Дисертації з теми "Portraiture"
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1
Wilson, Paula Spangler. "Essence of portraiture." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-1109102-123835/restricted/WilsonP121202ab.pdf.
2
Lopez, Juan C. "Portraiture an interactive experience /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002111.
3
Lopez, Juan. "PORTRAITURE: AN INTERACTIVE EXPERIENCE." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4205.
Анотація:
Linking his thematic inspiration (the strange, the bizarre, the weird and the odd) to his artistic reflection, Lopez conceives of his work as based on his fascination with human facial expressions. "It is there where it is born", he says. Like Leonardo, he believes that the eye is the superior organ. Lopez's use of form and color represents his main objective: to show emotion, humanity and elegance. For that, it is necessary for him to reveal character as well as beauty. It is again, the approach used by the great masters such as Leonardo, Velázquez, Géricault and Goya in representing integrity inside the strange, the bizarre, the weird and the odd. Lopez's art invites the viewer to stare at it, to establish a cordial exchange and to venture into the fascinating world of the unusual.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
4
Peach, Annette Julia. "The portraiture of Byron." Thesis, Royal Holloway, University of London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338883.
5
Witz, Teresa. "Portraiture : femininity and style." Thesis, University of East London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532901.
Анотація:
When I started the doctorate programme in 2002 I had a long-standing interest in vanitas paintings, both historical and contemporary. This developed into an interest in creating contemporary iconic images of celebrity personalities. I also started to explore ways of portraying 'iconic unknowns', which involved transforming ordinary, working women into modem icons. In the first year I was interested in celebrity icons, such as David and Victoria Beckham, Kylie Minogue and Cher. I was interested to portray these celebrities as more anonymous as people, but more familiar as brand images . . Also at this time I was developing an interest in what I have termed 'localised celebrities'; these were the wealthy women of Essex. I made paintings of the glamour and style of these Essex women and their' chic kitsch' . The work evolved with experiments in ways of portraying women, attempting to subvert the conventions of the male gaze by portraying women in a highly ambiguous manner. The conventions of clothing and 'styling' are exaggerated versions of the kind of sexualized to-be-Iooked-at-ness associated with the male gaze and yet the women in the paintings are refusing to be positioned as the to-be-Iooked-at-by men. They are defying the spectator to dare to consume her image in that way. I have attempt~d to complicate the relationship between the male spectator and the female image as well as opening up new ways in which women might assume the position of spectator. Laura Mulvey, a feminist film theorist, published an article in 1975 called 'Visual Pleasure and Narrative Cinema' in which she employed the term 'the male gaze'. Mulvey's analysis was concerned with the cinematic gaze, but certain parallels may be drawn with conventions of portraying women, for example in paintings and photography. She was primarily interested in the relationship between the image of woman and the 'masculinisation' of the position of the spectator. By this, she means that images of women are constructed according to patterns of pleasure and identification that assume masculinity as the 'point of view' (Mulvey: 1989: 29-38). Later, however, Mulvey began to think about how women could occupy the position of spectator.
6
Hay-Whitton, Alexander Mark. "Pope's portraiture : a critical examination of portraiture in the poetry of Alexander Pope." Master's thesis, University of Cape Town, 1986. http://hdl.handle.net/11427/21879.
Анотація:
Bibliography: pages 202-210.This work examines and critically evaluates what the author considers to be the chief concerns of Pope's verse portraits, and particularly attempts to trace the manifestations of these concerns in the formal, rather than argumentative or polemic, qualities of Pope's writing. The works selected have accordingly been primarily those in which the density of poetic description of character was sufficient to indicate implicit qualities of psychological interest, sometimes at remarkable variance with more express argument of contemporary theories. Starting from an initial agreement with Dr Johnson concerning Pope's shortcomings as a philosopher, the author chooses works for detailed study on the basis of the various ways they present human types and characters: through a semi-dramatic narrative presentation, through brief life-histories, through descriptive character-sketches, or through implication of character by environment. The author bases much of his work on the idea of a dual interest in Pope's verse, which is partly satiric and aimed at moral.or social correction, partly humorous and aimed at examination or elucidation of human nature. The Dunciad and An Essay on Man are examples of the two interests as opposite extremes; but in most of Pope's work, the author maintains, the functions are complementary.
7
Whitbourn, James. "Anne Frank in musical portraiture." Thesis, University of West London, 2015. https://repository.uwl.ac.uk/id/eprint/3222/.
8
Pettersen, Hanne Hagen. "Gustav Klimt and Modern Portraiture." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1190.
9
Barron, Rose M. "Exploring Identtiy through Self-Portraiture." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/12.
Анотація:
EXPLORING IDENTITY THROUGH SELF-PORTRAITURE by ROSE M BARRON Under the Direction of Dr Melody Milbrandt ABSTRACT 1) Statement of the problem: How can art education help students deconstruct stereotypical imagery and develop meaningful artwork? How can art lessons help students construct positive identity imagery and develop meaningful artwork? 2) Procedures: I field-tested a unit of three lessons based on identity through self-portraiture to help students investigate the topic of identity in relation to personal and cultural sense of self. Student’s artworks, reflections and responses were analyzed. 3) Conclusions: Art lessons can help students construct positive identity and develop positive imagery. Art lessons can help students deconstruct negative stereotypical imagery and develop meaningful imagery. INDEX WORDS: Identity, Portrait, Self-Portrait, Race, Gender, Class, Ethnicity, Contemporary Art Education
10
Shininger, Soni. "Portraiture : the self as art." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864932.
Анотація:
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
11
Woodall, Joanna. "The portraiture of Antonis Mor." Thesis, Courtauld Institute of Art (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319382.
12
Luong, Trân-Quân 1979. "Layered imagery in Chuck Close portraiture." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84057.
Анотація:
This thesis explores layered imagery in the portraiture of Chuck Close. Portraits that exhibit qualities of layered imagery appear as an integrated whole from a distance, but as the observer approaches the canvas, the figure of the portrait disintegrates into atomic elements that stand on their own. We present a discussion of the perceptual principles that permit the effects of layered imagery, and apply these principles to the creation of systems that emulate Close's blobby and fingerprint styles. We discuss the textural aspects of his portraits that contribute to the effect of layered imagery, and detail methods to reproduce these effects. Finally, we present novel stylised renderings inspired by Close's artwork.
13
Shepherd, Lynn B. "Samuel Richardson and eighteenth-century portraiture." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439316.
14
Zuckerman, Orit. "Interactive portraiture : designing intimate interactive experiences." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/37396.
Анотація:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.Includes bibliographical references.
In this thesis I present a set of interactive portrait experiences that strive to create an intimate connection between the viewer and the portrayed subject; an emotional experience, one of personal reflection. My interactive portraits extend traditional photographic portraiture in two ways: adding motion and interaction. I present seven interactive portraits prototypes that react to viewer's presence and gender, as well as portraits that react to neighboring portraits. I demonstrate how interaction design decisions influence the viewer's experience and give Design Guidelines for the design of intimate interactive experiences. I ground my work in a theoretical framework called the "subject-object continuum", created for the art of portraiture (Brilliant, 1987). I show the relevancy of this framework for photographic portraiture, modern interactive portraits and intimate interactive experiences. Designers and artists follow (or consciously break) design guidelines when creating visual experiences. For example, photographers must train themselves to recognize the influence that light and composition have on the viewing experience of their portrait.
(cont.) In the same way, designers and artists of interactive experiences must inform themselves about the influence that different interaction techniques have on the viewing experience of their interactive experience. In my thesis I focus on two design factors: (1) the style of the interaction and (2) the viewer's expectations. I evaluated these design factors using interactive portraits prototypes, and based on my findings, developed a set of design guidelines that can inform interaction designers and portraiture artists about the design factors relevant for intimate interactive experiences.
by Orit Zuckerman.
S.M.
15
Bice, Deborah Marie. "Preceptive portraiture: Chaucerian and Spenserian effictio." Case Western Reserve University School of Graduate Studies / OhioLINK, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=case1057949572.
16
Ebanks, Davin K. "Blue Meridian: The Portraiture of Landscape." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1272900119.
17
Beetson, Bianca Renee. "Exploring Aboriginal identity through Self- portraiture." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/376769.
Анотація:
This exegesis examines my practice through my identity as a Kabi Kabi, Wiradjuri, Kuku Ylandji and Pita Pita woman with English, Scottish and Romany Gypsy heritage. It contextualises the development of my practice from 1997 to 2017, which is the period immediately following my graduation from an undergraduate degree until now. The major focus of the exegesis, however, is on works from the last decade, when self-portraiture became a prominent part of my practice, which I explore through a variety of media: photography, performance, painting, drawing, and sculpture.
To contextualise my practice, I also examine contemporary artists who utilise Indigenous frameworks to disrupt the traditions of Western portraiture. My own work uses humour and ideas of performativity as tools to positively intervene into debates about Aboriginal identity. For example, my use of the colour pink can be understood as candy coating a difficult conversation around colonisation. I also reclaim the language of the coloniser through serial portraiture and challenge ideas of Aboriginal femininity. Contributing to identity politics art, I refuse the idea of an essential self through the idea of a performative self-portrait. One of my aims is to reclaim Aboriginal agency and to decolonise the idea of the self.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
18
Clifton, Donna Reneé. "A Portraiture of Evelyn Thompson Lawrence." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1411.
Анотація:
The purpose of this study was to determine the obstacles and motivators Evelyn Thompson Lawrence addressed in her thirst for lifelong learning and desire to share that learning through her life stories. The researcher also sought to understand how everyday events played a role in the outcome of Lawrence's life. More than just observing major events, the researcher considered ways the smallest moments made an impact on Lawrence's continued desire for learning. This study evolved through Lawrence's accounts. By allowing this African American woman, who was a lifelong Appalachian, to explore her past and present, a wide array of experiences emerged that would provide a more holistic view of a lifelong learner.
The interviews with Lawrence were both video- and audio-taped to ensure proper acquirement of Lawrence's life stories told in narrative form. In addition to the interviews, Lawrence provided numerous primary documents such as awards, photographs, news clippings, and books to add a deeper dimension to the portraiture. To verify the information Lawrence provided, three subjects who had connections with Lawrence in specific areas of her life were interviewed. The interviews from this qualitative research with Lawrence and the secondary subjects were transcribed, coded, and considered for emergent themes. Three distinct areas appeared as the portrait of Lawrence's life was painted through her life stories: her connections to her family, her profession and academics, and her community.
Through this research the researcher recognized that history was a factor in motivating Lawrence to become a lifelong learner, and there was a connection between research results on the characteristics of lifelong learners and the characteristics exhibited by Lawrence. Her desire to acquire knowledge, both formal and informal, continues to this day.
Future studies might include provisions for the needs of the lifelong learner and the importance of looking at the individual's life in its entirety as a means for determining how best to nurture a love of learning as an adult. Throughout this research it became apparent that the adult could find meaning from the past and motivation for the future through life stories.
19
Meschutt, David Randolph. "The portraiture of James Monroe, 1758-1831." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 3200555 Mb., 363 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3200555.
20
Woodall, Dena Marie. "SHARING SPACE: DOUBLE PORTRAITURE IN RENAISSANCE ITALY." online version, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=case1214411123.
21
Altintzoglou, Evripidis. "Dualism and the critical languages of portraiture." Thesis, University of Wolverhampton, 2010. http://hdl.handle.net/2436/116408.
Анотація:
This thesis analyzes the philosophical origins of dualism in Western culture in the Classical period in order to examine dualist modes of representation in the history of Western portraiture. Dualism - or the separation of soul and body - takes the form in portraiture of the representation of the head or head and shoulders at the expense of the body, and since its emergence in Classical Greece, has been the major influence on portraiture. In this respect the modern portrait's commonplace attention to the face rests on the dualist notion that the soul, and therefore the individuality of the subject, rests in the head. Art historical literature on portraiture, however, fails to address the pictorial, cultural and theoretical complications arising from various forms of dualism and their different artistic methodologies, such as that of the physiognomy (the definition of personality through facial characteristics) in the 19th century. That is, there is a failure to identify the complexities of dualism's relationship to the traditional honorific aspects of the portrait (the fact that historians are inclined to accept at face value the fact that portraits historically have tended to honour the achievements and social status of the sitter). Indeed, scholars have a propensity to romanticise the humanist individualists inherent to this long history of the honorific, particularly in canonic portrait practices such as Rembrandt's and Picasso's.
22
Farrell, Amanda. "Covers : social significance of apparel in portraiture." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1024.
Анотація:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Art
23
Wages, Emily C. "Macro Self-Portraiture and the Feminine Grotesque." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/798.
Анотація:
According to the Mirriam-Webster online dictionary, “grotesque” is defined as “a style of decorative art characterized by fanciful or fantastic human and animal forms often interwoven with foliage or similar figures that may distort the natural into absurdity, ugliness, or caricature.” Originating from the Old Italian grottesca, cave painting, feminine of grottesco of a cave, from the time of its conception, the grotesque has been inexorably linked to art and the female. The work of other female artists that explore themes of the feminine grotesque are discussed, including Katheryn Wakeman, Jenny Saville, and Maria Lassnig. In my current work, I have been creating oil paintings of macro images of my own body to construct a fragmented and magnified, borderless, grotesque view of the body. The images focus on the mouth, due to its complicated nature as both internal and external, hidden and in plain sight, as well as due to connotations with speech, ingestion, and sexuality. The work walks a fine line between aesthetically pleasing while also commanding an uncomfortably visceral, fleshy quality. While the works are somewhat ambiguous and allow for various readings, they also allude to larger issues of sexism. The use of magnification and fragmentation references the insufficient representation of the female body both art historically —with the beautiful female nude painted by the male artist—as well as contemporarily in an overly-Photoshopped society. The visceral feeling of disgust should allow viewers to commune with their own bodies’ psychophysiological reactions and question the politics of how beauty standards are established as well as whether beauty is a valuable concept when judging the female form.
24
Kalpaxi, Elisavet. "Narcissism and narrativity in photographic self-portraiture." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7201/.
Анотація:
This thesis deals with the relationship between narcissism and narrativity in photographic self-portraiture. The thesis consists of two parts, one theoretical (the text) and one practical (my photographic work). The text analyses the complexity of this link through psychoanalysis, semiotics, narratology and photography/art theory. My main argument is that the relationship between self-portraiture and narcissism can be rationalized through psychoanalysis. In a psychological sense, however, narcissism is not evident in either the contents or the production process of photography, especially in images that are obviously constructed and suggest a narrative. Self-portraiture emerged historically more as a solution to photography’s ‘authority-consciousness’ than an indication of any underlying psychological causes. Besides, the centrality of narcissism in typical twentieth-century views of photographic self-portraiture has recently started losing ground to systems of interpretation inherited from painting and the growing emphasis on the superficial use of the genre. The aim of this thesis is to recover narcissism as a ‘sense-making fiction’ (in F. Kermode’s terms). Drawing on literary criticism (John Barth, Linda Hutcheon, Patricia Waugh), I have addressed the paradoxes contained in photographic self- portraiture through those typical of experimental fiction. Critical studies on the ‘self- conscious fiction’ highlight the interrelation between psychological phenomena and meaning-making procedures in narratives. Narrative devices aiming at eliciting reader/viewer self-reference acquire special value as attempts to incorporate what is repressed and produce a more ‘real’ narrative order. By eluding structured language systems, narcissism provides a vocabulary for narrativizing procedures, as well as meeting the viewer’s modes of engagement. It can simultaneously represent an imaginary withdrawal of the artist, a projective mode of identification for the viewer, and a structure within the work. By these means, I argue, narcissism is responsible for the criticality of photographic self-portraiture as illustrating psychological, social and narrative de-structuring.
25
Higgins, Josephine. "Seeing death : portraiture in contemporary postmortem photography." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/14152.
Анотація:
This thesis focuses on the aesthetics of the photographic representation of the actual dead body in Elizabeth Heyert's The Travelers (2004), Pieter Hugo's The Bereaved (2005) and Walter Schels and Beate Lakotta's Life Before Death: Portraits of the Dying (2004). The use of portraiture in each of these artist's series is crucial as it suggests an interest in the 'subjectness' of the corpse. Katarzyna Majak's (2011) theory of socialization as an attempt to lessen the scandal of the corpse through representation is central throughout this thesis. Majak argues that for the viewer the corpse is a scandal, because it discomfortingly presents the transformation of a body from subject to object. For Majak, socialization is essentially the taming of the dead body, achieved by re-presenting the corpse as an individual. Socialization emphasizes the subject-ness of the deceased individual, rather than the object-ness of the corpse, of pure unadulterated matter. The use of portraiture in each of the above series socializes the corpse by presenting the individual identity of the deceased as a subject, in varying degrees. Death is approached through the recognizable conventions of portraiture itself, thereby to some extent taming or domesticating the corpse. This thesis expands on Majak's valuable theory by establishing a continuum of socialization from subject-ness to object-ness. Importantly, this continuum reveals varying degrees of socialization within the three series. Socialization is used here as an analytical tool with which to explore the photographs, drawing out similarities and differences. I argue that through various aesthetic techniques, these three series encourage the viewer to look at these different images of the corpse with varying degrees of comfort.
26
McNulty, Barbara R. "Cypriot Donor Portraiture: Constructing the Ideal Family." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/80701.
Анотація:
Art HistoryPh.D.
This study focuses primarily on donor portraits of families found in Cypriot wall paintings and icons created during the Lusignan and Venetian periods. Although donor portraiture is a mode of expression that dates to antiquity, in the medieval period an increasingly prosperous upper middle class used this genre more frequently. My concern is with the addition of children to these portraits and the ways in which this affects the family portrayal on Cyprus. These portraits are intriguing because they provide a rare glimpse into the culture and people of this island as constructed within the medium of portraiture. They provide visual evidence of the donors' ideals of family in these lasting monuments to their memory. There are noticeable changes in these portraits through time that indicate the shifting foreign rulership faced by the population. Part of the Byzantine Empire until captured by Richard the Lionheart in 1191, Cyprus came under Frankish domain when it was transferred in 1192 to Guy de Lusignan, the dispossessed King of Jerusalem. For years Cyprus had been a stopping place for pilgrims and, later, crusaders on their way to the Holy Land. By the time Cyprus came under Venetian rule, it had grown as a stopping place for merchants as part of their trade route to the East. This exposure to cross cultural trade, migrations, and differing reigning powers makes Cyprus a complex study in social history. These layers of mixed social identities across ethnic, religious and political boundaries are documented in the island's donor portraits. Part of this analysis is an attempt to discern in these constructed identities what is indigenous, what is foreign and what is part of the changing times. A close examination of these images uncovers this mingling of identities and certain conventions in the way these donor portraits become expressions of the family. The strategy used to examine these donor portraits is to look at them by employing some of the characteristic functions of portraiture, in this case as outlined by Shearer West in her introduction to portraiture. After an introductory chapter that details some background on donor portraiture and the art of Cyprus, each of the following chapters uses two main images for comparison to explore the ways in which they might reveal aspects of the family. This comparative method is used in the successive chapters with the one constant image of the Zacharia family, painted during the Venetian occupation, as a basis for comparison. Chapter two takes this portrait and compares it to the portrait of Neophytos, a twelfth-century hermit monk who also used the Deësis scene as the setting for his portrait. By looking at these particular scenes as works of art, this chapter introduces ideas to consider throughout the dissertation on the ways these constructions reveal wishes of the donors, such as strategies of hierarchy, of veneration and viewer's access. Chapter three explores how the family group portrait serves as a document for the biography of the family. Chapter four deals with the important social practice of the dowry and my idea that some of the later portraits, which include daughters, may be displaying dowry wealth. Chapter five looks at family commemorative portraiture found particularly in icons, beginning the fourteenth century, where deceased family members are portrayed alongside, seemingly, living family members. Finally, in chapter six, I examine the ways in which these family portraits may indicate political changes on the island, especially as Cyprus moves from a feudal society to a commercial one in the Venetian period. In order to facilitate discoveries that might be made by organizing the material in a systematic manner, I have assembled a catalogue of Cypriot family donor portraits and a chart indicating the numbers of men, women and children included in family groups, in the appendices. It is my hope that this dissertation will create more discussion about family groups and will, hopefully, uncover other portraits that may be added to this list, making it a more complete picture of the surviving record.
Temple University--Theses
27
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.
Анотація:
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.
28
Byrne, Debra J. "Feminine identities and the structuring of postmodern portraiture /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164493.
29
Gonzales, Irene. "Latinas aspiring to the superintendency : a portraiture study." Online access for everyone, 2007. http://www.dissertations.wsu.edu/Dissertations/Spring2007/I_Gonzales_043007.pdf.
30
Halliday, Anthony Sinclair. "French portraiture under the Directoire and the Consulat." Thesis, Courtauld Institute of Art (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338884.
31
Cox, Matthew Jon. "The Javanese self in portraiture from 1880-1955." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/16310.
Анотація:
This thesis, The Javanese self in portraiture from 1880-1955 examines changing understandings and representations of the Javanese self in painted and photographic portraits spanning 75 years from 1880-1955. During this period, Indonesian modern art followed a trajectory from its 19th century beginnings within the domain of exclusive privilege, through the socially engaged Persagi painters to the opening of the first National art school, Akademi Seni Rupa Indonesia. In tandem there was a dramatic shift in the public’s understanding of two concepts: the modern individual and the nation state of Indonesia. The two however are not mutually inclusive and in many cases the modern individual precluded the nation. One must consider that the colonial state, rather than the Republic, was the defining structure into which many of the major players in Indonesian modern art were born and in which they operated. Furthermore, certain individuals crystallised their sense of national consciousness whilst living abroad and in many instances working in conjunction with the Dutch. In some cases the modern individual was situated in an isolated position, far outside any notions of a shared experience with an imagined community. Whilst this thesis is concerned with the biographies of individuals and is deeply committed to a social history of art, the focus on individuals is not made in order to reveal broader assumptions regarding society, but rather to reveal nuanced and sometimes very personal expressions of modernism. Because the appearances of modernism were not always concurrent or consistent with societal modernity, we cannot plot an uninterrupted or continuous path for Indonesian modern art. Yet a number of societal changes that came about during the period from high colonialism to independence affected class structure and gender, giving rise to altered states of selfhood and new methods of artistic expression. It is precisely the complex set of transactions between the individual, larger society and the economic and political conditions of the time that this thesis sets out to articulate in order to reveal a number of significant characteristics regarding the possibilities of self representation in portraiture. First, the early history of Indonesian modern art is plotted in terms of cooperative relationships between Javanese aristocrats and Dutch men. Secondly, that whilst appearing conservative and pro-Dutch, these Javanese artists were critical in initiating a discourse on modern art and in establishing a position of cultural nationalism, domestically and abroad. Finally, the conjunction of the first two points demonstrates that the history of modern Indonesian art began much earlier than previously believed and, perhaps even more significantly, was attached to the idea of Indonesian cultural and national self-determination at a very early stage of its development.
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Rivera, Sr Martin Juan. "The Storytellers' Journeys: A Study Using Portraiture Method." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/194463.
Анотація:
The Storytellers' Journeys: A Study Using Portraiture Method is an in-depth study of three highly recognized storytellers, Michael Lacapa, Patricia Preciado Martin, and Joe Hayes. These artists were studied using a qualitative research method developed by Sara Lawrence-Lightfoot called portraiture. Portraitists study individuals to record their experiences and to interpret their perspectives. The main purpose of the study was to determine the extent to which professional struggles were considered barriers, preventing access to a career or to career goals. I developed questions that allowed me to gather information concerning the storytellers' professional struggles and their style of dealing with those struggles. I also probed for their individual definition of success, the measuring stick they use as a determination of their success, and if they relied on perseverance to reach their level of success. I tape-recorded interviews with the storytellers in order to transcribe them. I acquired supplemental data by attending the storytellers' public performances and by referring to published information about them. After critically reviewing the data I organized it into thematic areas. Each of the storytellers was treated individually. Lawrence-Lightfoot says, "The development of emergent themes reflects the portraitist's first efforts to bring interpretive insight, analytic scrutiny, and aesthetic order to the collection of data" (1997c, pg. 185). Initially, the three artists said that they did not have to contend with professional obstacles to reach their level of success. However, the analysis of the in-depth interviews showed that all the storytellers dealt with professional complications, but they did not allow those complications to interfere with their goals. In fact, one of the artists merely cited those situations as "dues that needed to be paid." Because the portraiture method encourages researchers to include themselves in their studies, I became the fourth storyteller in the project. I did the same introspective process about my careers that I asked of the other storytellers. My self-analysis supported some of the results I obtained from the other artists but it also showed some differences. These differences are explored in the dissertation.
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Fuhrman, Anne Mary. "The Craft of Portraiture in Eighteenth-Century America." W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625718.
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Prescott, Margaret Gaye. "Rethinking Nathaniel Dance’s Portraiture: Sociability, Masculinity and Celebrity." Master's thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/148889.
Анотація:
Nathaniel Dance (1735-1811) was a leading portraitist in London who worked alongside luminaries such as Reynolds, Romney and Gainsborough in the Golden Age of British portraiture. Dance’s contemporaries have been subject to considerable research, however, analysis of Dance has been limited with only one major study of his work undertaken in the 1970s. Unlike many of his contemporaries, Dance’s upper-middle class family were already established in London’s sociable society. His career and his works afford a different perspective from which to examine portraiture as part of Britain’s sociable society. In more recent years eighteenth-century art history research has diversified to include the complex cultural mores and behaviours of Britain’s sociable society. From stockings, buttons, books and swords to ideas of sociability, masculinity and the public sphere, a wide range of topics have become the purview of the art historian. These approaches provide the framework for rethinking Dance’s portraiture, establishing the foundation for assessing his work in a dynamic and complex way. Dance’s practices reveal the multifaceted connections between portraiture, the artist, the sitter, and the audience. This thesis argues that Dance’s portraits operated as instruments of influence in the networks and affiliations of sociable society and that a range of factors are critical to fully understand Dance’s work, including, the complex nature of sociability, changing concepts of masculinity and the rise of celebrity. This research expands our knowledge of the importance of business and social networks and the role of the portrait for communicating connections and social position of the sitters. Duplicated portraits, which are a prominent feature in Dance’s portraiture business, reveal the extent that this medium connected sitters within Dance’s social sphere and in turn facilitated the expansion of Dance’s own networks.
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Easterbrook, Paul James. "The changing face of portraiture : a study in the reformulation of meaning in mid-nineteenth century portraiture in France, 1830-1860." Thesis, University of Kent, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270685.
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Alexander, Steven Ralph. "Painting and the Comedia in the Spanish Golden Age with particular reference to the portrait in the theatre of Lope De Vega and other contemporary dramatists." Thesis, King's College London (University of London), 1997. https://kclpure.kcl.ac.uk/portal/en/theses/painting-and-the-comedia-in-the-spanish-golden-age-with-particular-reference-to-the-portrait-in-the-theatre-of-lope-de-vega-and-other-contemporary-dramatists(14181cda-ee96-42ec-b333-186387d8370e).html.
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Walsh, Angela. "Obscene intimacies : postmodern portraiture in documentary film and television." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54728.
Анотація:
The past several decades have witnessed a steadily increasing output of documentaries which aim to explore the intimate lives of individual subjects. Although there has been no official scholarly study delineating these films as a documentary sub-genre, they have been variously termed portrait or biographical documentaries, and they are a persistent feature of both documentary film production and non-fiction television programming. This project aims to situate these films and television programs within broader cultural shifts that have occurred in the latter half of the twentieth century, including an upsurge in the ubiquity of images, distrust in the photographic medium’s ability to access the real, and dismantling of taste hierarchies. All of these changes fit under the broad paradigm of postmodern theory and culture, a societal condition that continues to evidence itself in the current age. Despite postmodernism’s proclamation that social relationships and individualism have collapsed, contemporary portraiture documentaries still aim to facilitate a sense of connection between viewer and subject. Postmodernism intersects here with what Richard Sennett has called the “intimate society,” which is characterized by a societal impetus toward personal revelation and emotional expression. I posit that portraiture documentaries represent the collision and working through of these two competing cultural features. Following an overview of the scholarship relevant to my research in Chapter One, Chapter Two will discuss two films by the documentary filmmaker Nick Broomfield, Heidi Fleiss: Hollywood Madam (1995) and Aileen: Life and Death of a Serial Killer (2003). Often maligned in both critical and scholarly circles for failing to interrogate ideology in any meaningful way, I argue that his work operates on a reflexive level to suggest that images fail us when attempting to extract the intimate truth of the individual. In Chapter Three I discuss two examples of reality television series that focus on the lives of individuals, Errol Morris’s First Person (IFC, 2000-2001) and Intervention (A&E, 2005 - ), which demonstrate the persistent need to render the subject in visual terms and make the viewer witness to the most intimate and personal aspects of their lives.Arts, Faculty of
Theatre and Film, Department of
Graduate
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Mellamphy, Janelle. "YOULOGY, self/portraiture, CaNADA, and Taras Polataiko's YOU series." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ47730.pdf.
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Petruccioli, Guido. "The portraiture of Caracalla and Geta : form, context, function." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600823.
Анотація:
In this dissertation, I investigate the representation of the emperor's image in Rome and the provinces of the Roman Empire. This study examines portraits in the round and inscribed bases of emperors Caracalla (AD 196-217) and Geta (AD 198-211) and asks how and why patrons chose to set up honorific statuary monuments and display imperial images. I explore the process of conception, mediation, and reception of the emperor's authorised likeness, addressing a set of fundamental questions: Who commissioned copies of imperial portraits and for what occasion? How did sculptors acquire and copy portrait types? Where were imperial portraits displayed and to which extent context determined their appearance in terms of scale, material, format, and costume types? The archaeological a.'1d epigraphic evidence is interpreted from the perspective of commissioners, executors, and intended viewers, in order to define the ancient perception of the emperor's persona. In the process, I bring to attention instances in which imperial images agreed with, or diverted from, the self-image that emperors promoted through the state media. Finally, I relate Caracalla's sculpted portraiture to the broader context of art and epigraphy and define its place in the history of imperial representation from Augustus to Constantine. The result is a cross-section of the visual perception of the imperial persona in a moment of transition in Roman imperial history, between the flourishing age of the Antonines and the troubled time of the Soldier-Emperors. The scenario described is that of a tight ideological connection between centre and periphery manifested by the sensitivity of metropolitan and provincial communities to changes and re-configurations in imperial policies. Diversity in the way social constituents chose to represent the emperor shows that there was hot one uniform understanding of the emperor's status and powers, but rather a set of complementary "perceptions" which can be described as individual responses to a common desire of patrons to negotiate their place within their community and the Empire as a whole.
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Drisdelle, Julie Lynne. "Female Self-Portraiture and the Construction of the Self." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/23669/23669.pdf.
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Storm, Stefanie. "At Home: Representations of Identity through Portraiture and Narrative." Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/809.
Анотація:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfB.F.A
Bachelors
Arts and Sciences
Art
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Bauress, William Louis. "Max Beckmann and the tradition of German self-portraiture." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298230.
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Wang, Yin-Han. "Taiwanese girls' self-portraiture on a social networking site." Thesis, London School of Economics and Political Science (University of London), 2012. http://etheses.lse.ac.uk/578/.
Анотація:
An increasing number of young girls produce contents in social media on a everyday basis for the opportunities to express, explore and connect. Public misunderstanding and concern are about whether girls are being narcissistic and vain. Academic works address how girls exercise agency while negotiating structure in the construction of their gendered adolescent identities. This thesis is situated in relation to our hopes and fears about girls’ self-representation through digital media production, and examines the role that photographic self-portraiture plays in girls’ social relations, personal and gender identity work. The theoretical framework combines the perspectives of gender performativity and symbolic interactionism, supplemented by analyses of personal photography. This thesis chose as its case study the popular Taiwanese social networking site Wretch, and employed a mixed method of quantitative content analysis of 2000 self-portraits of teenagers to understand how they represent themselves, and qualitative online interviews with 42 girls aged 13-20 to learn about their relationships with self-portraiture. The content analysis shows that most teenagers represent themselves in a gender stereotypical manner, while some adopt non gender-specific styles to represent themselves as friendly, suggesting that teenagers may use ideals about femininity, masculinity and sociality as shortcuts to present themselves in a positive light. Interview findings reveal how girls use camera technologies and the affordance of SNS for visual self-disclosure, which isimportant for the development of theirinterpersonal relationships. The findings also suggest that self-portraiture is not simply an act of photographing a ‘reality’ of the self, but of formulating self-image(s) and identity in the process of making self-portraits. In self-portraiture, girls are constantly confronted with the ‘who am I’ question, and construct and revise their biographies as they manage an array of audiences from different contexts all collapsing in one space. Furthermore, selfportraiture creates a distance between the ‘I’ and the ‘me’, allowing one to ‘play’ with self-image(s) and identity. It creates a space for the negotiation of ideals and anxieties, for experiments with different subject positions that may be socially or individually rewarding, and it is through these seemingly casual endeavoursthat one gradually works out their position in the social world. The thesis contributes to the scholarship on girls’ media culture, and suggests current theoretical perspective be expanded in order to better understand different ways of ‘doing girlhood’.
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Whitfield, Victoria Elisabeth. "Industry and identity in late eithteenth-century english portraiture." Thesis, University of Manchester, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500584.
Анотація:
This dissertation considers the significance of the non-somatic for the representation of identity and character in late eighteenth-century English portraits of the new manufacturing middle classes. The men whose portraits are discussed 'in this work were the pioneers of the new factory systems, mass production and industrial processes. Although many portraits of these men and of others in the same sphere of influence exist, the works examined here are those in which the subjects are depicted accompanied by objects related to their industrial or manufacturing businesses. This juxtaposition of the human figure and the material object, both in life and as represented subjects, will be explored in this dissertation. Chapter One forms an interrogation into the semantic effect of and on objects related to the industrial process when they are represented in portraits. It is a consideration of where such objects might more usually be depicted and the codes governing their representation in those visual spheres. Chapter Two examines how the social identity of wealthy men was shaped by their depiction with objects related to the manufacturing process. It suggests that the desire by such men to construct their portrayed identities through the newly understood institution of industry comprised the performance of a new form of public masculinity. Chapter Three considers the relevance of location to the construction of social identity. It examines the representation of industrial location as spectacle, inquires into the implication of this for industrially located portraits and examines the way in which established conventions of portraiture were drawn upon to restrain this effect. The fourth chapter inquires into the representation of the indispensable (yet often visually absent) industrial workforce asking how the body of the worker was implicated in the construction of identity for the employers.
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Leister, Wiebke. "Unjoyful laughter and the non-likeness of photographic portraiture." Thesis, Royal College of Art, 2006. http://ualresearchonline.arts.ac.uk/13247/.
Анотація:
This research investigates photographic portraits that can be considered as potentially non-mimetic images. It uses the portrait of laughter in theory and in practice to explore a ́non-like ́, iconic relation between a photograph and its model. In opposition to portraying a specific laughing sitter, here the photograph is more informed by what the viewer brings to his or her subjective encounter with that photograph. Among other subjects, my research compares portraiture to clownish performance. Hence, the photographic portrait shifts register, becoming less a likeness of the sitter, rather a portrait of the viewer ́s process of interpretation. As an extension of our understanding of the genre portraiture, I am using and testing the German term 'Bildnis', trying to find a clearer understanding of portraits that are Non-Likenesses. My main case study looks at 19th-century photographs by the French physician Duchenne de Boulogne. Duchenne researched emotional expressions by capturing the moving face twice: with medical electrization and with photography. Based on muscular contraction, he also established a theory distinguishing 'true' from 'false' laughter. Starting by isolating one photograph from the context of Duchenne ́s medical work as a leitmotif for my studies, considering it as an image in its own right, my research raises questions regarding the relation between model and photographer in photographic portraiture. It investigates what is commonly thought to be the Photographic – the photograph ́s referential status as an index in opposition to the meaning arising from its surface. In re-considering Duchenne ́s photograph within photographic histories, theories of representation aesthetics, and in relation to other photographs, I aim to lift his image out of its strictly utilitarian context as a record of an experiment. Expanding the discussion on its genres and applications, this change of context opens up a new emphasis on content and encourages its interpretation as an imaginary photograph. This claims to be not just image-informed, but also informed about the nature of images in general and photography in particular. Methodologically, the first part consists of a visual investigation into the depictibility of 'unjoyful' laughter as a 'non-like' photographic image. The second part re-stages the play of questions and answers arising from the studio practice by re-contextualizing them within a specific theoretical and historical framework of portraiture. Ultimately being two separate practices, both parts inform and reflect upon each other in approach and subject matter, deepening and widening an understanding of the medium of photography as a multi-faceted research tool.
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Van, der Hoek Jessica. "The faithful and/or flattering in 19th Century portraiture." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13996.
Анотація:
The nineteenth century's creation of different optical devices such as the camera obscura, the kaleidoscope and the thaumatrope signifies a change in the perception of vision at the time. The aim of this dissertation is to examine the work of four artists with reference to nineteenth century concerns surrounding vision. The scope for this examination is limited to the painted portraiture of Dante Gabriel Rossetti and John Singer Sargent and photographic portraiture of Julia Margaret Cameron and Félix Nadar Tournachon. Rossetti and Cameron represent two Victorian artists whose vision is turned inward to the imagination, with feelings of nostalgia and sentimentalism evoked in their portraits. This dissertation argues that the act of turning the eye inwards to the imagination is at the root of the flattering quality of these two artists' portraits. A further argument is that the sustained use of literary reference is the catalyst to the inward vision seen in these two Victorian artists' work. I examine Dante Gabriel Rossetti‟s later phase of idealised and "flattering" portraits of women in relation to the sonnets that Rossetti began to physically attach to either the frame or canvas of the portrait. The use of literary reference as catalyst to the inward vision is discussed namely through Julia Margaret Cameron‟s photographic portraits based on Alfred, Lord Tennyson's Enoch Arden. Cameron's allegorical and often mythological portraits of women are then analysed in order to establish the "flattering" quality of her portraits. With regards to the two artists who have been termed "faithful", an examination of their more outward vision and focus on the exterior realities is discussed. An exposition surrounding Félix Nadar Tournachon's "faithful" photographic portraits of nineteenth-century celebrities follows the discussion on Cameron. In order to further enquire into the notion of nineteenthcentury celebrities, an examination of John Singer Sargent follows. With the idea of Sargent being torn between the faithful and the flattering, I examine his more faithful Portrait of Madame X in relation to his later flattering celebrity portraits painted in the Grand Manner. In conclusion it will be suggested that Victorian and French ideas of vision and representation differed, exemplified by these four artists. These two very different perceptions of vision, one inward and the other outward, is the root of my distinction between the "faithful" and the "flattering" as manifested in portraiture.
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COHEN, MARGARET WINTERS. "A NEW TRADITION: JEWISH PORTRAITURE IN SEVENTEENTH-CENTURY AMSTERDAM." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054309065.
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Cohen, Margaret. "A new tradition Jewish portraiture in seventeenth-century Amsterdam /." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1054309065.
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Moore, Katy Marie 1957. "Self-esteem, self-portraiture: an examination of their relationship." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/558119.
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Perry, Lara Ann. "Facing femininities : women in the National Portrait Gallery, 1856-1899." Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2479/.