Portraiture (Oxford History of Art)

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Berger, Harry. Boggs, Jean Sutherland. Portraits by Degas Berkeley, Bond, Anthony and Joanna Woodall.

Balliol artist in OU's Diversifying Portraiture initiative | Balliol College, University of Oxford

Self Portrait: Renaissance to Contemporary London, Borchert, Till-Holger. Memling and the Art of Portraiture London, Brilliant, David. Portraiture Cambridge, Brown, Katherine. Brown, Marilyn R. Crozier, W.

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Dickey, Stephanie S. Rembrandt Face to Face. Indianapolis, Dillon, Sheila.

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Dorn, Ronald. Ewing, William A. Gibson, Robin. Painting the Century: Portrait Masterpieces, , exh. London, National Portrait Gallery, Goffman, Erving. Grove, Nancy. Magical Mixtures: Marisol Portrait Sculpture, exh. Washington D. Jensen, Ann Adams. Jensen, Margaret Robin. The next two chapters are particularly welcome since they focus on the portrayal of parenting, a subject ripe for reappraisal. Portraits of parents and their children became more intensely emotional from the mid-eighteenth century.

Geraldine A Johnson

Standing less on formalities, parents were shown cuddling their offspring, playing with them, and tenderly relating to them. Mothers had long been shown in devotional form, influenced by the conventions of the Madonna and Child, but the sentimental form idealized motherhood still further. When placed in their planned location they conveyed the crucial importance of male inheritance and the value of woman in securing it even, or particularly when, unbroken male succession was not the reality.

While focusing on mothers, the genre gave them no extra authority, still positioning fathers as the guiding hand in child rearing and using devices to make the paternal presence explicit even in the bodily absence of the father in the portrait. It would have been interesting to consider more fully whether mothers advertised their status in a similar way.

Chapter five looks more closely at the role of family portraits in constructing a narrative of unbroken male inheritance. She shows that, while following new fashions, these images were conceived as additions to existing collections and therefore intended as another brick in the dynastic wall. Earlier family portraits were also brought into stylistic conformity by adapting inherited ancestral images to fit the narrative of unbroken succession.

Portraiture: Oxford History of Art - Shearer West

In some cases, ancestors who were inconveniently absent in pictorial form were added through the commissioning of fictitious portraits. The portraits served to make national claims as well as dynastic ones, since the genealogical links that were emphasized were those to heroes, military campaigners, and statesmen and in the process aristocratic families carefully advertised their alliances to political parties and devotion to royal houses.

The manipulation of self image and family identity is developed further in chapter six which looks at the ways in which members of aristocratic families used family portraits to restore their reputation when it came under attack from an increasingly powerful print media. This demonstrates that the conventions of the genre were so well recognized that they could be used to re-establish moral reputations in an era when the aristocracy were coming under criticism for their immorality.

History of Portraiture

Often it is seen as a largely middle-class phenomenon, deployed to create an identity in opposition to aristocratic mores. The Art of Domestic Life must be essential reading for historians of the family as well as historians of developments in art. Retford adroitly integrates the individual within the family group and wider cultural values, and shows how each influenced the other. Following current trends, she shows that the individual could deviate from behavioural norms, but still be structured by them.

The book provides a clear, yet thorough overview of the hist This fascinating new addition to the acclaimed Oxford History of Art series explores the world of portraiture from a number of vantage points, and asks key questions about its nature. The book provides a clear, yet thorough overview of the history of portraiture in terms of social, political, economic, and psychological factors over a broad time span.

Issues such as identity, modernity, and gender are considered within their cultural and historical contexts. Shearer West uncovers intriguing aspects of portraiture-a genre that has often been seen as purely representational, featuring examples from African tribes to Renaissance princes, and from "stars" such as David and Victoria Beckham to everyday people.

West examines the many meanings and uses of portraits throughout the ages and includes a wide range of artists from Botticelli to Picasso, and Hans Holbein to Frida Kahlo. In the process, she reveals the faces of the past in an exciting new way.

Beautifully illustrated throughout, this book is a unique and accessible introduction to the history of portraiture. Get A Copy. Paperback , pages. More Details Original Title. Other Editions 3.


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https://tusnachisili.tk Showing Rating details. More filters. Sort order. Aug 15, Rebecca rated it liked it. A solid, basic introduction to portraits, organized coherently but without inspired writing. The real value of this book, in my opinion, is the collection of portraits. Even in reproduction, they are fascinatingly varied. Feb 04, Landis rated it liked it Shelves: non-fiction.

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