invisible to the eye. This creativity culminates in an entirely new form, an ‘illusion of reality’ more artistically and visually engaging than the original photograph. The detractors, therefore, state that since hyperrealism is derived from photography as a reference base, then it is redundant as a style. In order to address this query, this paper examines the role of hyperrealism in modern portraiture as it is specifically applied to Kenyan portraiture executed by Eddie Ochieng’, an outstanding Kenyan hyperrealist, in order to determine its own ‘visual efficacy’ as a sub-genre. The portraiture itself, as featured in this paper, focuses on aspects of culture to explore the overall visual impact as a result of the application of hyperrealism.
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Kellett, Heidi. "‘Skin Portraiture’ in the Age of Bio Art." Body & Society 24, no. 1-2 (April 26, 2018): 137–65. http://dx.doi.org/10.1177/1357034x18766288.

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In this article, I consider ‘skin portraiture’: a mode of representation that privileges quasi-anonymous, fragmented, magnified and anatomized images of skin. I argue that this mode of representation permits a heightened awareness of embodied experiences such as reflexivity, empathy and relationality. Expanding understandings of difference through its engagement with haptic imagery and visuality, skin portraiture reorients the boundaries between ‘I’/‘not I’ and subject/object – often through touch – and challenges the cultural commitment to traditional notions of bodily autonomy. By doing so, skin portraiture functions as an antagonistic form of portraiture; that is, as a kind of anti-portraiture that pushes the genre into an expanded visual field and, at times, beyond representation. Exploring the skin-as-technology metaphor, I show that bio art skin portraiture creates chimeric skins through tissue culturing practices, permitting bodies to become radically relational. Bio art skin portraits celebrate the genetic and cellular differences between bodies through a visible collapse of epidermal boundaries, which engenders a hyper-haptic mode of seeing beyond the subject and her or his skin. Analysing the bio art of Jalia Essaïdi, ORLAN and Julia Reodica, and drawing on the work of Laura Marks and Erin Manning, this article explores the skin-as-technology metaphor in order to offer the arts and humanities an innovative understanding of contemporary embodiment.
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15

Chapman, Thandeka K. "Interrogating Classroom Relationships and Events: Using Portraiture and Critical Race Theory in Education Research." Educational Researcher 36, no. 3 (April 2007): 156–62. http://dx.doi.org/10.3102/0013189x07301437.

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This article explores the use of the methodology of portraiture and the analytic framework of critical race theory (CRT) to evaluate success and failure in urban classrooms. Portraiture and CRT share a number of features that make the two a viable pair for conducting research in urban schools. In combination, portraiture and CRT allow researchers to evoke the personal, the professional, and the political to illuminate issues of race, class, and gender in education research and to create possibilities for urban school reform as social action.
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Brunker, Nicole. "Stepping off the drunkard’s path to walk the “wild side”." Qualitative Research Journal 19, no. 2 (May 7, 2019): 104–20. http://dx.doi.org/10.1108/qrj-d-18-00025.

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Purpose Working creatively as a researcher should be a core foundation in doctoral studies, though it may be an isolating, even risky, endeavour. The purpose of this paper is to share the author’s journey through the “darkness” of innovation in research methodology. Design/methodology/approach At the heart of this research journey was Portraiture (Lawrence-Lightfoot, 1983), which emerged early in the post-modern evolution of qualitative research. While exploring Portraiture, the author found researchers used this methodology in varying ways: application, appropriation and interpretation. In stumbling through Portraiture, the author discovered patchwork as their bricoleur’s toolbag. Patchwork provided a torch that gave light to the darkness of the research process enabling interpretation of Portraiture for alignment of method and research problematic[1]. Findings Looking back at the research journey, the author recognises the steps into post-qualitative research and the need for methodological innovators to share their journeys for inspiration, to develop understanding and open the way to greater creativity and innovation during the research process. Originality/value This paper provides an original view to Portraiture along with the addition of patchwork as a way of engaging with methodology as well as data.
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17

Puczydłowski, Miłosz. "Theodicy as God's portraiture." Studia Philosophiae Christianae 55, no. 1 (November 9, 2019): 27. http://dx.doi.org/10.21697/2019.55.1.02.

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18

Stirton, Paul. "SCOTTISH PORTRAITURE IN CONTEXT." Scottish Economic & Social History 14, no. 1 (May 1994): 99–102. http://dx.doi.org/10.3366/sesh.1994.14.14.99.

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Chadwick, Esther. "Portraiture in Indigenous London." American Art 36, no. 2 (June 1, 2022): 20–26. http://dx.doi.org/10.1086/720912.

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Brett, David. "The Possibility of Portraiture." Circa, no. 57 (1991): 32. http://dx.doi.org/10.2307/25557623.

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21

Welliver, Gwen. "Self-Portraiture/Self-Prompt." PAJ: A Journal of Performance and Art 40, no. 2 (May 2018): 38–41. http://dx.doi.org/10.1162/pajj_a_00420.

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22

Kemp, Martin. "Fresh formulae for portraiture." Nature 460, no. 7252 (July 2009): 179. http://dx.doi.org/10.1038/460179a.

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23

Levin, Brooke. "Portraiture and social understanding." Advances in Autism 1, no. 1 (July 30, 2015): 30–40. http://dx.doi.org/10.1108/aia-05-2015-0004.

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Purpose – The purpose of this paper is to discuss the possible explanations for deficits in social understanding evident in individuals with autism spectrum disorder (ASD). A potential intervention technique is proposed that has not yet been examined in this population: viewing and drawing portraits. This portraiture-based intervention seeks to address some of the core issues set forth in each of the theories explaining impaired social functioning. Furthermore, this intervention is intended to specifically increase exposure to facial stimuli in a safe and controlled environment. Instructions about how to look closely at a social partner’s face and how to glean salient emotional information from the facial expression displayed can be developed through a focused exploration of drawing and viewing portraits. Current techniques such as eye tracking and fMRI are discussed in the context of this proposed intervention. Design/methodology/approach – This paper reviews existing research about ASD and seeks to present a new proposal for an intervention using portraiture. First the paper discusses existing interventions and reviews the current research about potential causes/areas of deficiency in individuals on the spectrum. This paper subsequently proposes a new type of intervention and discusses the reasons underpinning its potential success in the context of existing research. Findings – This was a proposed study so no empirical findings have been reported. However, observations of individuals on the spectrum engaging with artwork are discussed in this paper. Originality/value – No other research or study has been proposed in current literature relating specifically to the use of portraits (looking at and creating) to help individuals with ASD.
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Borgatti, Jean M. "African Portraiture: A Commentary." African Arts 23, no. 4 (October 1990): 38. http://dx.doi.org/10.2307/3336942.

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Keyes, George. "Portraiture—Mirror or Mask?" Bulletin of the Detroit Institute of Arts 83, no. 1-4 (March 2009): 4–11. http://dx.doi.org/10.1086/dia23183268.

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Kim, Jeehey. "KOREAN FUNERARY PHOTO‐PORTRAITURE." Photographies 2, no. 1 (March 2009): 7–20. http://dx.doi.org/10.1080/17540760802696906.

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Smalls, James. "African‐American self‐portraiture." Third Text 15, no. 54 (March 2001): 47–62. http://dx.doi.org/10.1080/09528820108576899.

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Olds, Marshall C. "Future Mallarmé (Present Picasso): Portraiture and Self-Portraiture in Poetry and Art." Romance Quarterly 45, no. 3 (January 1998): 168–77. http://dx.doi.org/10.1080/08831159809603857.

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Wango, Kamau. "Personal Style in Portraiture Painting – ‘Visual Dialogues with Water’ Analysis of the Portraiture by Eddy Ochieng." East African Journal of Arts and Social Sciences 2, no. 1 (October 3, 2020): 134–53. http://dx.doi.org/10.37284/eajass.2.1.220.

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Portraiture is arguably one of the most celebrated genres of art and artistic expression through the ages. Artists have always sought to create depictions of themselves in self-portraits as well as the depiction of sitters through in-person posed sessions, referencing, or imagination. They have also used portraiture for artistic expression particularly when aiming to depict human feelings and emotions for the practical reason that human expression itself is synonymous with facial expression. It is only through the study of physical facial expression that an artist is able to derive artistic expression in a continuum that ranges from extreme joy signified by laughter to extreme distress, signified by tears. In between the continuum is a whole retinue of feelings and emotions, such as amusement, happiness, irritation, anger, sorrow, despair, fear, anxiety, sadness, and many other human manifestations that emanate from life’s experiences. Apart from the obvious outer facial expressions, there are also the innate expressions that underscore personality and character that artists wish to unearth, study, and explore in their subjects. To execute and achieve these expressions in portraiture, the artist uses selected media, styles, and techniques that best suit the desired objective. This paper posits that there exists a correlation between individual style and the effectiveness of the intended purpose of portraiture where effectiveness applies to the communicative or expressive value of a portrait as well as its overall acclaim. It must be noted that there is no portraiture that lacks intent, be it portrayal of likeness from self-portraits or sitters or portraits derived from photographs, thematic referencing that leads to the depiction of certain facial expressions in subject matter or creating portraiture from imagination including surrealistic inspirations. When certain portraiture is at times perceived as not being effective in terms of its intent, it is fair to conclude that this may often be as a result of the personal style of the artist or its execution being incompatible with the intended purpose. Hence viewers fail to see or extract what was intended for them to decipher essentially because they are distracted by the personal style. In the same token, when portraiture is seen to be effective, it is often presupposed that this is a result of the personal style of the artist and its execution being deemed compatible with its intended purpose. Hence to a significant extent, the viewer is able to extract this purpose because they are aided by rather than distracted by the style and specifically, personal stylistic rendition. This paper examines the portraiture of Eddy Ochieng, an outstanding Kenyan hyperrealist in order to ascertain whether there exists this visual correlation between his personal style and the intent of his portraiture. He embraces the hyperrealism style featuring some self-portraits as well as of others derived from photographs. The inquiry is whether this style delves into any other meaning other than the quest for the photographic representation of likeness and whether the likeness itself is effectively extracted.
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LIU, PEI PEI. "After Words: Negotiating Participant and Portraitist Response in the Study “Aftermath”." Harvard Educational Review 90, no. 1 (March 1, 2020): 102–26. http://dx.doi.org/10.17763/1943-5045-90.1.102.

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In this essay, Pei Pei Liu identifies the act of unveiling a completed portrait to solicit participant response as central to the conceptualization of portraiture. While this explicit extension of research relationships into the study “aftermath” distinguishes portraiture from many other qualitative methods, little practical guidance exists for portraitists striving to navigate this process, as published portraits and methodological writings rarely depict the event. To address this gap, Liu shares case studies from her own work that illustrate the inherent tensions stemming from multiple and sometimes conflicting rationales for soliciting participant response in portraiture. She then proposes three methodological commitments that could help portraitists and other qualitative researchers bring greater clarity and intentionality to this complex process.
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Cui, Shuqin. "Wrapped Body and Masked Face." positions: asia critique 28, no. 1 (February 1, 2020): 207–36. http://dx.doi.org/10.1215/10679847-7913119.

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Taking Liu Manwen’s self-portraiture series, especially her Ordinary Life and Monologue, as examples, this article argues that the self-subject via self-portraiture comes to terms through social-cultural constitution and visual articulation. With face masked and body wrapped, Liu Manwen’s self-portraiture locates a troubled self against familial relations and social-cultural confinement and searches for self-expression through mirror reflection and spatial articulation. Issues specific to the discussion include spatial anxiety, where the self reconciles familial place and social space; psychological exploration, where the split self negotiates between the symbolic and the semiotic through mirror reflection; and bodily disguise, where the self conceals and reveals troubled identity through a masked face and bandage-wrapped body.
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Wango, Kamau. "Stylistic Approaches in Portraiture Painting: Analysis of Selected Portraiture by Contemporary Kenyan Artists." East African Journal of Arts and Social Sciences 5, no. 1 (March 31, 2022): 48–74. http://dx.doi.org/10.37284/eajass.5.1.601.

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Portraiture painting remains an important and popular sub-genre in art where artists paint portraits as a response to various motivations. Some artists paint for the fun of it, or what is often referred to as art for art's sake, where they are more captivated by the flow of vivid colours, tones and textures which they capture with their brushstrokes to study pertinent aspects of the face; others wish to study the likeness of their subjects in detail as they appear on the reference photographs; others are interested in the narrative that they perceive to be apparent in the portrait; others are interested in particular facial expressions that denote certain human feelings. These expressions are incorporated in their portraits to draw attention to given circumstances and emotions such as anger, despair, joy, scepticism, displeasure or anxiety as the case may be. Others are obsessed with the peculiarity of facial details and the study of absolute likeness or even surpassing likeness to create hyperrealism. Others do not think that these absolute details are necessary and are only interested in those aspects that capture the transient face. In all these motivations, there is one common denominator that is often the foremost motivational factor; the individual artist’s stylistic approach. Whatever reason or motivation for embarking on portraiture, the major driving factor is always the application of personal style. In this regard, whether the personal style is hyperrealism, realism, abstract, expressionism or even stylized, artists work within the realm of their personal styles that make them feel comfortable and helps them not only to meet their immediate artistic objectives but to enjoy their work. Artistic styles are different in approach but aim to achieve the same goals in different ways. Subsequently, artists respond to these styles differently and utilize those that they subscribe to in order to meet their artistic objectives. Likewise, the respective audiences or viewers also respond to these styles differently, such that in any circumstance, there is no style that is superior to the other as such, since each style appeals differently to the multitude of viewers and meets its purpose within its own stylistic confines. In examining portraiture, what is ultimately important is to determine whether painted portraits carry the impetus in their own right as works of art to elicit certain desired responses from the audience. It is also important to examine the extent to which the artist’s intent is significant in this elicitation. This paper examines portraiture from different Kenyan artists to determine their stylistic approaches, their particular motivations and the essence of such varied approaches in the comprehension of the purpose of painted portraiture. The paper also examines whether, in this context, the portraits featured carry a visual message. The paper examined selected portraits from a number of practising Kenyan artists in Nairobi, Kenya where many of them are based. The portraits featured do not necessarily cover all styles of portraiture.
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Lawrence-Lightfoot, Sara. "Commentary: Portraiture Methodology: Blending Art and Science." LEARNing Landscapes 9, no. 2 (April 1, 2016): 19–27. http://dx.doi.org/10.36510/learnland.v9i2.760.

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In this interview, Sara Lawrence-Lightfoot describes the genesis of the portraiture methodology and how it has developed over the past three decades. Portraiture seeks to blend art and science, bridging empiricism and aestheticism. It draws from a wide variety of phenomenological and narrative traditions. One of the ways in which it is distinct from other research methodologies is in its focus on "goodness"; documenting what is strong, resilient, and worthy in a given situation, resisting the more typical social science preoccupation with weakness and pathology. Dr Lawrence-Lightfoot also explains the work she does with her students at Harvard and gives examples of their research projects. She nishes by giving words of advice to those researchers interested in using the portraiture methodology.
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Perkinson, Stephen. "Rethinking the Origins of Portraiture." Gesta 46, no. 2 (January 2007): 135–57. http://dx.doi.org/10.2307/20648950.

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Keevak (book author), Michael, and John D. Cox (review author). "Sexual Shakespeare: Forgery, Authorship, Portraiture." Renaissance and Reformation 38, no. 2 (January 1, 2002): 94–96. http://dx.doi.org/10.33137/rr.v38i2.8778.

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Brown, Pamela Allen, and Michael Keevak. "Sexual Shakespeare: Forgery, Authorship, Portraiture." Modern Language Review 98, no. 1 (January 2003): 170. http://dx.doi.org/10.2307/3738197.

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Wood, Susan, Tobias Fischer-Hansen, John Lund, Marjatta Nielsen, and Annette Rathje. "Ancient Portraiture, Image and Message." American Journal of Archaeology 97, no. 4 (October 1993): 811. http://dx.doi.org/10.2307/506732.

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Loughery, John. "Portraiture: Public and Private Lives." Hudson Review 52, no. 3 (1999): 439. http://dx.doi.org/10.2307/3853454.

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Tscherny, Nadia. "Likeness in Early Romantic Portraiture." Art Journal 46, no. 3 (1987): 193. http://dx.doi.org/10.2307/777032.

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Montoya. "Contemporary Casta Portraiture: Nuestra “Calidad”." Chiricú Journal: Latina/o Literatures, Arts, and Cultures 3, no. 2 (2019): 120. http://dx.doi.org/10.2979/chiricu.3.2.09.

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Frankel, Nicholas. "Portraiture in Oscar Wilde’s Fiction." Études anglaises 69, no. 1 (2016): 49. http://dx.doi.org/10.3917/etan.691.0049.

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Priest, Dale G., and Michael Keevak. "Sexual Shakespeare: Forgery, Authorship, Portraiture." Sixteenth Century Journal 33, no. 3 (2002): 924. http://dx.doi.org/10.2307/4144104.

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Nicholson, Ana Maria. "Some Thoughts on Holographic Portraiture." Leonardo 22, no. 3/4 (1989): 369. http://dx.doi.org/10.2307/1575398.

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Smitka, Julie A. M. "Exploring Portraiture in Teaching Practice." Art Education 68, no. 5 (September 2015): 20–27. http://dx.doi.org/10.1080/00043125.2015.11519335.

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Brooks, Stephen. "Mixed Media Painting and Portraiture." IEEE Transactions on Visualization and Computer Graphics 13, no. 5 (September 2007): 1041–54. http://dx.doi.org/10.1109/tvcg.2007.1025.

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Silver, Larry, Alois Riegl, Evelyn Kain, and David Britt. "The Group Portraiture of Holland." Sixteenth Century Journal 32, no. 1 (2001): 197. http://dx.doi.org/10.2307/2671432.

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Wood, Susan. "Isis, Eggheads, and Roman Portraiture." Journal of the American Research Center in Egypt 24 (1987): 123. http://dx.doi.org/10.2307/40000266.

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COOPER, TARNYA, and ANDREW HADFIELD. "Edmund Spenser and Elizabethan portraiture." Renaissance Studies 27, no. 3 (August 6, 2012): 407–34. http://dx.doi.org/10.1111/j.1477-4658.2012.00819.x.

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Catren, NR. "Intersections in Portraiture: Exploring Humanism." Sculpture Review 65, no. 4 (December 2016): 32–39. http://dx.doi.org/10.1177/074752841606500405.

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“Anyone who has common sense will remember that the bewilderments of the eyes are of two kinds, and arise from two causes, either from coming out of the light or from going into the light.”— Plato, The Republic
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50

Cohen, Paula Marantz. "On The Death Of Portraiture." Yale Review 91, no. 3 (July 2003): 62–72. http://dx.doi.org/10.1111/0044-0124.00727.

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