Portraiture (Oxford History of Art)

Portraiture (Oxford History of Art)

Shearer West

Language: English

Pages: 256

ISBN: 0192842587

Format: PDF / Kindle (mobi) / ePub


This fascinating new addition to the acclaimed Oxford History of Art series explores the world of portraiture from a number of vantage points, and asks key questions about its nature. How has portraiture changed over the centuries? How have portraits represented their subjects, and how have they been interpreted? The book provides a clear, yet thorough overview of the history of portraiture in terms of social, political, economic, and psychological factors over a broad time span. Issues such as identity, modernity, and gender are considered within their cultural and historical contexts.

Shearer West uncovers intriguing aspects of portraiture-a genre that has often been seen as purely representational, featuring examples from African tribes to Renaissance princes, and from "stars" such as David and Victoria Beckham to everyday people. West examines the many meanings and uses of portraits throughout the ages and includes a wide range of artists from Botticelli to Picasso, and Hans Holbein to Frida Kahlo. In the process, she reveals the faces of the past in an exciting new way. Beautifully illustrated throughout, this book is a unique and accessible introduction to the history of portraiture.

Darger’s Resources

Forbidden Asia

Chronophobia: On Time in the Art of the 1960s

The Art of the Renaissance

 

 

 

 

 

 

 

 

 

 

 

 

vellum, 57.2 × 47 cm. The (pg.2772), Vienna. J. Paul Getty Museum (acc.83.pc.273), Los 45. John Singleton Copley: Paul Revere, c.1768. Angeles, CA. © The J. Paul Getty Museum. Oil on canvas, 89.2 × 72.4. Gift of Joseph 32. Hans Holbein the Younger: Anne of Cleves, W. Revere, William B. Revere, and Edward 1539. Oil on canvas, 64.8 × 48.3 cm. Musée du H. R. Revere (inv. 30.781), Museum of Fine Louvre, Paris/© photo RMN/Hervé Arts, Boston, MA. Lewandowski. 46. Edgar Degas: Place de la

arrangement of the exhibitions inevitably presented this collection from its inception, history with particular biases. when it was seen to be more important as a repository of Such debates have been revisited in the formation and display of British history than as a gallery national portrait collections in other countries. For example, a 1990s of art. publicity leaflet for the National Portrait Gallery in Washington DC stated: ‘This is a history museum. By the time you finish with this,

were meant to represent the child in their official state role. While such portraits often served a public or ceremonial purpose, the impression they conveyed of childhood could be ambiguous. Children represented as miniature adults may appear to be the stages of life 133 82 Diego Rodríguez de Silva y Velázquez Infanta Margarita in a Blue Dress, 1659 Velázquez painted Philip IV’s young daughter several times in his late career, and she was also the central figure in Las Meninas [see

James McNeill Whistler Arrangement in Grey and Black: Portrait of the Painter’s Mother, 1871 Whistler painted this portrait of his mother at a tense period in his private life. He had been living in London with one of his models, Joanna Heffernan, but in 1871 Joanna moved out when his mother moved in. Whistler used his mother as a model for this portrait, which was exhibited at the Royal Academy in London in 1872. Although it could be said that by painting a portrait of his

could also serve artists as a way of transcending those limitations that they associated with the social veneer and superficial role-playing of postmodern consumer culture. As we have seen in the discussion of Sherman and Mapplethorpe, Deleuze and Guattari describe the dichotomy between the excessive emphasis on face and surface in Western capitalist society and the contrasting power of the body in ‘primitive’ societies. They see contemporary ‘faciality’ as identities 217 137 Jo Spence

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