In the latter part of the 1800's, on the island of Nantucket, Josiah Freeman, best known for his stereopticon landscapes, also produced a magnificent body of studio portraits. His photographs are simultaneously serious and playful, and give us a portal through which we can appreciate the diversity of the community and its life through clothing, postures, and physiognomy. Seen all together, Freeman's work gives us a strong insight into the common life of the island during his era. This book was created by Walter and Marilyn Rabetz. Walter is a well known contemporary photographer who happened upon a treasure trove of Freeman's glass negatives that were being discarded. Realizing their historic and artistic value, he and his wife, Marilyn, have curated these images into this elegant compilation.

With Editorial Revision By Sara E. H. Lockwood.

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.

Barack Obama's rise to the presidency of the United States was an awesome journey. For two years I watched him soar to greatness and I was overwhelmed with an enormous sense of pride. I was particularly moved by the colossal amount of support he amassed around the world, capturing the heart and hope of people of all ethnic and racial backgrounds. In my personal view of the portraits, I captured humility, strength, and power which typifies Obama's rise to the presidency of the United States. Equally important to me was President Obama's intellect and infectious smile which captured my heart. I hope you enjoy the artwork as much as I enjoyed creating them.

The highest honour a Roman citizen could hope for was a portrait statue in the forum of his city. While the emperor and high senatorial officials were routinely awarded statues, strong competition existed among local benefactors to obtain this honour, which proclaimed and perpetuated the memory of the patron and his family for generations. There were many ways to earn a portrait statue but such local figures often had to wait until they had passed away before the public finally fulfilled their expectations. It is argued in this book that our understanding and contemplation of a Roman portrait statue is greatly enriched, when we consider its wider historical context, its original setting, the circumstances of its production and style, and its base which, in many cases, bore a text that contributed to the rhetorical power of the image.

With Editorial Revision By Sara E. H. Lockwood.

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

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.

The tradition of portraiture in Latin America is astonishingly long and rich. For over 2,000 years, portraits have been used to preserve the memory of the deceased, bolster the social standing of the aristocracy, mark the deeds of the mighty, advance the careers of politicians, record rites of passage, and mock symbols of the status quo. This beautiful and wide-ranging book-the first to explore the tradition of portraiture in Latin America from pre-Columbian times to the present day-features some 200 works from fifteen countries. Retratos (Portraits) presents an engaging variety of works by such well-known figures as Diego Rivera, Frida Kahlo, Fernando Botero, and Jose Campeche as well as stunning examples by anonymous and obscure artists. Distinguished contributors discuss the significance of portraits in ancient Mayan civilizations, in the world of colonial Iberians, in the political struggles of the nineteenth and twentieth centuries, and in a remarkable range of other times and locations. With a wealth of informative details and exquisite color illustrations, Retratos invites readers to appreciate Latin American portraits and their many meanings as never before.

The portrait has historically been understood as an artistic representation of a human subject. Its purpose was to provide a visual or psychological likenesses or an expression of personal, familial or social identity; it was typically associated with the privileged individual subject of Western modernity. Recent scholarship in the humanities and social sciences however has responded to the complex nature of twenty-first century subjectivity and proffered fresh conceptual models and theories to analyse it. The contributors to Anti-Portraiture examine subjectivity via a range of media including sculpture, photography and installation, and make a convincing case for an expanded definition of portraiture. By offering a timely reappraisal of the terms through which this genre is approached, the chapter authors volunteer new paradigms in which to consider selfhood, embodiment and representation. In doing so they further this exciting academic debate and challenge the curatorial practices and acquisition policies of museums and galleries.

Elizabeth Peyton s work has been acclaimed since the early 1990s, when she began exhibiting her intimate portraits of artists, musicians, historical figures, and friends. This new volume, prepared by the artist in collaboration with designer Brendan Dugan, founder of Karma bookstore and gallery, presents a concentrated view of a period bookended by two exhibitions in Brussels, one in 2009 and the second in 2014, a time of introspection, and the development of a more personal painterly language. This phase of Peyton s work is about a new realism and a considered situating of her interests and passions in relation to her own working practice. We see her range expand to take in lush still lifes composed of books, flowers, and fragmentary interiors; expressive, blood-drenched scenes drawn from Richard Wagner s operas; and many magnificent and subtle portraits of peers and mentors, historical or present-day. From David Bowie to celebrated tenor Jonas Kaufmann; from Delacroix and Giorgione to Peyton s artist peers such as Matthew Barney and Klara Liden; from Friday Night Lights star Taylor Kitsch to tattoo artist Scott Campbell, as well as numerous self-portraits, her work is about narrowing the distance between the self and the object of fascination. They are people expressing what it is to be human. Most art that s any good is trying to do that trying to put a voice to feeling. And in particular, the feeling of their time, writes Peyton.

'Selfies' are everywhere - from Kim Kardashian, queen of the selfie, to the Queen of England photobombing the Australian hockey team's selfie in 2014, you can't open a newspaper, or visit a news website, without seeing one. Recent technology, such as the selfie stick, and camera phones, have helped make the selfie a global trend, so you would be forgiven for thinking that this is a modern trend. But in fact, the first known selfies date from about 40,000 years ago and are hand stencils, discovered on a cave wall in Indonesia. Produced in conjunction with the Art Archive, Selfie charts the progress and the development of the self portrait, from Indonesian caves, through famous self-portrait artists such as Vincent van Gogh and Pablo Picasso and the invention of the camera, to iconic modern selfies such as the 2014 Oscar photograph. It looks at trends, techniques and the tales behind some famous self portraits - do you know why Van Gogh was driven to cut off a chunk of his ear? Or how Frida Kahlo and Diego Rivera's stormy marriage affected their painting? Which teenage member of the Russian royal family sent a selfie she had taken in a mirror to a friend in 1914? And how are Andy Warhol's photographic techniques still influencing selfie-takers today? Selfie has the answers to all these questions, and many more! Packed full of fascinating information and incredible images, this is a must-have book for selfie-lovers of all ages!

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.

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.

Lunch with the Financial Times has been a permanent fixture in the Financial Times for almost 25 years, featuring presidents, film stars, musical icons and business leaders from around the world. The column is now as well-established institution which has reinvigorated the art of conversation in the convivial, intimate environment of a long boozy lunch. On its 25th anniversary, Lunch with the Financial Times 2 will showcase the most entertaining, incisive and fascinating interviews from the past five years including those with Edward Snowden, Bernie Ecclestone, Hilary Mantel, Sheryl Sandberg, Richard Branson, Rebecca Solnit, Emmerson Mnangagwa, Jordan Peterson, Nigel Farage, Woody Harrelson, Sepp Blatter, (pre-election) Donald Trump and Zoella, illustrated in full colour with James Ferguson's famous portraits.

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.

This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.

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.

A Touch of Blossom considers John Singer Sargent in the context of nineteenth-century botany, gynecology, literature, and visual culture and argues that the artist mobilized ideas of cross-fertilization and the hermaphroditic sexuality of flowers in his work to "naturalize" sexual inversion. In conceiving of his painting as an act of hand-pollination, Sargent was elaborating both a period poetics of homosexuality and a new sense of subjectivity, anticipating certain aspects of artistic modernism.

Assembling evidence from diverse realms--visual culture (cartoons, greeting cards, costume design), medicine and botany (treatises and their illustrations), literature, letters, lexicography, and the visual arts--this book situates the metaphors that structure Sargent's paintings in a broad cultural context. It offers in-depth readings of particular paintings and analyzes related projects undertaken by Sargent's friends in the field of painting and in other disciplines, such as gynecology and literature.

Simon Schama brings Britain to life through its portraits, as seen in the five-part BBC series The Face of Britain and the major National Portrait Gallery exhibition Churchill and his painter locked in a struggle of stares and glares; Gainsborough watching his daughters run after a butterfly; a black Othello in the nineteenth century; the poet-artist Rossetti trying to capture on canvas what he couldn't possess in life; a surgeon-artist making studies of wounded faces brought in from the Battle of the Somme; a naked John Lennon five hours before his death. In the age of the hasty glance and the selfie, Simon Schama has written a tour de force about the long exchange of looks from which British portraits have been made over the centuries: images of the modest and the mighty; of friends and lovers; heroes and working people. Each of them - the image-maker, the subject, and the rest of us who get to look at them - are brought unforgettably to life. Together they build into a collective picture of Britain, our past and our present, a look into the mirror of our identity at a moment when we are wondering just who we are. Combining his two great passions, British history and art history, for the first time, Schama's extraordinary storytelling reveals the truth behind the nation's most famous portrayals of power, love, fame, the self, and the people. Mesmerising in its breadth and its panache, and beautifully illustrated, with more than 150 images from the National Portrait Gallery, The Face of Britain will change the way we see our past - and ourselves.

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."

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.