|
|
Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Iconography, subjects depicted in art > Human figures depicted in art > Portraits in art
This book analyzes the evolving interaction between court and media
from an understudied perspective. Eight case studies focus on
different European Empress consorts and Queen regnants from the
seventeenth to the twentieth centuries, using a comparative,
cross-media, and cross-period approach. The volume addresses a
multitude of questions, ranging from how dynastic women achieved
public prominence through their portraits; how their faces and
bodies were moulded and rearticulated to fit varying expectations
in the courtly public sphere; and the degree to which they, as
female actors, engaged with or had agency within the processes of
production and reception. In particular, two types of female
rulership and their relationship to diverse media are contrasted,
and lesser-known and under-researched dynastic women are
spotlighted. Contributors: Christine Engelke, Anna Fabiankowitsch,
Inga Lena Angstroem Grandien, Titia Hensel, Andrea Mayr, Alison
McQueen, Marion Romberg, and Alison Rowley.
 |
Addicted to Skin
(Paperback)
Joseph Janeti; Contributions by Zhou Wenjing, Joseph Janeti
|
R512
Discovery Miles 5 120
|
Ships in 18 - 22 working days
|
|
|
In 1479, the Venetian painter Gentile Bellini arrived at the
Ottoman court in Istanbul, where he produced his celebrated
portrait of Sultan Mehmed II. An important moment of cultural
diplomacy, this was the first of many intriguing episodes in the
picture's history. Elizabeth Rodini traces Gentile's portrait from
Mehmed's court to the Venetian lagoon, from the railway stations of
war-torn Europe to the walls of London's National Gallery,
exploring its life as a painting and its afterlife as a famous,
often puzzling image. Rediscovered by the archaeologist Austen
Henry Layard at the height of Orientalist outlooks in Britain, the
picture was also the subject of a lawsuit over what defines a
"portrait"; it was claimed by Italians seeking to hold onto
national patrimony around 1900; and it starred in a solo exhibition
in Istanbul in 1999. Rodini's focused inquiry also ranges broadly,
considering the nature of historical evidence, the shifting status
of authenticity and verisimilitude, and the contemporary political
resonance of Old Master paintings. Told as an object biography and
imagined as an exploration of art historical methodologies, this
book situates Gentile's portrait in evolving dialogues between East
and West, uncovering the many and varied ways that objects
construct meaning.
|
|