The great pin-up illustrators of the '30s through the '60s have inspired a whole new generation of digital photographers. Replacing the artist's palette with myriad photo editing tools, the modern photographer has kept the pin-up tradition alive. This book is a visual delight with more than 300 photos from 25 photographers nationwide. The vintage images from cheesecake pin-up to Hollywood glamour will surely take you back in time, as will classic military nose art and authentic WWII bomber jackets. The pin-up models were photographed in the most scenic locations in the United States.

This volume considers pictured and picturing women in Renaissance and Baroque Italy as the subjects, creators, patrons, and viewers of art. Women's experiences and needs (perceived by women themselves or defined by men on their behalf) are seen as important determinants in the production and consumption of visual culture. By using a variety of approaches the contributors demonstrate the importance of adopting an interdisciplinary approach when studying women in Italy from the fourteenth to the seventeenth centuries.

What is a woman? What is a man? How do they--and how should they--relate to each other? Does our yearning for "wholeness" refer to something real, and if there is a Whole, what is it, and why do we feel so estranged from it? For centuries now, art and literature have increasingly valorized uniqueness and self-sufficiency. The theoreticians who loom so large within contemporary thought also privilege difference over similarity. Silverman reminds us that this is but half the story, and a dangerous half at that, for if we are all individuals, we are doomed to be rivals and enemies. A much older story, one that prevailed through the early modern era, held that likeness or resemblance was what organized the universe, and that everything emerges out of the same flesh. Silverman shows that analogy, so discredited by much of twentieth-century thought, offers a much more promising view of human relations. In the West, the emblematic story of turning away is that of Orpheus and Eurydice, and the heroes of Silverman's sweeping new reading of nineteenth- and twentieth-century culture, the modern heirs to the old, analogical view of the world, also gravitate to this myth. They embrace the correspondences that bind Orpheus to Eurydice and acknowledge their kinship with others past and present. The first half of this book assembles a cast of characters not usually brought together: Friedrich Nietzsche, Sigmund Freud, Marcel Proust, Lou-Andreas Salome, Romain Rolland, Rainer Maria Rilke, Wilhelm Jensen, and Paula Modersohn-Becker. The second half is devoted to three contemporary artists, whose works we see in a moving new light: Terrence Malick, James Coleman, and Gerhard Richter.

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.

The family model has been central to patterns of social organization and cultural articulation throughout Chinese history, influencing all facets of the content and style of Chinese art. With contributors drawn from the disciplines of art history, anthropology, psychiatry, history, and literature, this volume explores the Chinese concept of family and its impact upon artistic production. In essays ranging from the depiction of children to adult portraiture, through literary constructions of gender and the psychodynamics of cinema, these authors consider the historical foundations of the family--both real and ideal--in ancient China, discuss the perpetuation of this model in later Chinese history and modern times, and analyze how family paradigms informed and intersected with art and literature.

Dioramas are devices on the frontier of different disciplines: art, anthropology, and the natural sciences, to name a few. Their use developed during the nineteenth century, following reforms aimed at reinforcing the educational dimension of museums. While dioramas with human figures are now the subject of healthy criticism and are gradually being dismantled, a thorough study of the work of artists and scientists who made them helps shed light on their genesis. Among other displays, this book examines anthropological dioramas of two North American museums in the early twentieth century: the American Museum of Natural History in New York, and the New York State Museum. Sites of creation and mediation of knowledge, combining painting, sculpture, photography, and material culture, dioramas tell a story that is always political.

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.

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.

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.

In this meditation/how-to guide on drawing as an ethnographic method, Andrew Causey offers insights, inspiration, practical techniques, and encouragement for social scientists interested in exploring drawing as a way of translating what they "see" during their research.

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.