With Editorial Revision By Sara E. H. Lockwood.

Sheilagh O'Leary and Rhonda Pelley spent two summers travelling from Bonavista Bay to the Great Northern Peninsula and to the communities of the south coast. The women they interviewed shared unique life stories filled with hard work, love, heartbreak, and family. Island Maid documents, with photos and words, the thoughts and lives of these women. It is also the chronicle of a journey, a feminist road-trip taken during one of the most tumultuous times in Newfoundland's modern history. WINNER of the 2011 Rogers Communication Award for Non-Fiction.

Introduction by Gabriele Conrath-Scholl. Text by Susanne Lange, Jim Dine.

With Editorial Revision By Sara E. H. Lockwood.

A fascinating literary detective story charting the surprising, true history of a recently discovered painting of Shakespeare held by the same family for 400 years -- adding new drama to the Bard's life.When author Stephanie Nolen reported the discovery of the only portrait of William Shakespeare painted while he was alive, the announcement ignited furious controversy around the world.

Now, in this provocative biography of the portrait, she tells the riveting story of how a rare image of the young Bard at thirty-nine came to reside in the suburban home of a retired engineer, whose grandmother kept the family treasure under her bed, and how he embarked on authenticating it. The ultimate "Antiques Roadshow" dream, the portrait has been confirmed by six years of painstaking forensic studies to date from around 1600, and it has not been altered since.

Stars in My Eyes is a revealing and entertaining collection of celebrity portraits, rendered both in acute drawings and in finely observed prose. In the 1970s and 1980s, internationally known artist Don Bachardy made portraits from life, depicting the actors, writers, artists, composers, directors, and Hollywood elite that he and his partner Christopher Isherwood knew. He then made detailed notes about these portrait sittings in the journal he has kept for more than forty years. The result is a unique document: we enter the mind of the artist as he records the images and behavior of his celebrity subjects - from Ruby Keeler and Barbara Stanwyck to Jack Nicholson and Linda Ronstadt - during their often intense collaboration with him.

All royalties, a minimum of GBP2.50 from the sale of each book, will be paid to NHS Charities Together (registered charity no. 1186569) to fund vital projects. When the UK went into lockdown in March 2020 to contain the spread of the Covid-19 virus, artist Tom Croft offered to paint an NHS key worker's portrait for free. Unsure how to help and offer his support, he wanted to capture and record the bravery and heroism of frontline workers who were risking their physical and mental health for our wellbeing. Tom suggested that other artists might want to do the same. He made his offer via video message on Instagram and was immediately contacted by Harriet Durkin, a nurse at the Manchester Royal Infirmary, who had contracted Covid-19 and, now recovered, was about to return to the frontline. Tom's portrait of Harriet, wearing PPE, was the first in what became a global art project. The response to the initiative was staggering and Tom personally paired up 500 artists and NHS workers in the first two weeks. When numbers reached the thousands, Tom set up a traffic light system so that artists and frontline workers could match themselves. Portraits in all mediums followed, from oils to pencil, sculpture to ceramic, mosaic to mural. This book presents a selection of these remarkable images. Some are by leading artists such as Alastair Adams and Mary Jane Ansell, and they are showcased here as both a celebration and a remembrance, in physical form, of the dedication of our NHS key workers. 'I just couldn't imagine what it must be like to have to put on your PPE and head into the frontline of the pandemic, so I wanted to try and thank NHS workers in some small way. We are indebted to them, so to be able to commemorate, celebrate and record their experiences through portraiture felt fitting. This collection will stand as a permanent record of their bravery in a time of national crisis.' Tom Croft

Based on new research this fascinating book draws together a group of works from public and private collections to examine, for the first time, the relationship that Thomas Gainsborough (1727-88) had with the theatrical world and the most celebrated stage artists of his day, such as James Quin, David Garrick and Sarah Siddons. Gainsborough painted notable portraits of these and twenty others, including dramatists, dancers and composers. This publication firmly establishes the artist's place within the theatrical worlds of Bath and London and shows why the art of ballet, and in particular Gainsborough's sitters, rose to prominence in 1780 and examines parallels between Gainsborough's much admired painterly naturalism and the theatrical naturalism of Garrick and Siddons with whom he had personal friendships.

A startlingly powerful collaboration reimagines female beauty What is beauty without pain? Compromise is what our culture offers women: cinching, pinching, cutting, shaving, scraping, starving, and, of course, lifting and separating, all in service of one sharply circumscribed model purported to be pleasing-but not to most, if any, women. This extraordinary book reimagines beauty at its most provocative and fetishized locus: the female breast. Artist, writer, and scholar Joanna Frueh scrutinizes ideals of beauty and sensuality, often motivated by her experiences with breast cancer. Frances Murray, her friend and collaborator for more than thirty years, documents Frueh's journey of unapologetic beauty in a series of intimate, dazzlingly original photographs before and after her bilateral mastectomy and chemotherapy. Reflecting with insight, directness, and humor-and with contributions from a breast surgeon, an oncologist, and artists and scholars who have had breast cancer-Frueh arrives at a new, liberating view of beauty and of the sensual pleasure found in transformative self-acceptance. Central to this reckoning is her documentation and critique of the notion of hyperbeauty (the flash of flesh appeal, hyperthin, hyperfeminine, hyperbosomy, hypersexy, and hyperyoung sold at the global 24/7 beauty bazaar) and her playful, inventive presentation of tools for remaking minds and hearts disfigured by self-denying ideals. In its bracing critique, passionate argument, and compelling narrative-all illustrative of its own unapologetic beauty-this collaboration is a performance of startling power, stirring to consider and a pleasure to behold.

'A vital book' JUNO ROCHE 'Beautifully illustrated and fascinating' MEG-JOHN BARKER 'Fun and fact-filled' SUSAN STRYKER This inspiring collection of illustrated portraits celebrates the lives of influential transgender, non-binary and intersex figures throughout history. Showcasing the diversity of gender identities and expressions that have existed in all cultures alongside developments from recent years, the extraordinary stories in this book highlight the achievements and legacies of those who have fought to be themselves, whatever their gender. From activists, soldiers and historical leaders through to pirates, actors and artists, this book explores the life and times of over fifty trans and intersex trailblazers in their fight for equality, acceptance and change. Poignant, educational and empowering, these are the gender pioneers everyone needs to know about.

In 1970 in Munich Gerhard Richter met Brigid Berlin alias Brigid Polk, Andy Warhol's legendary muse and enfant terrible of New York's high society. This meeting gave rise to Richter's important "Brigid Polk" series, based on Polaroid self-portraits by the eccentric artist: a dialogue between America and Europe, photography and painting, artist and muse. The series about Brigid Polk is an important record of Gerhard Richter's photo paintings. It is exemplary of his struggle for a new self-concept of painting in dialogue with photography. This volume is the first to pay extensive tribute to this multifaceted series and traces the history of its creation, which revolved Heiner Friedrich, an important gallery owner in Munich. The personal reminiscences of those who were present at the time are particularly evocative of the avant-garde art scene of the 1970s.

Through some 50 works, this book seeks to establish a dialogue between the different ways of approaching the exercise of self-portrait: firstly between artists, but also between the works of the same painter, like Bonnard, whose dark and sometimes disturbing side of his self-portraits takes the opposite view from the usually peaceful and serene oeuvre of the French master. Text in English and French.

In the voluminous scholarship that's been written on Paul Cezanne, little has been said about the twenty-four portraits in oil that Cezanne made of his wife, Hortense Fiquet Cezanne, over an extended twenty-year period. In "Cezanne's Other: The Portraits of Hortense," Susan Sidlauskas breaks new ground, focusing on these paintings as a group and looking particularly at the differences that render many of them unrecognizable as the same person. She argues that Cezanne sidestepped the conventional goals of portraiture-he avoids representing a consistent, identifiable physiognomy or conventional feminine postures and does not portray the subject's inner life-making lack of fixedness itself his subject, which leads him ultimately to a radical reformulation of modern portraiture. Sidlauskas also upends the notion of Mme Cezanne as the irrelevant and absent spouse. Instead she reveals Hortense Fiquet Cezanne as a presence so crucial to the artist that she became the essential "other" to his ever-evolving "self." Coupling historical texts from philosophy, psychology, and physiology with more recent writings from women's and gender studies, cognitive psychology, and visual culture, Sidlauskas demonstrates that Mme Cezanne offered intimacy at arm's length for the painter who has been dubbed "the lone wolf of Aix."

Challenging prevailing theories regarding the birth of the subject, Catherine M. Soussloff argues that the modern subject did not emerge from psychoanalysis or existential philosophy but rather in the theory and practice of portraiture in early-twentieth-century Vienna. Soussloff traces the development in Vienna of an ethics of representation that emphasized subjects as socially and historically constructed selves who could only be understood-and understand themselves-in relation to others, including the portrait painters and the viewers. In this beautifully illustrated book, she demonstrates both how portrait painters began to focus on the interior lives of their subjects and how the discipline of art history developed around the genre of portraiture.Soussloff combines a historically grounded examination of art and art historical thinking in Vienna with subsequent theories of portraiture and a careful historiography of philosophical and psychoanalytic approaches to human consciousness from Hegel to Sartre and from Freud to Lacan. She chronicles the emergence of a social theory of art among the art historians of the Vienna School, demonstrates how the Expressionist painter Oskar Kokoschka depicted the Jewish subject, and explores the development of pictorialist photography. Reflecting on the implications of the visualized, modern subject for textual and linguistic analyses of subjectivity, Soussloff concludes that the Viennese art historians, photographers, and painters will henceforth have to be recognized as precursors to such better-known theorists of the subject as Sartre, Foucault, and Lacan.

AIDS & Representation explores portraits and self-portraits made in response to the AIDS epidemic in America in the 1980s and 1990s. Addressing the work of artists including Mark Morrisroe, Robert Blanchon and Felix Gonzalez-Torres through the interrelated themes of sickness and mortality, desire and sexual identity, love and loss, Fiona Johnstone shows how the self-representational practices of artists with HIV and AIDS offered a richly imaginative response to the limitations of early AIDS imagery. Johnstone argues that the AIDS epidemic changed the very nature of visual representation and artistic practice, necessitating a radical new approach to conceptualising and visualising the human form. An extended epilogue considers the ongoing art historicization of the epidemic, re-contextualising the book's themes in relation to contemporary photographic works. More than just a historical discussion of the art of the AIDS crisis, AIDS and Representation contributes to an emergent body of scholarship on the visual representation of illness. Expanding the established genre of the autopathography or illness narrative beyond the predominantly textual, this important contribution to art history and health humanities sensitively unpicks the entanglements between aesthetic form and the expression of lived experiences of critical and chronic ill health.

The first in-depth investigation of Gauguin's portraits, revealing how the artist expanded the possibilities of the genre in new and exciting ways Paul Gauguin (1848-1903) broke with accepted conventions and challenged audiences to expand their understanding of visual expression. Nowhere is this phenomenon more evident than in his portraits, a genre he remained engaged with throughout all phases of his career. Bringing together more than 60 of Gauguin's portraits in a wide variety of media that includes painting, works on paper, and sculpture, this handsomely illustrated volume is the first focused investigation of the multifaceted ways the artist approached the subject. Essays by a group of international experts consider how the artist's conception of portraiture evolved as he moved between Brittany and Polynesia. They also examine how Gauguin infused his work with symbolic meaning by taking on different roles like the Christ figure and the savage in his self-portraits and by placing his models in suggestive settings with alluring attributes. This welcome addition to the scholarship on one of the 19th century's most innovative and controversial artists reveals fascinating insights into the crucial role that portraiture played in Gauguin's overall artistic practice.

Faces of Power and Piety is the second in the Medieval Imagination series of small, affordable books that draw on manuscript illuminations in the collections of the J. Paul Getty Museum and the British Library. Each volume focuses on a particular theme to provide an accessible and delightful introduction to the imagination of the medieval world. The vivid and charming faces featured in this volume include portraits of both illustrious historical figures and celebrated contemporaries. They reveal that medieval artists often disregarded physical appearance in favor of emphasizing qualities such as power and piety, capturing how their subjects wished to be remembered for the ages. Faces of Power and Piety also looks at the development of portraiture in the modern sense during the Renaissance, when likeness became an important component of portrait painting. An exhibition of the same name will be on view at the J. Paul Getty Museum from August 12 through October 26, 2008.

One of the most remarkable artistic achievements of the Mughal Empire was the emergence in the early seventeenth century of portraits of identifiable individuals, unprecedented in both South Asia and the Islamic world. Appearing at a time of increasing contact between Europe and Asia, portraits from the reigns of the great Mughal emperor-patrons Akbar, Jahangir and Shah Jahan are among the best-known paintings produced in South Asia. In the following centuries portraiture became more widespread in the visual culture of South Asia, especially in the rich and varied traditions of painting, but also in sculpture and later prints and photography. This collection seeks to understand the intended purpose of a range of portrait traditions in South Asia and how their style, setting and representation may have advanced a range of aesthetic, social and political functions. The chapters range across a wide historical period, exploring ideals of portraiture in Sanskrit and Persian literature, the emergence and political symbolism of Mughal portraiture, through to the paintings of the Rajput courts, sculpture in Tamil temples and the transformation of portraiture in colonial north India and post-independence Pakistan. This specially commissioned collection of studies from a strong list of established scholars and rising stars makes a significant contribution to South Asian history, art and visual culture.

The first in-depth exploration of the rise and evolution of abstract, symbolic, and conceptual portraiture in American art This groundbreaking book traces the history of portraiture as a site of radical artistic experimentation, as it shifted from a genre based on mimesis to one stressing instead conceptual and symbolic associations between artist and subject. Featuring over 100 color illustrations of works by artists from Charles Demuth, Marcel Duchamp, Marsden Hartley, and Georgia O'Keeffe to Janine Antoni, Felix Gonzalez-Torres, Roni Horn, Jasper Johns, and Glenn Ligon, this timely publication probes the ways we think about and picture the self and others. With particular focus on three periods during which non-mimetic portraiture flourished-1912-25, 1961-70, and 1990-the present-the authors investigate issues related to technology, sexuality, artist networks, identity politics, and social media, and explore the emergence of new models for the visual representation of identity. Taking its title from a 1961 work by Robert Rauschenberg-a telegram that stated, "This is a portrait of Iris Clert if I say so"-this book unites paintings, sculpture, photography, and text portraits that challenge the genre in significant, often playful ways and question the convention, as well as the limits, of traditional portrayal. Published in association with the Bowdoin College Museum of Art Exhibition Schedule: Bowdoin College Museum of Art (06/25/16-10/23/16)

There was a time in America when two men pictured with their arms wrapped around each other, or perhaps holding hands, weren't necessarily seen as sexually involved - a time when such gestures could be seen simply as those of intimate friendship rather than homoeroticism. Such is the time John Ibson evokes in "Picturing Men", a striking visual record of changes in attitudes about relationships between gentlemen, soldiers, cowboys, students, lumberjacks, sailors, and practical jokers. Spanning from 1850 to 1950, the 142 everyday photographs that richly illustrate "Picturing Men" radiate playfulness, humor, and warmth. They portray a lost world for American men: a time when their relationships with each other were more intimate than they commonly are today, regardless of sexual orientation. "Picturing Men" starkly contrasts the calm affection displayed in earlier photographs with the absence of intimacy in photos from the mid-1950s on. In doing so, this lively, accessible book makes a significant contribution to American history and cultural studies, gender studies, and the history of photography.

A vivid portrait of Queen Victoria's childhood, offering new insights into one of the most celebrated, but often misunderstood, monarchs in British history, 200 years after her birth

This beautiful, extensively researched volume investigates the birth and early life of one of the most familiar British monarchs, Queen Victoria (1819-1901). A wealth of material, including many unexamined sources and unpublished images, sheds new light on Victoria's youth. Included here are portraits of the queen as princess, childhood diaries and sketchbooks, clothing, jewelry, and correspondence.

Deirdre Murphy paints a vivid picture of Victoria's early years. Among her most surprising conclusions is the idea that the queen's personal mythology of a childhood characterized by sadness and isolation is less accurate than is generally thought. Victoria's personal relationships are brought brilliantly to life, from her affectionate but increasingly suffocating bond with her mother, the Duchess of Kent, to the controlling influence of Sir John Conroy, a man she came to despise, and her courtship with Prince Albert. Lesser-known figures are also explored, including Victoria's first schoolmaster the Reverend George Davys, her governess Louise Lehzen, and her half-sister Feodora. This fascinating cast of characters enhances our image of Victoria, who emerges as both willful and submissive, fickle and affectionate, and with the explosive temper of her Hanoverian ancestors.