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Letteratura scientifica selezionata sul tema "Portraits"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Portraits"

Lindell, Annukka K. "No Cheek Bias". Empirical Studies of the Arts 35, n. 2 (8 agosto 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, n. 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, n. 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 e Xiaogang Jin. "Portrait3D: Text-Guided High-Quality 3D Portrait Generation Using Pyramid Representation and GANs Prior". ACM Transactions on Graphics 43, n. 4 (19 luglio 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 e Adamo A. Donovan. "Personal Protective Equipment Portraits Canada (PPC)–Humanization and surveying mask-wearing nationally". PLOS ONE 19, n. 2 (23 febbraio 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 e Antonio Córdoba. "Phase Shadows: An Enhanced Representation of Nonlinear Dynamic Systems". International Journal of Bifurcation and Chaos 27, n. 14 (30 dicembre 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, n. 4 (25 dicembre 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., e Barry Schwartz. "The Icon of the American Republic: A Study in Political Symbolism". Review of Politics 47, n. 4 (ottobre 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, n. 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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Più fonti

Tesi sul tema "Portraits"

Shininger, Soni. "Portraiture : the self as art". Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864932.

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The purpose of this project was to find out what it is about the self that deserves to be depicted in a work of art; what other artists have done in selfportraiture that may help me in my efforts; and what my own contribution to the history of self-portraiture could be. Self-portraiture is significant in its ability to serve as a personal platform to define the artist's life and relationships with society as well as other individuals. Many times selfportraiture becomes a visual self-search to recognize our own characteristics and traits that make us complete individuals. I investigated the history of self-portraiture as well as the life and work of six artists. I concentrated on the symbolism and psychological undercurrents present in many selfportraits. With my research in mind, four images were created based on preliminary sketches of myself and another close friend. The final images are watercolor, oilbar and sgraffito on paper. Two images are grid pieces and the other two are single companion pieces. The finished pieces were framed andexhibited at the Ball State University Museum of Art. The final images fulfilled all the goals at which I had aimed. They are visually exciting, successfully composed and well constructed. During their execution I was able to elevate the quality of my work, bringing it to a greater maturity level. This group of portraits also worked as a tool to put my life and relationships into a new perspective.
Department of Art

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Arnold, J. David. "Naked portraits : figures in oil". Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864927.

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The purpose of this project is to create a group of paintings/portraits of two close friends, using the medium of oil bars on gessoed paper. This medium will be explained in the text of the paper. The paintings were an attempt to describe aspects of personality that I see in my friends, their own personal struggles and victories. I observed these changes first hand. I told the story of these changes, as they evolved, in the paintings.The six paintings explore the naturalistic style which is new for me. It will open other avenues of visual expression. It was necessary for me to spend time in research and study of other contemporary artists who have worked with the figure and portraits. The study of other artists is an artistic discipline that helped me clarify, in my own mind, the purpose and problem-solving that took place in the course of my study.
Department of Art

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Richardson, Elaine M. "Portraits-within-Portraits: Immortalizing the Dutch Family in Seventeenth-Century Portraits". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212088663.

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Richardson, Elaine May. "Portraits within portraits immortalizing the Dutch family in seventeenth-century portraits /". Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212088663.

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Thesis (M.A.)--University of Cincinnati, 2008.
Advisor: Diane Mankin. Title from electronic thesis title page (viewed Feb. 24, 2010). Includes abstract. Keywords: Family Portraits; Dutch; Seventeenth Century; Jan Miense Molenaer; Jacob Ochtervelt; transience; harmony; prosperity. Includes bibliographical references.

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Ilmudeen, Jafeen S. "Portraits". Cleveland, Ohio : Case Western Reserve University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1239824184.

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Bontorno, Nicholas J. "Portraits". BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3267.

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This paper is a documentation of and supplement to my thesis project, which is on display in the Harold B. Lee Library Auditorium Gallery from April 2 - May 25, 2012. The seven paintings on display are included in this report are found on the following pages: Leann (18”x 24”) …………………………………………………………..9 Claire (28”x 36”) …………………………………………………………..10 Janell on a Couch (48”x 60”) ……………………………………………..11 My Dad in Winter (84”x 96”) ……………………………………………..13 Mel in Springtime (84”x 96”) ……………………………………………..14 Man on a Horse (48”x 60”) ………………………………………………..15 Danny Holding a Cat by the Ocean (28”x 36”) ……………………….…..15

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Munsie, Richard. "Intimation of life : photographic portraiture in art". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/719.

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Photographic artists have a continuing desire to express intimately aspects of their social world through the genre of portraiture. However, in attempting to make known the lives of those around them, portraitists encounter a range of complexities inherent in the representation of the human subject in a two-dimensional visual field. Portraits were initially an indicator of social class until the introduction of photography, when more and more people became involved in their production and ownership. It was at its inception that the photographic portrait assumed conventions consistent with those of the painted portrait in Western art and its social use. These conventions have persisted and, along with the accumulation of conventions specific to the medium, have come to define photographic portraiture as a genre. It is either from within the limitations of the genre, or through the challenging of its authority, that artists seek to portray issues relevant to contemporary life. This endeavour is affected by certain concerns associated with a person's photographic representation. These include issues pertaining to notions of likeness, identity, subjectivity, and realism. A photographic image of someone has traditionally been perceived to convey a realistic impression of that person's identity, however, concepts of identity and realism have come under increasing scrutiny, contesting the authority of the photographic representation. The portrait's verisimilitude is also undermined by limitations in photographic processes and technology, and the manipulation and control exercised by the photographer who can frame, filter, crop, and enlarge the image at will. In considering the inadequacies of the medium, the fragmentation of identity and subjectivity, and threats concerning the demise of the genre, a further concern to contemporary portraiture is the status of the psychological interaction between photographer and subject. For many participants this exchange is an important aspect of the portrait transaction in which rituals of pose and performance are enacted, and feeling states or emotional truths are sought out. Kozloff (1994, p. 4) considers stilt portraits to be scanty objects in which the intricacies of human experience are inadequately represented, yet they remain as a site for the documentation of experiences that are to become memories. The increasing influence of digital media in photography presents an opportunity for the re-evaluation of these concerns, and new creative and expressive possibilities.

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Grinchtein, Olga. "Portraits of Sculptors in Modernism". Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-443240.

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The portrait of sculptor emerged in the sixteenth century, where the sitter’s occupation was indicated by his holding a statue. This thesis has focus on portraits of sculptors at the turn of 1900, which have indications of profession. 60 artworks created between 1872 and 1927 are analyzed. The goal of the thesis is to identify new facets that modernism introduced to the portraits of sculptors. The thesis covers the evolution of artistic convention in the depiction of sculptor. The comparison of portraits at the turn of 1900 with portraits of sculptors from previous epochs is included. The thesis is also a contribution to the bibliography of portraits of sculptors.

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Tahir, M. Zaki. "Nationalistic portraits". The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1318950065.

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CALLAHAN, DUSTIN LEE. "URBAN PORTRAITS". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179519705.

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Più fonti

Libri sul tema "Portraits"

Daruger, Gitty. Porträts =: Portraits = Ritratti. Heidelberg: Braus, 1993.

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Company, British Petroleum, a cura di. 500 portraits: BP Portrait Award. London: National Portrait Gallery Publications, 2011.

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Ploeger, Ann. Portraits. Wilsonville, OR: William, James & Co., 2007.

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Ricciardi, Nicola. Patrick Tuttofuoco: Portraits, portraits, portraits. Milan: Mousse Publishing, 2015.

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Denimal, Laurent. Portraits d'auteurs: Author portraits. Stockholm: Carlsson Bokförlag, 2020.

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Saderman, Anatole. Retratos, autorretratos + retratos: Portraits, self-portraits + portraits. Buenos Aires: Fundación Alon para las Artes, 2012.

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Mark, Mary Ellen. Portraits. Washington, D.C: Smithsonian Institution Press, 1997.

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Diane, Droin-Michaud, e Martane Anais, a cura di. Chinese portraits. Köln: Snoeck, 2008.

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Sherman, Cindy. History portraits. [München]: Schirmer Art Books, 1991.

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Sherman, Cindy. History portraits. New York: Rizzoli, 1991.

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Capitoli di libri sul tema "Portraits"

Wakolbinger, Manfred. "Portraits". In Unter der Oberfläche / Under the Surface, 88–177. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1075-1_17.

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Johansson, Christer, e Per Olav Folgerø. "Unit 4 Lesson: Why Is en face Associated with Holiness?" In Neuroaesthetics, 165–74. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-42323-9_12.

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AbstractPortraits of Christ as a holy person are predominantly en face. This was famously commented by Albrecht Dürer in a self-portrait often called “Myself as Christ”. In contrast, profane portraits were predominantly painted in profile, including portraits of the suffering Christ (“The Man of Sorrows”). Why did medieval artists prefer to paint Christ en face? His face is thus directed toward the beholder, both face and gaze are intently directed at the beholder. Profane faces were noticeably more often painted in different degrees of profile. Is this a result of theological and historical conventions; or are there deeper biological and psychological reasons? Can face orientation and gaze direction influence how we judge positive and negative social attributes? Specifically, are almost symmetrical portraits with a direct gaze more associated with a positive attitude toward the portrait, as indicated by modern-day attribution of positive and negative adjectives to selected portraits?

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Cromhout, Gavin, Josh Fallon, Nathan Flood, Katy Freer, Jim Hannah, Adrian Luna, Douglas Mullen, Francine Spiegel e James Widegren. "Unsettling Portraits". In Photoshop Face to Face, 21–47. Berkeley, CA: Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-5137-8_2.

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Fejfer, Jane. "Roman Portraits". In A Companion to Roman Art, 231–51. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886205.ch12.

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Rossetti, William Michael. "Browning Portraits". In Elizabeth Barrett Browning and Robert Browning, 71–72. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62894-0_46.

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Prior, William J. "The Portrait Of Socrates In Plato’s Symposium". In Oxford Studies In Ancient Philosophy, 137–66. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199204212.003.0005.

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Abstract Plato’s dialogues offer us numerous portraits of Socrates. Some of these are dramatic depictions that show us Socrates in conversation with various interlocutors. Others are descriptions of Socrates, sometimes presented by others, sometimes by Socrates himself. One of these descriptive portraits occurs in Plato’s Symposium. The portrait is complex, being made up of several contributions from several different characters. The relation between these various portraits is complicated. I believe that, taken together, they constitute a coherent description, when certain perspectival differences and other internal features of the individual portraits are taken into account. Thus, I shall speak in this paper of ‘the portrait’ of Socrates in the Symposium, rather than of multiple portraits. I cannot prove, beyond what I say here, that the various portraits amount to a coherent whole. Nor can I establish that the portrait is coherent in every detail. Still, I believe it is consistent in its main elements.

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Evans, Duncan. "Essential Hardware". In Portraits, 14–37. Routledge, 2020. http://dx.doi.org/10.4324/9781003103783-1.

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Evans, Duncan. "Metering". In Portraits, 38–51. Routledge, 2020. http://dx.doi.org/10.4324/9781003103783-2.

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Evans, Duncan. "Using Colour and Monochrome". In Portraits, 52–61. Routledge, 2020. http://dx.doi.org/10.4324/9781003103783-3.

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Evans, Duncan. "Natural Lighting and Supplementary Flash". In Portraits, 62–75. Routledge, 2020. http://dx.doi.org/10.4324/9781003103783-4.

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Atti di convegni sul tema "Portraits"

Marian, Ana. "Anatomical constructions of the creation of a sculptural portrait in the works of Lazar Dubinivsky". In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.26.

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Anatomical constructions are the important point in creating a sculptural portrait. The academic school of modelling, as well as modernist tendencies can be tested in the work of Alexandru Plămădeală (1888—1940). A severe anatomical interpretation also characterized the creativity of Lazăr Dubinovschi (1910—1982). Already in a series of works, dedicated to colleagues in the workshop (1968—1979), Lazăr Dubinovschi realized the prevalence of the inner world in the portrait, which contributed to the modeling of the anatomical features of the portrayed people. Claudia Cobizev (1905—1995) went through a good school, which helped to update the anatomical structures in the female portrait. Dumitru Rusu-Scvorţov (1926—1991) is a good connoisseur of anatomy in sculptural portraits of famous people. Alexandra Picunov-Târţău (1928—2002) conveys the secrets of the images she creates through the laconicism of anatomical features in the portraits of her colleagues (1972—1981). Brunhilda Epelbaum-Marcenco (b. 1927) experiments with color in the portrait genre. The work of Yuri Kanashin (b. 1939) contains a whole range of modeling between realistic and stylized interpretation in portraits of great personalities. Sculptor Constantin C. Constantinov (b. 1943) introduces anatomical constructions in portraits of elderly people (1985—1989). Portraits of Dumitru Verdianu (b. 1954) contain, in addition to anatomical structures, both impressionist and modernist interpretations (1982—1989). The minimalism and conceptualism of Ion Bolocan (b. 1961) reduces anatomical constructions to external forms, displaced and extracted. Anatomical constructions have always contributed to lifelikeness and plastic expression in the portrait.

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Mohanty, Vikram, David Thames, Sneha Mehta e Kurt Luther. "Supporting Historical Photo Identification with Face Recognition and Crowdsourced Human Expertise (Extended Abstract)". In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/660.

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Identifying people in historical photographs is important for interpreting material culture, correcting the historical record, and creating economic value, but it is also a complex and challenging task. In this paper, we focus on identifying portraits of soldiers who participated in the American Civil War (1861-65). Millions of these portraits survive, but only 10-20% are identified. We created Photo Sleuth, a web-based platform that combines crowdsourced human expertise and automated face recognition to support Civil War portrait identification. Our mixed-methods evaluation of Photo Sleuth one month after its public launch showed that it helped users successfully identify unknown portraits.

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Hou, Keyu, Shunxun Li, Jingjing Li, Wei Xu, Rui Wang e Jin Zhou. "Research on consumer portraits of offline fast fashion shoe stores based on IoT smart hardware". In The 8th International Conference on Advanced Materials and Systems. INCDTP - Leather and Footwear Research Institute (ICPI), Bucharest, Romania, 2020. http://dx.doi.org/10.24264/icams-2020.iii.9.

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There is a close relationship between consumer’s portrait and product’s attributes. Consumer portraits are usually obtained from information provided by consumers or by using data analysis of computer vision technology when they were in store. However, there was few concerns on the product’s attribute which was a critical factor affecting consumer portrait establishment. Therefore, the purpose of this study was to establish IoT based product attributes’ data collection system then to use this system to portrait consumers behaviors. Firstly, we used our own developed smart hardware to collect consumers' attention data on products of fast fashion shoe stores. Then the product attention index was obtained by combining sales data, and the quantitative attributes of the products with the highest attention index were analyzed, including the age, style and price. At last, improved the TOFA model to make it suitable for the conversion analysis of product attributes to consumer portraits. The results showed that there were core hedonic middle-aged consumer groups and potential thrifty youth consumer groups in the store, and the styles of shoes tend to be fashionable and casual. The conclusion was that the new model can effectively analyze the core consumer portraits of shoe stores and provide strategies for shoe store positioning and supply.

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Clarke, Rachel, Peter Wright, Madeline Balaam e John McCarthy. "Digital portraits". In CHI '13: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2470654.2481348.

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Bjelkhagen, Hans I. "Holographic portraits". In SPIE Institutes for Advanced Optical Technologies 8, a cura di Pal Greguss. SPIE, 1990. http://dx.doi.org/10.1117/12.2283699.

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Donath, Judith, Alex Dragulescu, Aaron Zinman, Fernanda Viégas e Rebecca Xiong. "Data portraits". In ACM SIGGRAPH 2010 Art Gallery. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1836786.1836793.

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Knoller, Noam. "InterFace portraits". In the 1st ACM workshop. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1026633.1026648.

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Jalal, Ghita, Nolwenn Maudet e Wendy E. Mackay. "Color Portraits". In CHI '15: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2702123.2702173.

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Mynatt, Elizabeth D., Jim Rowan, Sarah Craighill e Annie Jacobs. "Digital family portraits". In the SIGCHI conference. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/365024.365126.

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Huang, Lei, Tian Xia, Ji Wan, Yongdong Zhang e Shouxun Lin. "Personalized portraits ranking". In the 19th ACM international conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2072298.2071993.

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Rapporti di organizzazioni sul tema "Portraits"

Lim, Doris. Twenty-Four Self-Portraits. Portland State University Library, gennaio 2000. http://dx.doi.org/10.15760/etd.2085.

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McGinnis, Wendy J., Richard H. Phillips, Terry L. Raettig e Kent P. Connaughton. County portraits of Washington State. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station, 1997. http://dx.doi.org/10.2737/pnw-gtr-400.

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McGinnis, Wendy J., Richard H. Phillips e Kent P. Connaughton. County portraits of Oregon and Northern California. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station, 1996. http://dx.doi.org/10.2737/pnw-gtr-377.

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Mills, Kelly, Josh Weisgrau, Quinn Burke, Keun-woo Lee, Teresa Solorzano e Merijke Coenraad. Shifting Education with Learning Pathways: Becoming Your Portrait of a Graduate. Digital Promise, marzo 2024. http://dx.doi.org/10.51388/20.500.12265/205.

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There is a necessity for an educational shift to equip today’s learners for success in a dynamically evolving world shaped by emerging technologies and globalization. Emphasizing the importance of academic and technical skills, this report stresses the need for learners to possess adaptability and interpretive abilities to apply these skills in diverse contexts. The “Portrait of the Graduate” initiative is introduced as a visionary framework where readers will learn more about the skillsets districts across the country have identified for students. Furthermore, this report will introduce readers to the design and implementation of “Integrated Learning Pathways'' as a strategy to breathe life into the Portrait of the Graduate and will provide examples of districts putting their Portraits into action. The report concludes with recommending district leaders to create Integrated Learning Pathways to align learning and initiatives to their Portrait of a Graduate and ultimately better prepare students for a successful future.

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Galenson, David. Portraits of the Artist: Personal Visual Art in the Twentieth Century. Cambridge, MA: National Bureau of Economic Research, aprile 2008. http://dx.doi.org/10.3386/w13939.

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Christensen, Laurene. Writing in the Contact Zone: Three Portraits of Reflexivity and Transformation. Portland State University Library, gennaio 2000. http://dx.doi.org/10.15760/etd.1885.

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Miller, D. J. Fields of Grass; Portraits of the Pastoral Landscape and the Nomads of the Tibetan Plateau and Himalayas. Kathmandu, Nepal: International Centre for Integrated Mountain Development (ICIMOD), 1998. http://dx.doi.org/10.53055/icimod.282.

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Ataie, Jutta. "Who Would Have Thought, With a Diagnosis Like This, I Would be Happy?": Portraits of Perceived Strengths and Resources in Early-Stage Dementia. Portland State University Library, gennaio 2000. http://dx.doi.org/10.15760/etd.1107.

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von Balthasar, Hans Urs. La Communauté Saint⁠-⁠Jean: un portrait. Saint John Publications, 2022. http://dx.doi.org/10.56154/ru.

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