Though portraits of old women mediate cultural preoccupations just as effectively as those of younger women, the scant published research on images of older women belies their significance within early modern Italy. This study examines the remarkable flowering, largely overlooked in portraiture scholarship to date, of portraits of old women in Northern Italy and especially Bologna during the second half of the sixteenth century, when, as a result of religious reform, the lives of women and the family came under increasing scrutiny. Old Women and Art in the Early Modern Italian Domestic Interior draws on a wide range of primary visual sources, including portraits, religious images, architectural views, prints and drawings, as well as extant palazzi and case, furnishings, and domestic objects created by the leading artists in Bologna, including Lavinia Fontana, Bartolomeo Passerotti, Denys Calvaert, and the Carracci. The study also draws on an array of historical sources - including sixteenth-century theories of portraiture, prescriptive writings on women and the family, philosophical and practical treatises on the home economy, sumptuary legislation, books of secrets, prescriptive writings on old age, and household inventories - to provide new historical perspectives on the domestic life of the propertied classes in Bologna during the period. Author Erin Campbell contends that these images of unidentified women are not only crucial to our understanding of the cultural operations of art within the early modern world, but also, by working from the margins to revise the center, provide an opportunity to present new conceptual frameworks and question our assumptions about old age, portraiture, and the domestic interior.

Following the success of Volume 1, this second installment of akos Banfalvis irresistible Ink N Girls series continues to reveal facts about the lives of beautiful women adorned with vibrant ink. Interviews delve into the minds of gorgeous and thoughtful tattoo models from around the world, revealing stories of pain and glory, resilience and triumph, growth and transformation. Eighteen models from all walks of life open up to the veteran photojournalist, sharing tales of their rise to modeling royalty and intriguing details about their personal lives, favorite tattoo artists, and thoughts on tattoo and body modification culture in the past, present, and future.

Latin Blackness in Parisian Visual Culture, 1852-1932 examines an understudied visual language used to portray Latin Americans in mid-19th to early 20th-century Parisian popular visual media. The term 'Latinize' is introduced to connect France's early 19th-century endeavors to create "Latin America," an expansion of the French empire into the Latin-language based Spanish and Portuguese Americas, to its perception of this population. Latin-American elites traveler to Paris in the 1840s from their newly independent nations were denigrated in representations rather than depicted as equals in a developing global economy. Darkened skin, etched onto images of Latin Americans of European descent mitigated their ability to claim the privileges of their ancestral heritage. Whitened skin, among other codes, imposed on turn-of-the-20th-century Black Latin Americans in Paris tempered their Blackness and rendered them relatively assimilatable compared to colonial Africans, Blacks from the Caribbean, and African Americans. After identifying mid-to-late 19th-century Latinizing codes, the study focuses on shifts in latinizing visuality between 1890-1933 in three case studies: the depictions of popular Cuban circus entertainer Chocolat; representations of Panamanian World Bantamweight Champion boxer Alfonso Teofilo Brown; and paintings of Black Uruguayans executed by Pedro Figari, a Uruguayan artist, during his residence in Paris between 1925-1933.

This beautifully illustrated volume showcases over 70 exquisite pieces from the Cleveland Museum of Art's internationally important collection of British portrait miniatures which range in date from the 17th to the 19th century. It features the work of leading miniaturists, including Nicholas Hilliard, Isaac Oliver, Samuel Cooper, as well as an extensive collection of miniatures by Richard Cosway, much of it shown here for the first time. Author Cory Korkow includes new research about the artists, sitters and owners of these precious miniatures. Each is accompanied by a detailed catalogue entry including notes on both the work and biographical information on the artist, as well as a dramatic full-page colour plate. Supplementary illustrations show the front and back of the miniatures to scale, which, along with numerous conservation photographs, index of artists allows this stunning collection to be studied in detail for the first time. The volume also includes an index of artists.

Slave Portraiture in the Atlantic World is the first book to focus on the individualized portrayal of enslaved people from the time of Europe's full engagement with plantation slavery in the late sixteenth century to its final official abolition in Brazil in 1888. While this period saw the emergence of portraiture as a major field of representation in Western art, 'slave' and 'portraiture' as categories appear to be mutually exclusive. On the one hand, the logic of chattel slavery sought to render the slave's body as an instrument for production, as the site of a non-subject. Portraiture, on the contrary, privileged the face as the primary visual matrix for the representation of a distinct individuality. Essays address this apparent paradox of 'slave portraits' from a variety of interdisciplinary perspectives, probing the historical conditions that made the creation of such rare and enigmatic objects possible and exploring their implications for a more complex understanding of power relations under slavery.

Is there more to portraiture than eyes meeting eyes? Beyond the Face: New Perspectives on Portraiture presents sixteen essays by leading scholars who explore the subtle means by which artists--and subjects--convey a sense of identity and reveal historical context. Examining a wide range of topics, from early caricature and political vandalism of portraits to contemporary selfies and performance art, these studies challenge our traditional assumptions about portraiture. By probing the diversity and complexity of portrayal, Beyond the Face fills a gap in current scholarship and offers a resource for teaching art history, subjectivity, and the construction of identity.