Portraits

La figura femenina a dos décadas del siglo XXI ha ocupado un lugar importante en la sociedad, sin embargo, en el arte mexicano del siglo XX el papel más importante de la mujer sólo pertenecía al de la musa. Hoy en día es posible dar crédito a aquellas mujeres creadoras que fueron subestimadas por su género, a pesar de tener el 1 talento para ser reconocidas. Uno de los propósitos de este texto es analizar tres autorretratos pictóricos realizados por mujeres mexicanas María Izquierdo, Rosa Rolanda y Nahuí Olin para comprender tanto sus biografías como la época en la que vivieron. De tal manera, al analizar cada obra, hay rastros de la identidad mexicana, de un espacio político, de supuestos filosóficos del sujeto que permiten al arte darle un valor trascendental. En cuanto a la metodología, se presenta la propuesta de análisis a profundidad por medio del método iconográfico, teoría semiótica y la filosofía de la imagen.

After G.M.A. Richter’s work “The Portraits of the Greek” this paper aims to examine some images of poets and philosophers from Magna Graecia and Sicily. Only a portrait from Aphrodisias (Turkey) can surely be referred to Pythagoras because of the inscription. A beautiful marble head of Parmenide was discovered in Velia (Southern Italy). There is no evidence for Archimedes’ image, while archaeological data about other famous Greek men are very scanty.

Never entirely analyzed until now, the pictorial iconography of Maria Carolina looks more vivacious and interesting than that of her sister Marie-Antoinette, queen of France, both for its various languages from different countries, as the Neapolitan late baroque, the French rococo, the German neoclassic, and for the iconography and the iconology, as shown by the suggestive presence of the Antique, the allusions to the maternity and even some Masonic references.

André Corten & Vanessa Molina, Éditions Nota Bene, 2010,
"La première, Barbara, est un personnage de roman; la seconde, Rufina, est une vendeuse ambulante qui raconte sa propre histoire. Ce livre présente deux défilés de portraits: l'un relaie des chefs-d'oeuvre de la littérature de fiction latino-américaine, l'autre reprend des récits de vie recueillis au Mexique, au Salvador, en Colombie, en Bolivie et au Brésil dans les quartiers pauvres réputés dangereux. Ces portraits s'inspirent des mondes que dépeignent Borges, Neruda, Fuentes, Garcia Marquez dans leurs romans et de ceux que vivent au quotidien le paysan, le briquetier, le vendeur ambulant. Dans ces mondes se dévoilent des principes d'ordre, mais aussi des expression qui les déchirent , des expression de violence déconcertantes. En s'écartant des principes qui ordonnent la vie, en les désarmant, ces expressions deviennent politiques. Dans leur récit, Rufina, Carlota, Angelo et les autres ne proposent pas de solutions, ils expriment les limites d'un principe, la souffrance de s'y conformer.
Née au Salvador et ayant passé son enfance à Mexico, Vanessa Molina est doctorante en science politique à l'Université de Montréal.
André Corten et professeur de science politique à l'Université du Québec à Montréal et anime le Groupe de recherche sur les imaginaires politiques en Amérique latine (GRIPAL).

The Habsburgs: Images and Portraits II, Renaissance Society of America, Annual Meeting, Miami, Florida, 22-24 March 2007.

Jooris van der Straeten: Habsburg Court Portraitist in Portugal, Spain and France.
New Notes and Attributions

Jooris van der Straeten, born in Ghent, carved out an international career which spanned several decades (from 1552 to 1574), and several European courts (Portugal, Spain and France). He was fluent in Portuguese, Spanish and French, transforming himself into a versatile courtier, well adapted in Habsburg Spain as he was in Valois France. While other Habsburg court painters, Anthonis Mor and Alonso Sánchez Coello, worked primarily for male courtiers and the king, Philip II of Spain, van der Straeten strategically carved out a niche for himself, working primarily as a portraitist for queens, commissioned to paint his female patrons (Catherine of Austria, Isabel of Valois, Catherine de’ Medici, Louise of Lorraine), their royal woman and children. Aside from court portraits, his oeuvre includes religious works: an altarpiece with the Ascension of the Virgin is still in sitú in the Church of St. Nicholas in Plasencia (Valladolid). Straeten arrived in Lisbon circa 1552, possibly in the retinue of Anthonis Mor, who was sent to Portugal by the regent Mary of Hungary to paint the Portuguese royal family. According to Carel van Mander (1604), “Georges de Gand,” had been a pupil of Frans Floris (1517-1570) in Antwerp, where Straeten conceivably met Mor, whose Habsburg portrait style was so influential upon his contemporaries. Straeten’s portraiture combine Floris’s synthesis of Italian innovations with Mor’s northern precision and love of detail. As a painter active at three Renaissance courts, Straeten promoted a portrait style firmly grounded in Habsburg court ideology and dynastic politics.

This paper will re-evaluate Straeten’s contributions, highlighted by the discovery of new archival documents and rediscovered portraits in Spain, Portugal, France, England, the Czech Republic and Hungary.

" Wearing Images " es el título del volumen monográfico número 6 de la revista Espacio, Tiempo y Forma, dirigido por Diane Bodart, David Rosand Assistant Professor of Italian Renaissance Art History de la Columbia University de Nueva York, que propone el siguiente tema: En las últimas décadas, los estudios sobre la materialidad y la eficacia de las imágenes, así como aquellos sobre las prácticas sociales y artísticas vinculadas a ellas, han permitido explorar hasta qué punto la fabricación, los usos, el manejo o la exhibición de imágenes contribuyeron a la activación de sus capacidad de hacerse presentes a través de su interacción con el espectador. Además, el creciente interés por el diálogo entre la historia del arte y la antropología de las imágenes ha resaltado los lazos estrechos entre el objeto artístico y el cuerpo: así, si el cuerpo puede ser el medio del objeto artístico animado, el objeto artístico puede a su vez llegar a actuar como sustituto del cuerpo animado. Pero, ¿qué ocurre cuando el cuerpo no es el medio, sino el soporte de una imagen específica?, ¿qué ocurre cuando incrusta otra imagen en su propia superficie, ya sea directamente sobre la piel, por ejemplo, sobre el vestido o sobre un adorno corporal? " Wearing Images " pretende investigar los diferentes modos de interacción entre la imagen y el cuerpo que la aloja durante la Edad Moderna (entre aproximadamente 1400 y 1800), en un periodo en el que algunas imágenes devocionales, políticas, dinásticas o familiares fueron exhibidas a través de medallas, joyas, insignias, adornos bordados o tatuajes. En el transcurso de procesiones o rituales públicos, se exhibían pegadas al cuerpo, como si fueran parte de él, por ejemplo a través de un motivo decorativo sobre una armadura o sobre un traje en una fiesta. Este volumen planteará cuestiones como el papel de las imágenes incrustadas en el cuerpo en la definición de la propia identidad, en la afirmación de la afiliación con un colectivo, o en la construcción de la individualidad; la dimensión apotropaica y el empoderamiento creado por el contacto entre el cuerpo y la imagen; la performatividad de imágenes adosadas al cuerpo en movimiento y la interacción que provocan entre el portador de la imagen y su espectador. También prestará atención a la representación del portador de imágenes, que incorpora una potencial estructura de repetición, con la consiguiente inserción dentro de una composición pictórica de una imagen dentro de otra imagen. Este volumen Wearing images integrará textos originales que investiguen sobre el acto de inscribir y portar imágenes sobre el cuerpo durante la Edad Moderna, a través de medios como los tatuajes, las joyas, las medallas, el vestido, las armaduras o los escudos. También se aceptarán trabajos sobre la representación de los propios portadores de imágenes. Las contribuciones podrán centrarse en un caso en particular o analizar un grupo de objetos. No existen restricciones geográficas, y pese a que la cronología se centra sobre todo en la Edad Moderna, se aceptarán análisis comparativos con otras épocas. Le rogamos difunda este Call for Papers. Si está interesado en enviar una contribución le rogemos consulte las normas para autores, y se registre en la web de la revista para remitirnos su propuesta:

Les taillades, vaste gamme d’incisions opérées sur les étoffes, sont un reflet de l’impact de la réglementation protocolaire et somptuaire sur la créativité des tailleurs pour garantir l’originalité de paraître de leur noble clientèle. Alors, quand Christoph Amberger portraiture Charles Quint en 1532 avec une paire de gants dont un seul est entaillé, il crée une iconographie qui pose la question des frontières entre image de mode et illusion picturale et interroge les enjeux de cette effigie pour présenter l’empereur à la société de cour.

Before World War 1, French painter Léon Bonnat became famous by portraying celebrities, among which almost every leading politician in the newly founded Republic. His academic and dark style however was criticized by art critics and humourists; hence his portraits put on stage in character comedies have to be read as critics of the very people they represent and of himself as an official artist.

"Artistry and Industry: The Portraiture of George Peter Alexander Healy, 1830-1865." What do antebellum portraiture and industrialization have in common? In a word: Healy. George Peter Alexander Healy (1813-1894), a little-studied portraitist, painted the faces of hundreds of industrialists. Industry functioned in Healy's career as a source of patronage as well as inspiration, sparking the artist to redefine a genre and rethink marketability. The sheer duration and volume of his production (1830-1865), the high intensity of his itinerancy (crossing the U.S. annually from north to south and across the Atlantic), and the speculative nature of his production and exhibition practices make Healy a prime candidate for exploring how industrialization changed the practice of portraiture during the mid-nineteenth century. Existing historical scholarship has examined how industrialization changed people's lives socially, politically and economically, but it has not addressed its impact on art. Healy's career reveals the marriage of various old and new practices in the art system of antebellum America, showing how art benefitted from industrialization in creative ways. In three chapters, this study will look at Healy's production of painted portraits, his commercialization of prints after these portraits, and his use of new materials to understand how he engaged with industrial culture. Healy was an opportunist who quickly learned how to navigate the world of industry unfolding in front of him, applying industrial approaches to creation and marketability and seeking the favor of wealthy patrons. Healy pursued replication practices, attached himself to key industrialists, participated in world exhibitions, and engaged with speculative marketing practices. My dissertation helps reconsider the continued importance and modernity of portraiture, highlighting its groundedness in the historical development of industrialization.

Étude approfondie de l’iconographie textile et vestimentaire du portrait de François Ier peint par Jean Clouet afin de proposer une relecture d’une herméneutique plus complexe que ne l’ont laissé penser les recherches fondamentales de Cécile Scailliérez. Riche de découvertes inédites quant à l’habillement du portrait, c’est à la fois sa fonction, son commanditaire et sa datation qui ont pu être précisés.

This article deals with an analysis of the process of formation of Portraits Gallery, composed of portraits of the participants of the Itu Convention, which gave rise to the Paulista Republican Party, held in Itu on April 18, 1873.
These portraits belong to the collection of the Museu Republicano de Itu, extension of the Paulista Museum of the University of São Paulo.

Carl Oscar Borg is one of the premier painters of the American West. We working in oil, tempera, watercolor, woodblock and drypoint etching to create landscapes, portraits and other images of the lands and peoples of the Southwest, especially the Hopi, Navajo and ancient and contemporary pueblos

Mémoire d'étude, sous la direction de Monsieur Denis Bruna.

Cette étude propose de revenir sur le lieu commun qui érige au XXe siècle la transition de l'illustration de mode à la photographie de mode, en lui redonnant toute sa dimension. Les premières photographies de mode, qui apparaissent peu après l'invention du médium, manifestent une forte influence de l'illustration de mode, en vogue dans la presse. Ensuite, à partir du début du XXe siècle, l'illustration, en plein âge d'or, se voit rattraper par la photographie de mode. Le photoreportage de mode en  consiste  une  extension,  fixant  sur  l'objectif  des  modèles  sur  les  lieux  de villégiature,  et  annoncent  l'émancipation  de  la  femme.  En  fin  de  compte,  la divulgation  de  la  photographie  de  mode,  qui  s'accompagne  de  sa  légitimation progressive, s'installe dans les années 1930 face à une illustration de mode toujours surreprésentée. C'est pourquoi l'objectif de cette investigation vise à démontrer en quoi les photographies de mondanités ont opéré la transition d'un médium à unautre, tout en dégageant les principaux enjeux.

Conférence 30 novembre 2021 :
"When New York looks at the School of Paris (1930-1950). Reception, Rereadings and Appropriations".

On the occasion of the exhibition :
"Chaïm Soutine / Willem De Kooning, painted embodied".
Musée de l'Orangerie, Paris. 15 septembre 2021 - 10 janvier 2022

L’analyse consacrée à la diffusion et réception critique de l’œuvre de Chana Orloff aux États-Unis entre 1929 et 1947 aspire à démonter un avant et un après – le déplacement du centre artistique mondial de Paris à New York – et le chemin qu’emprunta cette artiste pluridisciplinaire afin de considérer sa place en tant que telle, le déploiement de sa carrière aux États-Unis et particulièrement, l’accueil critique qui lui fut concédé. À travers cette critique d’art, l’importance de la culture française aux États-Unis, dans la première partie du XXe siècle, se fait jour. D’une part, des artistes, des architectes, des écrivains et des mécènes américains vinrent à Paris dans la première moitié du siècle. D’autre part, en se rendant outre-Atlantique dès l’entre-deux-guerres, Chana Orloff ne fut pas une singularité. Elle comprit l’intérêt de s’allier aux Américains, qui Juifs pour la plupart, étaient pétris de culture européenne et désireux de resserrer les relations franco-américaines. En exposant à l’étranger, Chana Orloff représenta en quelque sorte l’État français aux États-Unis.

The paper aims at focusing on the iconography of Maria Amalia of Saxony as a young, daughter of the elector and king of Poland Augustus III, and Charles of Bourbon’s future wife. By observing paintings and portraits of her successively, compared and related to similar images produced in other European courts, we will try to identify some iconographic types linked to specific periods of the young woman’s life.
The iconography of the future queen of Naples and Sicily will provide an exemplary case study and a paradigmatic reference to understand wich could be considered as the iconography of royal princes, still too less explored.

The paper deals with the concepts of fragmentation and reconstruction in the field of portraiture. Taking a portrait as a large fragment of information, we look into ways in which it can be optimised and reduced such that it remains valid but becomes more efficient. The paper commences by exploring the concept of the fragment from various facets, including historically, especially from the modernist point of view, and goes forth to investigate various techniques from practices both adjunct and outside of the field of art in order to inform the portraiture process itself on how information can be collected, optimised and presented to the viewer.

"In his De visione Dei, Nicholas of Cusa addresses two aspects of divine vision: my desire to see God and God’s capacity to see
me. The latter aspect is distinguished by absolute power: God’s gaze is all-seeing. To explain this peculiar power Cusa
introduces what he calls the figure of an ‘omnivoyant’. This is a portrait with its eyes turned towards the spectator so that the
gaze of the depicted person appears to follow the spectator. This paper shows how this optical effect determined the choice
of the full-face view as the characteristic way to represent the divine in Renaissance painting, and how inscriptions on the
frames of a series of portraits of Christ attributed to Jan van Eyck reveal that the use of this effect was deliberate and in
accordance with theological doctrine."

The catalogue “Ars et Amor – Labor et Gloria“ was put together
for the temporary exhibition under the same title of until now
unknown and less exhibited works of the painter Dominik Skutezky
(Skutecký; 1849 – 1921) at the Central Slovakian Gallery in Banská Bystrica. The exhibition was intended as an extension
to presentation of the artist’s work on the occasion of the 20th
anniversary of his only permanent exposition, which is administered
by Central Slovakia Gallery in the authentic environment of the
artist’s family villa in Banská Bystrica. The artist worked mostly in
Vienna and Venice and settled down in Banská Bystrica in 1889.
The intention was to include, alongside with text and exhibition
picture catalogue, new knowledge and recent opinions from ongoing
research about Skutezky’s work and life in deeper Slovak and
Central-European context, as well as information about activities
and modernization of permanent exposition. This way we also tried
to fill in the void of absent updated catalogue issue on the occasion
of the anniversary of artist’s permanent exposition. The catalogue
consists of 4 studies entitled Ars et Amor – Labor et Gloria (Katarína
Baraníková), Dominik Skutezky as a portraitist (Katarína Beňová),
Market in Banská Bystrica - a painting study (Klára Kubičková) and
Dominik Skutezky’s own villa (Klára Kubičková).

There are very little variations in the evolution of portraits' functions on the entire length of over eleven centuries of Byzantine art and the four more of post-Byzantine. Basically, they accomplish a documentary role: they are used on legal acts, on votive objects or accompany funeral tombs. Rulers' portraits were seen as efficient symbols of the institution of monarchy, in which case were used on coins, legal acts and seals, as a guarantee of authenticity and legal effectiveness. Emperor's portrait had, in some situations, the status of replacing the real presence of the monarch, e.g. in courtrooms, or were sent to vassal princes in diplomatic purposes, to replace symbolically the visit of the sovereign. The Imperial representations in mural paintings were generally accomplished in votive or commemorative purposes. Their images illustrated the religious concept of the nature of monarchy: the divine origin of power. Their role, in this case, was of moral antidotes against the corruption of political power. Not the monarch prescribed the spiritual functions and themes of his portraits, but he was the one to whom they were prescribed, by intellectuals and theologians, through the artists.

Ante la crisis de la profesión de fotógrafo de finales del s. XIX, éstos incorporaron el cinematógrafo-fotografía animada-a su trabajo. Antonio G. Escobar fue uno de ellos. Palabras

Antes da crise da profissão de fotógrafo do final do s. XIX, incorpora-ram a cinematografia, fotografia animada, ao seu trabalho. Antonio G. Escobar e o retrato da aristocracia

Before the crisis of the profession of photographer of the end of s. XIX, incorporated the photo animated by the cinematographer to his work. Antonio G. Escobar was one of them.

The text deals with two theoretical aspects of portraiture as a concept: firstly with its etymological profiling in the 16th and 17th centuries, taking into account also relevant ancient and medieval names used for the portrait. The second aspect is the definition of its attributes and meaning, especially with respect to an “old” (pre-avantgarde) art.

This chapter of my book "Veiled Presence" explores how Lotto's images of the clothed body communicate a novel sense of being-in-the-world. In Lotto's paintings dress or drapery is possessed in both senses of the word: it proclaims ownership, but it is also stirred by strange animation. The intimate textiles of domestic life, including veils, kerchiefs and towels energize Lotto's smaller religious paintings, while his larger ones are enlivened by the movement of ritual drapes, such as vestments, altar cloths and curtains.  Such cloths function at times as "transitional objects", mediating between the real, the fictive and the imaginary.  Clothes disguise and drapery may hide or withold, as when a cloth is laid over a mirror.  It signals both remembering and forgetting.

A sinner converted into a saint, Mary Magdalene poses a paradox of
representation. Conventionally portrayed as a beautiful and sensual woman with light skin and fair hair, she is most commonly shown in a state of repentance, shying away from the viewer’s gaze. Nonetheless, the penitent Magdalene is depicted with a highly sexualized aura. Marlene Dumas’ portraits of Mary Magdalene, by contrast, do not engage in the seduction of the onlooker. Her figures stand upright and directly confront the viewer with their gaze. Although sexually appealing, these figures’ sexuality is not what is at stake in these works. Starting from this premise, this article’s analysis explores the ways in which Dumas’ representations of Mary Magdalene transgress stereotypical representations of the saint, questioning and transforming canonical depictions of female subjectivity and at the same time deconstructing conventional notions of Western portraiture.

foi um dos mais destacados pintores de paisagem da sua geração. Estudou na Academia de Belas-Artes e fez parte do grupo de artistas liderado por Tomás da Anunciação que se insurgiu contra o ensino académico, defendendo um maior contacto com a Natureza. Não terminou o curso, mas continuou a pintar, participando em numerosas exposições, sobretudo com pinturas de paisagem e de costumes.

U radu je prikazana povijest obitelji Zrinski kroz njihove najznačajnije posjede u ranom novom vijeku, od posjeda uz Kupu, Zrin i Gvozdansko, preko posjeda u Hrvatskom primorju (Bakar, Kraljevica) i Gorskom kotaru (Čabar) do najznačajinijih u Međimurju - dvorac u Čakovcu i utvrda Novi Zrin. Prikazani su potreti Nikole, Petra i Adama Zrinskog te je rekonstruirano opremanje dvora i stvaranje zbirki, posebno Bibliothece Zriniane.

Portret -niezwykłe źródło poznania postaci. Odwzorowanie konkretnej rzeczywistości -raz świadomie kształtowanego wizerunku, kiedy indziej obraz widziany subiektywnym okiem artysty. Przedstawienia portretowe w sztuce dawnej miały na celu wywarcie na widzu konkretnego wrażenia -nie zawsze ukazywały faktyczny wygląd fundatorów, ale to, jak chcieli być widziani. Często to nie realizm przedstawienia był najistotniejszy, a oprawa -strój, insygnia, herby, tło -pojedyncze elementy dookreślające modela.

Book review of: ‘Ann Jensen Adams, Public Faces and Private Identities in Seventeenth-Century Holland: Portraiture and the Production of Community. Cambridge: Cambridge University Press, 2009. 398 pp, 73 b&w illus. ISBN 978-0-521-44455-2.’, in: Historians of Netherlandish Art: Newsletter and Review of Books (HNA Newsletter) 28, nr. 1 (apr. 2011), ISSN 1067-4284, pp. 32-33.

Sztuka portretowa wyrasta z odwiecznej potrzeby utrwalenia wizerunku własnego lub bliskiej osoby. Ale portrety to nie tylko wierna rejestracja rysów – to także narzędzie kreacji wizerunku, gloryfikacji, autopromocji i walki politycznej. Potencjał sztuki portretowej dobrze rozumieli gdańszczanie zamawiający swoje podobizny u najwybitniejszych artystów swego czasu.
Książka prezentuje portrety tworzone od ok. 1420 r. po koniec XVII w., będącego
apogeum dokonań gdańskich portrecistów z Danielem Schultzem i Andreasem Stechem na czele. Gdańskie portrety zostały ukazane na szerokim tle kulturowo-społecznym. Szczegółowe omówienie renesansowej filozofii człowieka pozwoliło na prześledzenie obecności idei ramowych w gdańskiej twórczości artystycznej i analizę skomplikowanej ikonografii portretów.
Zakres tematyczny obejmuje związki portretu i przyjaźni oraz zagadnienie portretów-podarunków, odniesienia portretów do kwestii władzy oraz do pożądanej w omawianym okresie wizji rodziny, wpływ ideału dworzanina na sposób prezentacji modela, obecność wątków wskazujących na identyfikację modeli z filozofią neostoicką, portrety, w których podkreślono melancholię portretowanych, wreszcie zrekonstruowano „galerie portretowe”, które ozdabiały m.in.
Ratusz Głównomiejski, Bibliotekę Rady Miejskiej oraz zakrystie gdańskich kościołów.