Готові списки джерел за темами / Portrait painting Philosophy

Добірка наукової літератури з теми "Portrait painting Philosophy"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Portrait painting Philosophy"

1

Zhang, Michael W. "Boethian Philosophy in Sir Thomas More’s Familial Portrait." Moreana 53 (Number 205-, no. 3-4 (December 2016): 45–72. http://dx.doi.org/10.3366/more.2016.53.3-4.5.

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Анотація:
The works of Boethius had a profound influence on Thomas More, both in his personal life and in his writings. The lives and circumstances of the two politicians/philosophers shared many similarities as well — the two men were trusted advisors to their kings, and both were eventually sentenced to death by the man whom they had served. Beyond coincidences, this connection is rendered visible following an analysis of the familial portrait of Thomas More and his family, originally painted by Hans Holbein, and locating the various Boethian themes that can be found within the work. David R. Smith has called this image a “counter-portrait” as the painting offers a set of intellectual parodies that are produced by contradicting certain pre-conceived expectations. My work will make a more specific claim that this familial portrait of the More household is not only immersed in Boethian themes, but this “counter-portrait” presents a series of active visual contradictions that run counter to Boethian reasoning, creating parodies in the process.
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2

Sijia, Liu. "The Scholar’s study in Painting and the History of Collection in Dutch XVII century." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 83–94. http://dx.doi.org/10.36340/2071-6818-2021-17-1-83-94.

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Анотація:
his article is devoted to analysis the theme of the “scholar’s study” in Netherland XVII century painting. The reason for the rise of this theme is closely related to the great development of science and navigation in the XVII century in Netherland. Under the economic development, the tradition of collecting prevails among scholars. People admire knowledge and work on scientific inquiry. The author analyzes Gerrit Dou’s self-portrait The Artist’s studio and the symbolic meanings of objects in the painting. The author states that his self-portrait portrays himself as a scholar, reflecting the social ethos of worshiping knowledge. The specificity of his work, the themes of the scholar’s study, the influence of science, religion, philosophy on the painting of Gerrit Dou, the symbolic meanings of objects surrounding the scientist are considered. Jan van der Hayden’s paintings Still Life with a Globe, Books, Sculpture and Other Objects reflect the wide-ranging style of the collection at that time, reflecting both the worship of religion and the abundance of Netherland foreign products under the background of the great geographical discovery in the XVII century. During this period, establishment of Netherland universities and advent of the maritime age encouraged a thriving cartography producing. A large number of globes and scientific tools appeared in the paintings. They not only have religious meaning, but also show the progress of the new era. Audience can get a glimpse of the characteristics of a typical Netherland scholar’s collection from his paintings. The purpose of this article is to analyze the scientific progress, social development of the Netherlands. This allows you to take a fresh look at the assessment of creativity on the theme of the scholar’s study. To fulfill that purpose, need to complete following tasks: to characterize the specifics of paintings in the themes of the scholar’s study, to reveal the symbolism in the paintings The Artist’s studio by Gerrit Dou, Still Life with a Globe, Books, Sculpture and Other Objects and A Corner of a Room with Curiosities by Jan van der Hayden, to show the close connection between the development of science in the 17th century and the topic of the scientist’s office. The author concludes that the theme of the “scholar’s study” in Netherland XVII century paintings reflect the collection characteristics and aesthetics in the XVII century.
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3

HIGTON, HESTER. "Portrait of an instrument-maker: Wenceslaus Hollar's engraving of Elias Allen." British Journal for the History of Science 37, no. 2 (May 24, 2004): 147–66. http://dx.doi.org/10.1017/s0007087404005412.

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Анотація:
Among the many engravings of landscapes, buildings, portraits and other illustrations produced by the seventeenth-century artist Wenceslaus Hollar, there are a small number of images of contemporary men of science. Of particular interest is the portrait of the instrument-maker Elias Allen, both because portraits of men of his social status were extremely uncommon at this time, and also because the cluttered mass of instruments shown in the image presents a picture wholly unlike other portraits of the period. The first part of this paper explores the position of portraiture as inherently linked to nobility, and seeks to present an explanation as to why the original oil painting of Allen (made by Hendrik van der Borcht and no longer extant) might have been made. The second part looks at the image itself, and discusses possible reasons for Hollar's production of the engraving some twenty years after the original.
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4

Chung, Kyungsook. "A Study on the Handwritings and Seals of Portraits and Flower-Bird-Animal Paintings of Chae Yongshin(1850-1941)." Korean Society of Culture and Convergence 44, no. 9 (September 30, 2022): 953–67. http://dx.doi.org/10.33645/cnc.2022.9.44.9.953.

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Анотація:
This paper aims to set the criteria on Portrait and Flower-bird-animal paintings of Chae Yongshin(1850-1941). To establish the purpose, 33 pieces of Portrait paintings and 12 pieces of Flower-bird-animal paintings were selected and analyzed in terms of the handwritings of articles and seals. There was no significant similarity between the handwritings of selected works and Chae Yongshin’ letter. The results showed that there must be others who wrote the articles on the works instead of Chae Yongshin. Even though this study didn’t get a satisfying result, it put meaning to consider and collect the handwriting and seals as database for future usage. A follow-up research on the painting style in Flower-bird-animal paintings of Chae Yongshin will be proceeded soon.
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5

Geimer, Peter. "Picturing the Black Box: On Blanks in Nineteenth Century Paintings and Photographs." Science in Context 17, no. 4 (December 2004): 467–501. http://dx.doi.org/10.1017/s0269889704000237.

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ArgumentIn 1867 Edouard Manet painted the execution of the Mexican emperor Maximilian of Habsburg. Manet broke with the classical tradition of history painting, for he depicted the actual shooting itself instead of choosing moments before or after the execution. Thus, the painting refers to a moment that in real time would have been far too brief to be perceptible. Manet presented a portrait of living actors whose execution has already taken place. This depiction of the imperceptible invites comparison to contemporaneous photographs of extremely short periods of time: attempts to capture flying cannon balls (Thomas Kaife), to take flashlight portraits of patients that would undermine their bodies' reaction time (Albert Londe), to visualize the successive stages of a drop falling into water (Arthur Worthington). Like Manet these scientists referred to an “optical unconscious” (Walter Benjamin). A closer look at their work reveals that they dealt with a space of knowledge that went beyond the classical dichotomy between objectivity and imagination, scientific and artistic pictures.
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6

Escoubas, Eliane. "Derrida and the Truth of Drawing: Another Copernican Revolution?" Research in Phenomenology 36, no. 1 (2006): 201–14. http://dx.doi.org/10.1163/156916406779165827.

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AbstractI begin with the hypothesis that Jacques Derrida's Memoirs of the Blind: The Self-Portrait and Other Ruins is in a way the illustration of Speech and Phenomena and therefore Derrida's critique of phenomenology, intuition, perception, and seeing. I also want to show in this regard parallels with both Husserl and Kant. I emphasize that what is at issue in Memoirs of the Blind is art, visual arts; and in the great thematic richness of this text, I note the high points as well as the low points concerning the arts of the "visible." The fundamental question is: Does Derrida "see" the drawing, the painting, and indeed listen to the music?
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7

Engel, Emily. "Artistic Invention as Tradition in the Portrait Painting of Late-Colonial Lima." Anales del Instituto de Investigaciones Estéticas 1, no. 113 (October 2, 2018): 41–79. http://dx.doi.org/10.22201/iie.18703062e.2018.113.2655.

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José Joaquín Bermejo, Cristóbal de Aguilar, Cristóbal de Lozano y Pedro Díaz no son nombres muy conocidos fuera del Perú. Sin embargo, estos artistas son algunos de los pintores más influyentes en la historia del arte del mundo del siglo XVIII. Como los pintores de retratos de primera clase en la capital mundial de Lima, estos artistas hacen visibles las identidades de los agentes del poder que ayudaron a dar forma al imperio iberoamericano en su crepúsculo. Colectivamente, José Joaquín Bermejo, Cristóbal de Aguilar, Cristóbal de Lozano y Pedro Díaz no son nombres muy conocidos fuera del Perú. Sin embargo, estos artistas son algunos de los pintores más influyentes en la historia del arte del mundo del siglo XVIII. Como los pintores de retratos de primera clase en la capital mundial de Lima, estos artistas hacen visibles las identidades de los agentes del poder que ayudaron a dar forma al imperio iberoamericano en su crepúsculo. Colectivamente, Bermejo, Aguilar, Lozano, Díaz facilitaron un cambio pictórico dentro de un género tradicional que requiere arcaísmo y la repetición para mantener su relevancia cultural. Sus retratos terminados demuestran visualmente una disonancia emergente entre la innovación artística y la tradición pictórica. A través de un examen de sus corpus de trabajo de finales del siglo XVIII, este artículo demuestra cómo los artistas ajustan la representación de los cuerpos de élite en el retrato para reflejar la sutil desintegración de un cuerpo social colonizado unificado.
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8

Gaynutdinov, Timur Rashidovich. "Blinding and origins of a painting." Философия и культура, no. 7 (July 2020): 1–9. http://dx.doi.org/10.7256/2454-0757.2020.7.33570.

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Анотація:
The subject of this research is the problem of a painting in Jacques Derrida’s philosophy, namely the so-called “hypothesis of blinding” advanced in his work “Memoirs of the Blind: The Self-Portrait and Other Ruins”: “a painting… and the process of painting must be slightly related to blinding”. Derrida examines this established ontotheological tradition of classical metaphysics: blinding here becomes an essential sacrificial act, a condition that enables transition from physical eye to spiritual. Therefore, Derrida describes it as “sacrificial” economy, inevitably followed by the artist. Each work of the artist is prophecy of a blind person and designates horizons of the future. Explicating the aforementioned hypothesis of J. Derrida, the author refers to not only the text of “Memoirs of the Blind” and the accompanying documental narrative but also attempts to reconstruct the eponymous exhibition held the Louvre Palace in 1990, coordinated by Derrida. Comparison of these three layers provided better understanding “hypothesis of blinding”, and allowed inscribing to a more general philosophical context of deconstruction, as well as reconsidering the problems of figurative, mimetic and representative nature of a painting. The author comes ti the conclusion that essence of a painting is no way related with the visible, but its origin takes roots purely from memory.
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9

Ciobanu, Estella Antoaneta. "Food for Thought: Of Tables, Art and Women in Virginia Woolf’s To the Lighthouse." American, British and Canadian Studies 29, no. 1 (December 20, 2017): 147–68. http://dx.doi.org/10.1515/abcsj-2017-0023.

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Abstract This article examines art as it is depicted ekphrastically or merely suggested in two scenes from Virginia Woolf’s novel To the Lighthouse, to critique its androcentric assumptions by appeal to art criticism, feminist theories of the gaze, and critique of the en-gendering of discursive practices in the West. The first scene concerns Mrs Ramsay’s artinformed appreciation of her daughter’s dish of fruit for the dinner party. I interpret the fruit composition as akin to Dutch still life paintings; nevertheless, the scene’s aestheticisation of everyday life also betrays visual affinities with the female nude genre. Mrs Ramsay’s critical appraisal of ways of looking at the fruit - her own as an art connoisseur’s, and Augustus Carmichael’s as a voracious plunderer’s - receives a philosophical slant in the other scene I examine, Lily Briscoe’s nonfigurative painting of Mrs Ramsay. The portrait remediates artistically the reductive thrust of traditional philosophy as espoused by Mr Ramsay and, like the nature of reality in philosophical discourse, yields to a “scientific” explication to the uninformed viewer. Notwithstanding its feminist reversal of philosophy’s classic hierarchy (male knower over against female object), coterminous with Lily’s early playful grip on philosophy, the scene ultimately fails to offer a viable non-androcentric outlook on life.
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10

Yushkova, E. V. "Voskresenskaya, M. (2020). The sociocultural dimension of the Russian Silver Age. St. Petersburg: SPbGU. (In Russ.)." Voprosy literatury, no. 3 (September 13, 2022): 284–87. http://dx.doi.org/10.31425/0042-8795-2022-3-284-287.

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Анотація:
In her monograph, M. Voskresenskaya attempts to examine the Russian Silver Age as a historian and a scholar of culture. That perspective is made clear by the book’s title: it points to a sociocultural dimension, so, instead of analysing specific works created during the aforementioned period, she focuses on the society that provided the context for certain cultural and artistic processes. The author undertakes a sociocultural study of the environment in which works emerged that are so famous today, and devotes a whole chapter to the philosophy espoused by the cultural elite. Voskresenskaya also tackles the political agenda — starting with a characteristic of the search for ways to reform the world, she moves on to describe the choice made by the period’s artists, poets and writers to take part or refuse participation in the war and the revolution, and their perception of these two events. Employing the methods of cultural history studies, Voskresenskaya is painting a group portrait of the cultural icons of the Russian Silver Age.
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Дисертації з теми "Portrait painting Philosophy"

1

Heaston, Paul Bradford. "Some One." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/heaston/HeastonP0508.pdf.

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In the wake of the emergence of the photographic portrait over the last century, I aim to examine the current relationship between the painted portrait and photography; specifically, the use of the photograph as a tool that can inform and transform the investigation of identity in painting. While a great deal of my interest lies in translating the photographic image into paint, I am more interested in what the nature of my process can reveal about the people I know. I believe my intimacy with the sitter turns the process of transcribing a clinical and often unflattering photographic examination into a more challenging psychological exploration of my relationships with both the subject and the viewer. I force myself to make editorial choices to reconcile the impartial and detached information provided by the camera with what I already know about the sitter.
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2

Freestone, Mellor Paula. "Sir George Scharf and the problem of authenticity at the National Portrait Gallery." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728997.

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3

Rosinski, Milosz Paul. "Cinema of the self : a theory of cinematic selfhood & practices of neoliberal portraiture." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269409.

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This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror. In this approach, selfhood is understood as aesthetic-ontological relation and construction based on specific techniques of the self. In the first part of the study, I argue for a presentational rather than representational perspective concerning selfhood by translating the photograph Self in the Mirror (1964), the painting Las Meninas (1656), and the video Cornered (1988), into my conception of a cinematic theory of selfhood. Based on the presentation of selfhood in those works, the viewer establishes a cinematic relation to the visual self that extends and transgresses the boundaries of inside and outside, presence and absence, and here and there. In the second part, I interpret epistemic scenes of cinematic works as durational scenes in which selfhood is exposed with respect to the forces of time and space. My close readings of epistemic scenes of the films The Congress (2013), and Boyhood (2014) propose that cinema is a philosophical mirror collecting loss of selfhood over time for the viewer. Further, the cinematic concert A Trip to Japan, Revisited (2013), and the hyper-film Cool World (1992) disperse a spatial sense of selfhood for the viewer. In the third part, I examine moments of selfhood and the forces of death, survival, and love in the practice of contemporary cinematic portraiture in Joshua Oppenheimer’s, Michael Glawogger’s, and Yorgos Lanthimos’ work. While the force of death is interpreted in the portrait of perpetrators in The Act of Killing (2013), and The Look of Silence (2014), the force of survival in the longing for life is analysed in Megacities (1998), Workingman’s death (2005), and Whores’ Glory (2011). Lastly, Dogtooth (2009), Alps (2011), and The Lobster (2015) present the contemporary human condition as a lost intuition of relationality epitomised in love.
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Книги з теми "Portrait painting Philosophy"

1

Portraits and persons: A philosophical inquiry. Oxford: Oxford University Press, 2010.

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2

Pommier, Edouard. Théories du portrait: De la Renaissance aux Lumières. [Paris]: Gallimard, 1998.

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3

Novák, Éva Kissné. A Jellem tekintete és a Transporter-Life-Line életfelfogás: Huszonhat kortárs festőművész önarcképével. [Budapest]: HUBA, 2005.

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4

La cause des portraits. Paris: POL, 2009.

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5

Schefer, Jean Louis. La cause des portraits. Paris: POL, 2009.

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6

Vdovin, G. V. Persona - Individualʹnostʹ - Lichnostʹ: Opyt samopoznanii︠a︡ v iskusstve russkogo portreta XVIII v. Moskva: Progress-Tradit︠s︡ii︠a︡, 2005.

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7

Persona, individualʹnostʹ, lichnostʹ: Opyt samopoznanii︠a︡ v iskusstve russkogo portreta XVIII veka. Moskva: Progress-Tradit︠s︡ii︠a︡, 2005.

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8

Les enjeux du portrait en art: Étude des rapports modèle, portraitiste, spectateur. Paris: L'Harmattan, 2011.

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9

Małkiewicz, Adam. Theoria et praxis: Studia z dziejów sztuki nowożytnej i jej teorii. Kraków: TAiWPN Universitas, 2000.

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10

Wilde, Oscar. Le portrait de Dorian Gray. 2nd ed. Paris, France: Flammarion, 2006.

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Частини книг з теми "Portrait painting Philosophy"

1

Fend, Mechthild. "Nervous canvas." In Fleshing Out Surfaces. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719087967.003.0003.

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This chapter looks at skin, sensibility and touch in painterly practice and the art literature on the one hand, and in medical as well as philosophical discourse on the other. It argues that the new medical understanding of organic substances as textured joined a special attention to brushwork in mid-eighteenth-century French art practice and theory. This conjuncture prompted attempts to imitate the skin's tissue with an appropriate facture produced by the artist’s hand. The chapter takes the medical metaphorisation of skin as a ‘nervous canvas‘ in the 1765 article ‘sensibilité‘ of Diderot's and d'Alembert's Encyclopédie as its guide to discuss relations between artistic and medical visions of skin in mid-eighteenth-century France. It focuses on the so-called portraits de fantaise by Jean-Honoré Fragonard and argues that the carnations in these paintings are as much about flesh as they are about the materiality and vitality of skin. Pivotal for the analysis of the interconnections between the fields of medicine and the arts, are the writings by philosopher and art critic Denis Diderot as he thought about skin, flesh and the sense of touch his reviews of the Salon exhibitions, in his writings on physiology, as well as in his fictionalised account of the latest medical theories in his Rêve de d'Alembert.
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