Download E-books Portraiture (Oxford History of Art) PDF

By Shearer West

This attention-grabbing new addition to the acclaimed Oxford historical past of Art sequence explores the area of portraiture from a couple of vantage issues, and asks key questions on its nature. How has portraiture replaced over the centuries? How have pics represented their matters, and the way have they been interpreted? The e-book presents a transparent, but thorough evaluate of the heritage of portraiture by way of social, political, monetary, and mental elements over a extensive time span. matters resembling id, modernity, and gender are thought of inside of their cultural and old contexts.

Shearer West uncovers fascinating facets of portraiture-a style that has frequently been visible as in simple terms representational, that includes examples from African tribes to Renaissance princes, and from "stars" reminiscent of David and Victoria Beckham to daily humans. West examines the various meanings and makes use of of photos during the a while and encompasses a wide variety of artists from Botticelli to Picasso, and Hans Holbein to Frida Kahlo. within the strategy, she finds the faces of the previous in a thrilling new method. superbly illustrated all through, this booklet is a different and available advent to the heritage of portraiture.

Show description

Read or Download Portraiture (Oxford History of Art) PDF

Best Art History books

Convergences: Essays on Art and Literature

Engrossing essays that mirror the author’s gigantic and refined wisdom of the realm. subject matters diversity from the spiritual rites of the Aztecs to trendy american portray, from jap paintings and faith to like and eroticism. Translated via Helen Lane.

Mnemosyne: The Parallel between Literature and the Visual Arts (The A.W. Mellon Lectures in the Fine Arts) (Bollingen Series XXXV-16)

AW Mellon Lectures in nice Arts are offered every year on the nationwide Gallery of paintings in Washington. they're released within the prestigious Bollingen Series.

The Bollingen sequence is devoted to top quality scholarly monographs on artwork, tradition, and philosophy.

From the airborne dirt and dust jacket:
In his seek for the universal hyperlink among
literature and the visible arts. Professor Praz
draws upon the plentiful facts of lengthy
mutual figuring out and correspondence be­
tween the sister alts even if parallels of
theme and thought are ample, be is no longer
primarily involved with those. particularly, he
examines the shut dating or air de fanulle
between the expression of the arts m any given
epoch.
Each epoch has “ its abnormal handwriting
or handwritings, which, if one may possibly interpret
them, could display a personality, even a physi­
cal visual appeal. ” even if handwriting is
taught and a few of its features hence
belong to the normal kind of the interval, the
personality of the author does now not fail to pierce
through. anything of the comparable style, the au­
thor proposes, happens in paintings. The kinship of
literature and portray rests on this circum­
stance: a paintings of artwork, even if visible or liter­
ary, needs to use the exact “ handwriting” of
its specific age, even as its originality pierces
through this handwriting.
The likeness among the arts inside of a number of
periods o f background can finally be traced,
then, to structural similarities— similarities
that come up out of the attribute approach in
which the humans of a convinced epoch see and
memorize proof aesthetically. Mnemosyne, at
once the goddess of reminiscence and the mom
of the muses, as a result presides over this view
of ihe arts. In illustrating her iniluence. Pro­
fessor Praz levels extensively via Western
sources, either literary and pictorial. There are
1 2 1 illustrations accompanying the text.
M A R IO P R A Z is Professor of English Lan­
guage and Literature at the collage of
Rome. His prior books comprise The Roman­
tic ache, stories in Seventeenth-Century
imagery, and The Flaming Heart.
ackct layout through P J. Conkwright

Art in Three Dimensions

Artwork in 3 Dimensions is a suite of essays by means of some of the most eminent figures in philosophy of paintings. The animating thought in the back of Noel Carroll's paintings is that philosophers of paintings may still eschew one of these aestheticism that frequently implicitly -- yet occasionally explicitly, as with regards to aesthetic theories of artwork and in their commitments to the idea of the autonomy of artwork -- governs their method.

Cinema by Other Means

Cinema by way of different capability explores avant-garde endeavors to perform the cinema by utilizing the fabrics and the suggestions varied from these normally linked to the cinematographic gear. utilizing examples from either the old and the post-war avant-garde -- Dada, Surrealism, Letterism, "structural-materialist" movie, and extra -- Pavle Levi finds a variety of atypical and creative ways that filmmakers, artists, and writers have reflected and created, played and remodeled, the "movies" without or with without delay grounding their paintings within the fabrics of movie.

Additional info for Portraiture (Oxford History of Art)

Show sample text content

The outcome used to be a posh composition containing many contributors of the Gonzaga kin, old and young, amidst a panorama and cityscape jam-packed with element. even though many photos have been incorporated within the composition, the frescoes additionally served to provide a flavour of the way of life of the Mantuan ruling kinfolk. This portion of the fresco comprises Ludovico himself and his moment son, Francesco. fifteenth-century Italy resulted in its use back on cash and medals, yet this time the long-lasting authority of civic leaders was once more desirable through the organization of the pose with the facility of historic imperial Rome. one other universal approach management and tool have been signified in portraiture was once via a mixing of portraiture with background portray. historical past painting—what the Renaissance theorist Leon Battista Alberti known as istoria—traditionally represented gods and heroes enacting nice deeds, or exhibiting ethical advantage or actual valour. As historical past portray used to be mostly approximately humans long ago, the representations of those humans have been necessarily imaginary, and the life-likeness of portraiture was once con-trary in precept to the aim of historical past portray. even though, artists seventy eight energy and standing have been chuffed to mixture the 2 genres and convey dwelling members amidst historic or heroic characters. the limits among modern humans and undying heroes or saints therefore turned blurred. This was once a typical perform in Italian Renaissance paintings, within which the faces of high-born women and men usually stood in for saints and martyrs, or seemed as witnesses to major moments of Christian heritage. A amazing instance is Ghirlandaio’s frescoes of the lifetime of St Francis within the Sassetti Chapel in Santa Trinità, Florence. the following the lifetime of St Francis is instructed in a posh iconographic programme, consisting of general contributors of the Tornabuoni relatives, who have been buyers of the chapel, witnessing and collaborating in Francis’ lifestyles and miracle operating. utilizing a a bit of varied tactic, Andrea Mantegna created a history-like illustration of the Gonzaga kin in his fresco devised for his or her inner most chambers of their palace in Mantua [43]. during this fresco Mantegna depicted the interactions among the kinfolk via specific research in their visages amidst an problematic panorama environment. The incursions of portraiture into historical past portray have been consolidated by means of the speculation and perform of the eighteenth-century English artist Sir Joshua Reynolds, who justified the superiority of portrait perform by means of claiming that photos might be raised to the extent of historical past work via a suitable mixture of symbolic trappings and painterly approach. Reynolds contended that by way of devoting cognizance to the ‘general’ instead of the ‘particular’, artists might go beyond the mundane mimetic characteristics of portraiture and create works of lasting value. 6 His personal technique of attaining this was once by way of depicting his topics within the poses of historical sculpture or outdated grasp work, and dressing them in undying clothing that increased the sitters via organization with historical deities [see 95].

Rated 4.77 of 5 – based on 46 votes