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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Iconography, subjects depicted in art > Human figures depicted in art > Portraits in art
Rembrandt's revealing self-portraits in an appealing, affordable
format Celebrated as the supreme painter of the human condition,
Rembrandt Harmenszoon van Rijn (1606-1669) famously turned the
intense spotlight of his empathetic vision on himself. In the
course of 60 years, he produced more than 50 self-portraits, in
mediums ranging from paintings to drawings to engravings. Rembrandt
stood at the beginning of a long tradition of self-portraiture-one
that has given us both Cindy Sherman in the high arts, and selfies
as the primary form of visual self-expression in everyday life-and
he explored its potential in a thoroughly modern way. He portrayed
the face he turned to the world, from youth to old age: a dandy, a
husband, an artist, a solitary genius, among many other characters.
He captured inner states that are universal to existence. Rembrandt
by Rembrandt reproduces Rembrandt's self-portraits, with commentary
about each one, in an appealing portable format that makes a
perfect gift for any art lover.
Moving with the Magdalen is the first art-historical book dedicated
to the cult of Mary Magdalen in the late medieval Alps. Its seven
case study chapters focus on the artworks commissioned for key
churches that belonged to both parish and pilgrimage networks in
order to explore the role of artistic workshops, commissioning
patrons and diverse devotees in the development and transfer of the
saint's iconography across the mountain range. Together they
underscore how the Magdalen's cult and contingent imagery
interacted with the environmental conditions and landscape of the
Alps along late medieval routes.
Major General Sir Isaac Brock is remembered as the Hero of Upper
Canada for his defence of what is now Ontario during the War of
1812, and also for his noble death at the Battle of Queenston
Heights. In the more than two centuries since then, Brock's
likeness has been lost in a confusing array of portraits-most of
which are misidentified or conceptual. The 1824 monument
constructed to honour Brock's sacrifice was destroyed in 1840 by
Benjamin Lett, a disgruntled disciple of William Lyon Mackenzie and
critic of the Upper Canadian elite. The replacement and subsequent
commemorations emphasized a patriotic desire to visualize the
hero's appearance. But despite uncovering an authentic portrait
painted only a few years before Brock's death, a series of false
faces were promoted to serve competing claims and agendas. St-Denis
situates Brock's portraits within an emerging English Canadian
imperial nationalism that sought a heroic past which reflected
their own aspirations and ambitions. A work of detailed scholarship
and a fascinating detective story, The True Face of Sir Isaac Brock
details the sometimes petty world of self-proclaimed guardians of
the past, the complex process of identification and
misidentification that often occurs even at esteemed Canadian
institutions, and St-Denis' own meticulous work as he separates
fact from fiction to finally reveal Brock's true face.
As we approach the bicentennial, in 2017, of the birth of Henry
David Thoreau, there is considerable debate and confusion as to
what he may, or may not have, contributed to American life and
culture. Almost every American has heard of Thoreau, but only a few
are aware that he was deeply engaged with most of the important
issues of his day, from slavery to "Manifest Destiny" and the
rights of the individual in a democratic society. Many of these
issues are still affecting us today, as we move toward the second
quarter of the twenty-first century. By studying how various
American artists have chosen to portray Thoreau over the years
since the publication of Walden in 1854, we can gain a clear
understanding of how he has been interpreted (or misinterpreted)
throughout the years since his death in 1862. But along the way, we
might also find something useful, for our times, in the insights
that Thoreau gained as he wrestled with the most urgent problems
being experienced by American society in his day.
Awarded the Washington DC Book Publishers' design and effectiveness
competition Honorable Mention in the category of Illustrated Text
from a Small- to Medium-Size Nonprofit Publisher and Third Prize in
the category of Illustrated Jacket or Cover from a Small- to
Medium-Size Nonprofit Publisher Ballyhoo looks at the poster as a
form of popular portraiture. These celebrity likenesses are
dramatic--and often enormous--but in fact, what a poster
communicates about an individual is usually secondary to its
principal message: Barnum and Bailey announcing the arrival of
their circus, the Woodbury Soap company using Veronica Lake to
promote its Omatched make-up, O Greta Garbo advertising the Swedish
version of Queen Christina, or Bette Midler publicizing her 1973
concert at the Palace Theater. By interweaving the three themes of
poster art, celebrity promotion, and advertising, Ballyhoo suggests
how a famous face can enhance the message of the poster and,
conversely, how posters have defined and disseminated images of
prominent Americans. Furthermore, posters provide an instructive
glimpse of an era's prevailing ideals, prejudices, and
presumptions. These images remind us of the ubiquitous presence of
portrait images outside the world of fine art. Widely disseminated
forms of popular portraiture, like the poster, remain a profound
influence in our culture."
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.
The Body in Time looks at two different genres in relation to the
construction of femininity in late nineteenth-century France:
Degas's representation of ballet dancers and the transforming
tradition of female portraiture. Class, gender, power, and agency
are at stake in both arenas, but they play themselves out in
different ways via different pictorial languages. Degas's
depictions of anonymous young female ballerinas at the Paris Opera
reflect his fascination with the physical exertions and prosaic
setting of the dancer's sexualized body. Unlike the standard
Romantic depictions of the ballerina, Degas's dancers are anonymous
spread-legged workers on public display. Female portraiture and
self-portraiture, in contrast, depicted the unique and the
distinctive: privileged women, self-assured individuals
transgressing gender conventions. Focusing on Degas's
representation of the dancer, Tamar Garb examines the development
of Degas's oeuvre from its early Realist documentary ambitions to
the abstracted Symbolist renderings of the feminine as cypher in
his later works. She argues that despite the apparent depletion of
social significance and specificity, Degas's later works remain
deeply enmeshed in contemporary gendered ways of viewing and
experiencing art and life. Garb also looks at the transformation in
the genre of portraiture heralded by the "new woman," examining the
historical expectations of female portraiture and demonstrating how
these expectations are challenged by new notions of female autonomy
and interiority. Women artists such as Anna Klumpke, Rosa Bonheur,
and Anna Bilinska deployed the language of Realism in their own
self-representation. The figure of femininity remained central to
the personal, political, and pictorial imperatives of artists
across the spectrum of modern aesthetics. Gender and genre
intersect throughout this book to show how these categories
mutually impact one another.
Faces of Impressionism explores the development of the portrait in
French painting and sculpture between 1860 and 1910 as showcased in
one of the world's greatest collections of Impressionist art-the
Musee d'Orsay in Paris. Splendidly illustrated, this book assesses
the portrait collection through the expert eyes of George T. M.
Shackelford and Guy Cogeval, as well as from the perspective of a
new generation of distinguished scholars, Isolde Pludermacher and
Xavier Rey. Featuring some of the best-loved portraits in the
history of art-Cezanne's Woman with a Coffee Pot, Degas's
L'Absinthe-this handsome volume includes masters such as Denis,
Gauguin, Van Gogh, Monet, Renoir, Seurat, Signac, and
Toulouse-Lautrec, and a detailed discussion on Manet and his
followers as depicted in Fantin-Latour's renowned group portrait A
Studio in the Batignolles. Distributed for the Kimbell Art Museum
Exhibition Schedule: Kimbell Art Museum (10/19/14-01/25/15)
Examines the styles and contexts of portrait statues produced
during one of the most dynamic eras of Western art, the early
Hellenistic age. Often seen as the beginning of the Western
tradition in portraiture, this historical period is here subjected
to a rigorous interdisciplinary analysis. Using a variety of
methodologies from a wide range of fields - anthropology,
numismatics, epigraphy, archaeology, history, and literary
criticism - an international team of experts investigates the
problems of origins, patronage, setting, and meanings that have
consistently marked this fascinating body of ancient material
culture.
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Nina Hamnett
Alicia Foster
Hardcover
R296
Discovery Miles 2 960
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