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. The essays in this volume address this apparent paradox of slave portraits from a variety of interdisciplinary perspectives. They probe the historical conditions that made the creation of such rare and enigmatic objects possible and explore their implications for a more complex understanding of power relations under slavery."

Our conventional understanding of English portraiture from the age of Holbein and Henry VIII on to Reubens, VanDyck and Charles I clings to the mainstream images of royalty and aristocracy and to the succession of known practitioners of 'Renaissance' portraiture.In almost every respect, the 'civic' portraits examined here stand in sharp contrast to these traditional narratives. Depicting mayors and aldermen, livery company masters, school and college heads, they were meant to be read as statements about the civic leaders and civic institutions rather than about the sitters in their own right. Displayed in civic premises rather than country homes, exemplifying civic rather than personal virtues, and usually commissioned by institutions rather than their sitters, they have yet to be considered as a type of their own, or in their appropriate social and political context.This fascinating work will appeal to both art historians and historians of early modern Britain.

Taking inspiration from artists of the Renaissance to Rococo periods, contemporary artist Arabella Proffer has re-imagined the mannerist portrait with a pop surrealist twist. After researching fashion history, heraldry, and peerage protocol, she went on to create her own world parallel to that of old world Europe. Concocting a family legacy -- ancestors that could belong to anyone it has become an impulse and a passion the artist continues to explore, adding characters and stories to her ever-growing private empire of punks, goths, and nobility behaving badly. Included are over 40 portraits created between 2000 and 2011, their stories, family trees, map and more, as well as a foreword by Josh Geiser of Creep Machine and Paper Devil.

This title includes the powerful, poignant and unforgettable portraits of soldiers in charcoal and pastel. Eric Kennington produced during the Second World War established him as 'among the most capable draughtsmen' of the day. He was frequently mentioned by leading art critics as equal in skill to contemporaries such as Augustus John, William Orpen and John Singer Sergeant. His work was routinely placed in the same class as such giants from the past as Botticelli, Van Eyck, Durer, Hans Holbein the Younger, Cranach, Ingres and Goya. The incisive, crystalline quality of his draughtsmanship was especially admired, the variety of effects he could achieve with the subtlest change in pressure on a stick of charcoal or pastel. This book brings together a fine selection of Kennington's war portraits, along with accounts of his sitters' dramatic careers and the context of these works.

In this book, Sheila Dillon offers the first detailed analysis of the female portrait statue in the Greek world from the fourth century BCE to the third century CE. A major component of Greek sculptural production, particularly in the Hellenistic period, female portrait statues are mostly missing from our histories of Greek portraiture. Whereas male portraits tend to stress their subject's distinctiveness through physiognomic individuality, portraits of women are more idealized and visually homogeneous. In defining their subjects according to normative ideals of beauty rather than notions of corporeal individuality, Dillon argues that Greek portraits of women work differently than those of men and must be approached with different expectations. She examines the historical phenomenon of the commemoration of women in portrait statues and explores what these statues can tell us about Greek attitudes toward the public display of the female body.

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.

Selected by W.E.B Du Bois and published together for the first time, a collection of 150 rare and beautiful photographs of African Americans out of slavery and beyond, with essays by Pulitzer Prize winner David Levering Lewis and the MacAthur fellow, African American photo historian Deborah Willis.

This sumptuous, oversized art treasury--with nearly 300 full-page reproductions of major works from museums all over the world--presents the history of Western portraiture, from its earliest beginnings in ancient art to its flowering in the Renaissance and Baroque eras to its transformation in modern times. The masters of the portrait--including Van Eyck, Leonardo, Raphael, Hals, Holbein, and Rembrandt--are all well represented, as are more recent practitioners of the genre such as Picasso, Chuck Close, and Gerhard Richter. Numerous stunning, close-up details provide an intimate view of the subjects depicted and invaluable information about the artists' techniques. Art historian Andreas Beyer's well-researched and far-ranging text offers a fascinating overview of portraiture; it is augmented by extended captions that shed light on each of the individual works, a complete bibliography, and biographies of the artists. Thomas Gainsborough's The Blue Boy, Francois Boucher's Madame de Pompadour, John Singer Sargent's Madame X, Pablo Picasso's Gertrude Stein, and scores of other masterworks by famous and less-well-known artists make this deluxe volume a joy to behold--a splendid celebration of a key aspect of our artistic heritage.

-- Twenty of the most notorious Florida pirates from the 1500s to the present
-- Meet Sir Francis Drake, Black Caesar, Blackbeard, Jean Lafitte, Jose Gaspar
-- Piracy continues today, though the cargo is more likely to be drugs or other contraband instead of gold and silver
-- A lively read for adults and older children

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.

Written between 1913 and 1929, revolutionary years in art history, Dix Portraits conveys the deep human engagement between an artist and her subject. The artist's book unites Stein's ten portraits in prose with sketches by five artists: Pablo Picasso, Christian Berard, Eugene Berman, Pavel Tchelitchew, and Kristians Tonny. Utilizing the interplay between word and image, Stein's writing and the artists' images provide nuance and depth, balancing humor and sincerity. With a new introduction by Lynne Tillman, Dix Portraits is an unforgettable artistic collaboration. The subjects represented include Pablo Picasso, Guillaume Apollinaire, Erik Satie, Pavel Tchelitchew, Virgil Thomson, Christian Berard, Bernard Fay, Kristians Tonny, Georges Hugnet, and Eugene Berman. Originally printed in an edition of 100 copies with the lithography, and now widely accessible for the first time, Dix Portraits captures Stein's legacy as a champion of artists and a pioneer of creativity.

The popularity of the comic performers of late-Georgian and Regency England and their frequent depiction in portraits, caricatures and prints is beyond dispute, yet until now little has been written on the subject. In this unique study Jim Davis considers the representation of English low comic actors, such as Joseph Munden, John Liston, Charles Mathews and John Emery, in the visual arts of the period, the ways in which such representations became part of the visual culture of their time, and the impact of visual representation and art theory on prose descriptions of comic actors. Davis reveals how many of the actors discussed also exhibited or collected paintings and used painterly techniques to evoke the world around them. Drawing particularly on the influence of Hogarth and Wilkie, he goes on to examine portraiture as critique and what the actors themselves represented in terms of notions of national and regional identity.

Hans Holbein the Younger is best known for his work in Henry VIII's England, where he painted portraits and designed decorative objects for courtly circles. England, however, only accounts for half of Holbein's working life. He developed his artistic identity on the Continent, creating a diverse range of artworks for urban elites, scholars, and publishers. Translating Nature into Art argues that by the time Holbein reached England, he had developed two roughly alternative styles of representation: a highly descriptive and objective mode, which he used for most of his portraiture, and a much more stylized and inventive manner, which he applied primarily to religious, historical, and decorative subjects. Jeanne Nuechterlein contends that when Holbein used his stylized manner, he acknowledged that he was the inventor of the image; when Holbein painted a portrait or a religious work in the objective manner, he implied instead that he was observing something in front of him and reproducing what he saw. By establishing this dialectic, Holbein was actively engaging in one of the central debates of the Reformation era concerning the nature and validity of the visible world. Holbein explored how much art should look like the visible world, and in the process discovered alternative ways of making representation meaningful.

Crossing disciplinary and chronological boundaries, this volume integrates text and image, essays and object pages to explore the processes inherent in gender representation, rather than resituating women in particular categories or spheres as other scholarly publications and exhibitions have done. Taking its lead from the 'Picturing' Women project on which it reflects and builds, the volume makes a substantial methodological contribution to the analysis of gender discourse and visuality. It offers new and stimulating scholarship that confronts historical patterns of representation that have defined what women were and are seen to be, and presents new contexts for unveiling what art historian Linda Nochlin has called the 'mixed messages' of representations of women.

In a museum-quality, oversized book of over three hundred pages, John Cuthbert details the artistic history of West Virginia, from the small-town portraitists of the earliest settlements, through the flood of national and international landscapists who flocked to the state to depict the scenes of the American wilderness, to the important West Virginia figures in the modernist movements of the early twentieth century. Cuthbert searched art books for mention of West Virginia, combed through old newspapers and city directories and census records for listings of artists, and scoured the holdings of museums around the world. In an eminently readable style, Cuthbert details the early artistic life of the state and sets it within the framework of national and international developments in painting. The history of art and artists in West Virginia is brought to life here with over two hundred beautifully printed color plates from the collections of leading institutions such as the National Museum, the Corcoran Gallery, the National Gallery, Colonial Williams-burg, the U.S. Capital Collection, the Boston Museum of Fine Arts, and many others. Illustrations include the work of David Gilmour Blythe, Sara Gravatt, George Hetzel, Albert F. King, William Robinson Leigh, Andrew Melrose, Samantha Jane Atkeson Morgan, John Joseph Owens, David Hunter Strother, Alexander H. Wyant, and William Sheridan Young, to name only a handful. Also represented are Monongalia County native Emma Eva Hubbard, who founded the art department at West Virginia University in 1897, and her illustrious pupil, modernist painter and fellow Monongalia County native Blanche Lazzell. A biographical directory in the back of the booklists nearly one thousand painters who worked in the Mountain State before 1930. U.S. Senator John D. Rockefeller IV, a patron of West Virginia art, wrote a foreword to the book, as well as lent paintings from his private collection.

Der Basler Druckerverleger Pietro Perna legte mit seiner zwischen 1575 und 1578 gedruckten Neuausgabe der Schriften des italienischen Historikers Paolo Giovio ein fur die Entwicklung des fruhneuzeitlichen Portratbuchs paradigmatisches Werk vor. Mehr als 200 Portratkopien - gerissen vom oberrheinischen Kunstler Tobias Stimmer - zieren die Bande der aufwendigen Schmuckedition. Mit ihnen verband sich das Versprechen einer 'UEbersetzung' von Giovios beruhmter Sammlung in das gedruckte Buch. Die Studie untersucht Stimmers Bildnisse im Zusammenhang mit zeitgenoessischen Portrattheorien und Authentizitatskonzepten sowie mit verlegerischen Vermarktungs- und Inszenierungsstrategien. Dabei wird die Spur der Portrats als kulturhistorische Sammlungsobjekte und Kopiervorlagen bis in die Neuzeit hinein verfolgt.

Black and white are the hues that give Hendrik Beikirch's painting its vivid plasticity. Contrast is not his major concern; rather, it is the nuances of color that make his portraits and landscapes so impressive and mesmerizing. This is especially true of his Warrior series, for which he traveled the world visiting crisis zones. Through his precise gaze we see the faces of aged combatants and child soldiers who are much too young. Their destinies are reflected in their eyes, their fingers on the triggers of their weapons. The monochrome expresses this powerful intensity. In every tiny fold and movement, it recognizes what is special about individual existence. The pictures possess an inherent, intriguing intimacy that encourages thought as well as long observation.

From 1802, when the young artist William Edward West began painting portraits on a downriver trip to New Orleans, to 1918, when John Alberts, the last of Frank Duveneck's students, worked in Louisville, a wide variety of portrait artists were active in Kentucky and the Ohio River Valley. Lessons in Likeness: Portrait Painters in Kentucky and the Ohio River Valley, 1802--1920 charts the course of those artists as they painted the mighty and the lowly, statesmen and business magnates as well as country folk living far from urban centers. Paintings by each artist are illustrated, when possible, from The Filson Historical Society collection of some 400 portraits representing one of the most extensive holdings available for study in the region. This volume begins with a cultural chronology -- a backdrop of critical events that shaped the taste and times of both artist and sitter. The chronology is followed by brief biographies of the artists, both legends and recent discoveries, illustrated by their work. Matthew Harris Jouett, who studied with Gilbert Stuart, William Edward West, who painted Lord Byron, and Frank Duveneck are well-known; far less so are James T. Poindexter, who painted charming children's portraits in western Kentucky, Reason Croft, a recently discovered itinerant in the Louisville area, and Oliver Frazer, the last resident portrait artist in Lexington during the romantic era. Pennington's study offers a captivating history of portraiture not only as a cherished possession but also representing a period of cultural and artistic transitions in the history of the Ohio River Valley region.

Winner, 2021 Melva J. Dwyer AwardItee Pootoogook belonged to a new generation of Inuit artists who are transforming and reshaping the creative traditions that were successfully pioneered by their parents and grandparents in the second half of the 20th century.A meticulous draughtsman who worked with graphite and coloured pencil, Itee depicted buildings in Kinngait that incorporated a perspectival view, a relatively recent practice influenced by his training as a carpenter and his interest in photography. His portraits of acquaintances and family members similarly bear witness to the contemporary North. Whether he depicts them at work or resting, his subjects are engaged in a range of activities from preparing carcasses brought in from hunting to playing music or contemplating the landscape of the North.Itee was also an inventive landscapist. Many of his finest Arctic scenes emphasize the open horizon that separates land from sky and the ever-shifting colours of the Arctic. Rendering the variable light of the landscape with precision, he brought a level of attention that contributed, over time, to his style.Featuring more than 100 images and essays by curators, art historians, and contemporary artists, Itee Pootoogook: Hymns to Silence celebrates the creative spirit of an innovative artist. It is the first publication devoted exclusively to his art.

The great portraitist Leo von Koenig (1871-1944) was surrounded by a circle of personalities who were also connected with one another as representatives of their era. A persual of their correspondence, journals, memoirs, and autobiographies thus produces a dense network of information and insights that form a mosaic of those decisive years. The painter always cultivated a close exchange with his social surroundings; in fact, his attentiveness was a driving force for the portrait painting that established his fame. When persecution and war negativley impacted his ability to obtain commissions, he turned in particular to his companions, for instance Ernst Barlach or Reinhold Schneider. The portraits painted at this time go beyond any conventions and communicate a panorama of this harrowing epoch.