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.

Erstmals wird hier die Bildnissammlung der oesterreichischen Erzherzogin Maria Anna (1738-1789), Tochter Maria Theresias und Franz Stephans von Lothringen, vorgestellt. Zur Ausstattung ihres Alterssitzes nahe des Elisabethinenkonvents in Klagenfurt entstanden, umfasst die Sammlung Portrats der Habsburgerfamilie, darunter auch zahlreiche Kinderbildnisse. Die bisher unpublizierte Sammlung zeigt eine faszinierende Adaption kaiserlicher Reprasentationspraktiken. Im Zentrum der Sammlung steht aber nicht das Einzelbild, sondern der Familienkontext: der Austausch, die Wiederholung und die gegenseitige Bezugnahme der Bildnisse aufeinander. Kunstwissenschaftliche Beitrage und ein umfangreicher Katalogteil eroeffnen einen exemplarischen Einblick in die hoefische Portratkultur des 18. Jahrhunderts.

The portrait has been characterized as an art-form of contradictions since its very beginnings to the art of today. The genre is faced with the challenge of recording an individual and his or her character as a strictly specified object and, at the same time, of creating a work of art in its own right. Hence, various forms of portraiture are faced with an aesthetic conflict of solutions that oscillate between similarity to the subject and greatly abstracted works of invention. This volume collects the contributions of the homonymous "International Warburg College" of the University of Hamburg and is dedicated to the genre of portraiture across various media as well as its entire thematic range. Case studies by international authors examine the broad range of issues involved in this genre: from the exploration of the individual in the portrait, to the political function of the genre; from the stylization of the individual to mask, role, and type; and to the artists' strategies of presentation in the self-portrait.

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.

Portraits were the most widely commissioned paintings in 18th-century France, but most portraits were produced for private consumption, and were therefore seen as inferior to art designed for public exhibition. The French Revolution endowed private values with an unprecedented significance, and the way people responded to portraits changed as a result. This is an area which has largely been ignored by art historians, who have concentrated on art associated with the public events of the Revolution. Seen from the perspective of portrait production, the history of art during the Revolution looks very different, and the significance of the Revolution for attitudes to art and artists in the 19th century and beyond becomes clearer.

English summary: The "Zeitgesicht" (face of the time), in which citizens matched their own appearance to the image of the emperor, constitutes an important phenomenon in Roman portrait art. After 300 years, at the time of Constantine the Great, however, this clear expression of the previously prevailing ideology of the Principate was abandoned, and in particular members of the imperial aristocracy started looking for more adequate forms of image representation that were unconnected to the emperor's appearance. At the same time in Greece, the old elites were using the medium of the portrait as an expression of a specific discourse on the past. Taking a variety of literary and epigraphic sources into consideration, this study aims to provide a cultural-historical classification of portraits in later antiquity, along with an exploration of the significance of the genre of portrait sculpture for its contemporaries at the end of classical antiquity, and ultimately to discuss why it was eventually abandoned as a representational form. German description: Ein wichtiges Phanomen im romischen Portrat ist das "Zeitgesicht," die Angleichung der Burger an das Bildnis des Kaisers. Zur Zeit Konstantins des Grossen wird jedoch nach 300 Jahren dieser unmittelbar erfahrbare Reflex der zuvor pragenden Prinzipatsideologie aufgegeben und insbesondere die Vertreter der Reichsaristokratie suchen fortan nach angemesseneren und vom Herrscherbild entkoppelten Formen der Bildnisreprasentation. Gleichzeitig nutzen in Griechenland alte Eliten das Medium des Portrats als Ausdruck eines ganz besonderen Vergangenheitsdiskurses. Die Arbeit bemuht sich unter Berucksichtigung einer Vielzahl literarischer und epigraphischer Quellen um eine kulturgeschichtliche Einordnung des spatantiken Portrats, um eine Ergrundung der Bedeutung der Gattung der Portratstatue fur ihre Zeitgenossen am Ende der Antike, und letztlich um eine Diskussion der Frage, weshalb sie schliesslich als Reprasentationsobjekt aufgegeben wurde.

English Description: Group portraits are an exceptional form of Dutch painting that particularly took hold in the burgeoning metropolis of Amsterdam. This volume focuses on the 17th century, the "Golden Age" of Dutch painting, and 11 famous group portraits that perfectly capture the essence of Dutch society at that time. The group portraits were commissioned for special occasions and displayed prominently as commemorations on the premises of a variety of institutions that played an important role in the political and economic life of the city. Painters include Adriaen Backer, Frans Badens, Ferdinand Bol, Gerbrand van den Eeckhout, Govert Flinck, Bartholomeus van deer Helst, Nicolaes Eliasz Pickenoy, and Dirck van Santvoort. German text. German description: Das Gruppenportrat stellt eine herausragende hollandische Bildform dar, die besonders in der aufbluehenden Metropole Amsterdam Fua fasste. Im Zentrum des Katalog-Buches steht das 17. Jahrhundert, das so genannte "Goldene Zeitalter" und elf beruehmte Gruppenportrats, die das damalige Wesen der hollandischen Gesellschaft vollkommen ausdruecken. Regelmaaig lieaen sich Mitglieder des vermogenden Stadtbuergertums in voller Lebensgroae vereint darstellen, wie sie von Amts wegen gemeinsame Aufgaben wahrnehmen. Der besondere Reiz dieser Bilder aus dem 17. Jahrhundert besteht nicht zuletzt in ihrem unmittelbaren Bezug zur Gegenwart. Was damals in einem vom monarchischen Absolutismus gepragten Europa eine Ausnahme darstellte, bildet im heutigen politischen und wirtschaftlichen Leben die Regel: Organisationen und Firmen werden von Personengruppen als Kommissionen, Kuratorien oder Aufsichtsrate gefuehrt. Damit schlagen diese Bilder eine Bruecke, die Vergan- genheit und heutige Lebenswelt unmittelbar verbindet. Die Gruppenportrats wurden zu besonderen Anlassen in Auftrag gegeben und zur Erinnerung in den Reprasentationsraumen der Institutionen aufgehangt. Sie gelangten nach deren Auflosung in das Eigentum der Stadt Amsterdam, einen Teil bildet die Schuttersgalerij im Amsterdams Historisch Museum. Aus diesem Bestand wurden die elf Bilder der Ausstellung ausgewahlt, die von den Malern Adriaen Backer, Frans Badens, Ferdinand Bol, Gerbrand van den Eeckhout, Govert Flinck, Bartholomeus van der Helst, Nicolaes Eliasz Pickenoy und Dirck van Santvoort stammen.

The exhibition "Space/Sight/Self" was designed to study the role of portraiture in contemporary art as a nexus of three issues - identity, vision and place. The goal was to produce a portrait, as it were, of contemporary portraiture. This catalogue documents the exhibition and helps to facilitate viewers' reflections and responses about the spaces, sights and selves that enable us to construct and question our identity.