Portraits

It is the fourth chapter of the "Michelangelo Buonarroti, Jacopino del Conte, Daniele Ricciarelli: ritratto e figura nel manierismo a Roma", by Andrea Donati, 2010.
According to the documents, it is clear that Daniele made twice the bronze casting of the portrait of Michelangelo, because the first was unsuccessful. This is a survey of all existing bronzes and try to distinguish the original from copies and imitations.

IN ENGLISH
At some point in his reign, Alexander had coins issued in which Herakles’ face was indeed incorporated in the king’s portrait. This might betray an attempt at his deification. Thus the Herakles coin iconography and its corollary pro-paganda content is divided into two stages. The first had Herakles as a prototype of Alexander and a bearer of a pan-Hellenic message. The second was the time when Alexander had become Herakles, the living son of Zeus or Amon. While under Philip II the basic repertory of coin iconography included the head of Herakles and of Zeus, a new element was added under Alexander: Zeus seated on a throne and holding an eagle. It is no accident that coin iconography changed on Alex-ander’s coinage compared to that of his father’s issues. The figure of Zeus enthroned is a modification of Baaltarz, a motif known well enough from the Achaemenid mint at Tarsus in the 4th century. The similarity is seen in the posture of the seated figure and in the depiction of the throne which faithfully imitates the Achaemenid prototype. The figure of Zeus, too, was perceived by the Asians as their local deities: in the Levant and Babylonia, it was true especially of Baal82. For the Iranians, the associations tend-ed to be with Ahuramazda. In Kommagene (1st century BC) there is a relief depicting Zeus-Oromazdes/Ahuramazda – a clear example of cross-identification83. Coins of the Diadochs showing a deified Alexander replicate the iconography of a portrait known from the king’s coinage. If no monetary portrait of his had existed under Alexander, how could this similarity be accounted for? Smith concentrates on simi-larities between the king’s sculpted portraits with his monetary depictions. This is a valid perspective, but in a comprehensive treatment of the problem, it is necessary to scrutinize more closely questions involved in the role played by monetary issues with the king’s portraits in propaganda and in the concept of his rule. Smith brushes these problems marginally, which is understandable given her choice of subject mat¬ter. These limitations, however, cause some interpretive difficulties, such as those involving identification of the Iranian tiara. Analyzing Alexander’s royal ideology, one concludes that the ruler intentionally carried on as a monarch building his new empire, reaching out in many fields not only to Macedonian and Greek traditions but also – on an imperial level, not just locally – to the Iranian heritage (as by repeatedly using in coinage images of their insignia: the diadem and tiara).
It is worth noting that on his coinage, including on the pieces with the tiara, Alexander usually precisely identified himself as the issuer. The portrait, too, was meant positively to identify the ruler. Still, most scholars maintain that Alexander never put his own portrait on his coins. By introducing his portrait on coins, Alexander drew from a firmly rooted tradition of the Achaemenid epoch in Asia Minor, when issues of satraps and dynasts featured likenesses of the issuers. In the (European mainland) Greek and Macedonian world, a monetary portrait did not exist before Alexander. Its introduc¬tion in Alexander’s local and imperial issues was among his many innovations designed to help build a new power. Such innovations and other achievements of Alexander made a great impact on royal coinage and iconography and on the way monarchical ideology was expressed in the Hellenistic epoch.


IN POLISH
O portretach monetarnych Aleksandra Wielkiego
Uwagi na marginesie książki:
F. Smith, L’immagine di Alessandro il Grande sulle monete del regno (336–323)
Artykuł stanowi nie tylko recenzję pracy włoskiej badaczki Federiki Smith
o monetach Aleksandra Wielkiego, ale też analizę istotnych aspektów ikonografii monetarnej tego króla. Aleksander Wielki wielokrotnie odwoływał się do propagandy monetarnej, stosując ją jako narzędzie realizowanej w Macedonii i potem
w Azji i Egipcie polityki, polegającej na budowaniu imperium kosztem pokonanych Achemenidów.
Aleksander szczególnie czcił Heraklesa i Zeusa, co w czasie jego panowania zostało wielokrotnie poświadczone. Zeus i Herakles mieli swoje lokalne odpowiedniki na podbijanych terenach Azji i w Egipcie i nie wydaje się kwestią przypadku, że stali się głównymi postaciami na monetach zaliczanych do podstawowych emisji Aleksandra produkowanych w mennicach położonych we wschodniej części basenu Morza Śródziemnego. Zdobycie panowania nad obcymi ludami Azji miało swoje konsekwencje w sferze propagandy monetarnej Aleksandra, gdyż zdobywca nie mógł ignorować lokalnych tradycji orientalnych (szczególnie ważne w tym względzie są wizerunki epoki achemenidzkiej na monetach Karii, Likii i Tarsu). Podobizny Aleksandra, stylizowanego na Heraklesa występują na monetach wybijanych za życia króla. Ale monarcha kazał się też przedstawiać i w innej stylizacji, m.in. z atrybutami Zeusa („indyjskie” dekadrachmy) czy w perskiej tiarze (monety z Memfis). Aleksander występował jako władca budujący nowe imperium i sięgający w wielu sferach nie tylko do tradycji macedońskich i greckich, ale też do tradycji lokalnych w Azji i Egipcie. Innowacje i osiągnięcia Aleksandra wywarły ogromny wpływ na charakter mennictwa i ikonografii królewskiej oraz sposób wyrażania ideologii monarchicznej w epoce hellenistycznej.

The portrait-vessels of the Moche culture are one of the most enigmatic categories of prehispanic Andean ceramics. They were produced mainly between the 3rd and 7th centuries A.D., in workshops located in the Santa, Virú, Moche, and Chicama valleys of coastal Peru. The marked physical and psychological individualization of the faces and the naturalist manner of representing them--something rare in contexts of societies with no writing--have intrigued scholars for more than a century. Why did Moche society create these artifacts? Are they in fact portraits, in the modern sense of the word? Who were the individuals represented? These are some of the questions this book tries to answer. In Spanish.

Los Rostros Silenciosos" deals with one of the best known, yet at the same time most enigmatic categories of pre-Hispanic Andean ceramics – the Moche culture's huaco portraits.

Los rostros silenciosos esta dedicado a una de las mas conocidas y al mismo tiempo mas enigmaticas categorias de la ceramica andina prehispanica: la de los huacos retrato de la cultura Moche. Producidos en su mayoria entre los siglos III y VII de nuestra era, en talleres ubicados en los valles de Santa, Virú, Moche y Chicama, representan un fenomeno muy particular en la historia del arte mundial.

La marcada individualizacion fisica y psicologica de las caras y la manera naturalista de representarlas – caracteres sumamente raros en el contexto de sociedades agrafas – han despertado el interes de los investigadores (arqueologos, historiadores del arte, artistas e incluso medicos y patologos) desde hace ya mas de un siglo. ¿Por que en la sociedad moche surgio la necesidad de crear tales artefactos?, ¿efectivamente eran retratos en el sentido moderno de la palabra?, ¿quienes eran los sujetos representados? Estas son algunas de las principales interrogantes a que este libro trata de responder.

“Los rostros silenciosos. Los huacos retrato de la cultura Moche” de Janusz Z.Woloszyn, editado por el Fondo Editorial de la Pontificia Universidad Católica del Perú (PUCP) en el 2008 intenta responder ¿por qué en la sociedad moche surgió la necesidad de crear tales artefactos? ¿efectivamente eran retratos en el sentido moderno de la palabra? ¿quienes eran los representados?. El libro que viene con un gran despliegue de imágenes, símbolos, fotografías se basa en el análisis de 778 piezas de cerámica desde una perspectiva semiológica y además de ofrecer sugerentes respuestas también plantea nuevas interrogantes.

El polaco Janusz Z. Woloszyn ha publicado una investigación donde las enigmáticas vasijas moches con forma de cabeza humana son el objeto de estudio. Los rostros silenciosos. Los huacos retrato de la cultura moche (Fondo Editorial de la PUCP, 2009) es una publicación que cuenta con una variedad de ilustraciones, figuras, esquemas, cuadros y patrones decorativos, adornos y detalles, que sumergirán al lector en el apasionante mundo del arte y la representación mochica.  Asimismo, establece un conjunto de criterios de análisis en los que estética, análisis iconográfico, arqueología y bioantropología conviven en una fructífera interdisciplinariedad.

The portrait has always been a focal point of the arts, whether it be the immortalisation of a lover's shadow by a maid of Corinth , a bust of a Roman emperor or the enigmatic and elaborate face of 1 the Mona Lisa. Although portraiture has been practiced since neolithic times, it took a pivotal role in society particularly since the Renaissance, as commissioned portraits became more popular , 2 documenting not only the likeness of the rich and famous, but at a later stage also the face of society itself, notably during times of revolution, when the common man became more important than the elite . Nevertheless, portraiture has always been looked down on by artists as a lesser 3 form of art due to its association with copying (mimesis) rather than interpretation. It was relegated "to the level of a mechanical exercise, rather than a fine art. " 4 Even though throughout most of history portraiture was associated with a status symbol , the 5

Portraiture as a practice has undergone great changes over time. Portraits have been made in different media (from painting and sculpture to film and video), of different kinds of people (from kings and queens to peasants and workers), in a variety of materials (from the ancient Egyptian portraits on wooden panels to Marc Quinn’s self-portrait in blood), and have served a multiplicity of purposes (from glorifying or ridiculing a person to making an artistic or political statement). But what holds the practice of portraiture together? What is it that all portraits have in common and in virtue of which they are portraits? That is the central question of this paper. Starting from, and building on, a critical investigation of some recent philosophical attempts to define the portrait, the paper’s ambition is to arrive at an extensionally adequate account of portraiture, that is, an account that captures as much of the extension as possible of what we ordinarily think counts as a portrait. In section 1 Cynthia Freeland’s theory of portraiture is presented, while section 2 offers some objections against said theory. Freeland’s definition of a portrait as an image that presents a recognizably distinct individual who has emotional or conscious states, and who is able to participate in the creative process by posing, is shown to be too narrow in some respects and too broad in other respects. In section 3 the main features and strengths of Paolo Spinicci’s phenomenological approach to portraiture are articulated, while its particular shortcomings are highlighted in section 4. A discussion of certain subgenres of portraiture, such as animal portraits, deathbed portraits, baby portraits, abstract portraits, portraits in absentia, portraits of fictional characters, portraits in absorption, and the ‘portrait historié,’ will prove helpful in making the case against Spinicci and Freeland. Finally, in sections 5 and 6, an alternative account of portraiture is developed, one that seeks to addresses the numerous objections raised against the two competing theories. In a nutshell, it is argued that something counts as a portrait if it is the product of a largely successful intention to create a portrait, and that the intention to create a portrait necessarily involves having a substantive concept of the nature of portraits as well as having the intention to realise that substantive concept by imposing portrait-relevant features on an object. The main advantage of the proposed account is that it is broad enough to include all bona fide portraits, without being meaninglessly broad, and that it is able to accommodate both the changes and the continuity in the practice of portraiture.

Abstract
Les saints, tant vivants que dans l’au-delà, forment un sujet actuellement très apprécié des études concernant l’Antiquité tardive. Dans le domaine iconographique, l’ensemble le plus magnifique de saints est représenté par les quinze portraits de martyrs en mosaïque conservés sur la coupole de la Rotonde de Saint-Georges à Thessalonique. Étrangement, le discours contemporain de l’iconographie hagiographique néglige largement ces images exceptionnelles. La raison en est probablement de l’incertitude de leur datation. Pourtant, qu’on les place dans les dernières décennies du ive siècle, aux alentours de 450, ou au début du vie siècle, ces mosaïques fournissent une importante information sur l’origine et le développement de la représentation des saints. Cet article pose le problème de la genèse de l’image individualisée du martyr, en particulier la question de son rattachement à une tradition authentique liée à son portrait funéraire. Une des caractéristiques distinctives des images du monument de Thessalonique est la variété des représentations : les portraits des martyrs sont nettement individualisés, différenciés par âge, chevelure, barbe, traits physiognomoniques, couleurs, etc. Toutefois, indépendamment de la question de l’origine et de l’authenticité de ces portraits, les couleurs particulières des tesselles utilisées pour rendre les chevelures et les yeux montrent que, dans la Rotonde, les mosaïstes ont donné la priorité à une esthétique de “lumière colorée’, principe qui leur a permis de représenter la beauté idéale des hommes saints dans l’au-delà.

Portraits are everywhere. We think we know what they are for and what they do. They depict what people look like and they capture or distil their particular identity. But in everyday life, it might be argued, portraits trade in stereotypes and clichés. And if the advent of identity politics has demonstrated any- thing, it is how deeply problematic it is to think that identi- ty can be ‘captured’ or ‘distilled’. This reading list encourages a more analytical understanding of portraiture as an artistic genre, with particular reference to feminist/gender/disability/ ethnic/post-colonial issues. How have artists pushed at the li- mits and conventions of the type, how are people represented in portraits, and how have philosophers understood its essen- tial nature? The list aims to address central topics in aesthetics and philosophy of art through the genre of portraiture, adding relevant insights from art history and art theory, and thus ena- bling students to acquire a more sophisticated understanding of what making and looking at portraits actually involves.

Resumen
El arte contemporáneo es transido por el problema de la identidad, por la condiciones de nuestra inaccesibilidad. La historia del retrato occidental está dividida entre un retrato inocente y fiel que goza del rostro representándolo en la forma clásica, y un retrato que apuesta más bien a los recursos expresivos de la pintura, al gesto y la mancha, que no sabe o no quiere representarlo. El rostro mismo ha desaparecido de la pintura moderna y con él, todos los reconocimientos y filiaciones con la tradición aristocratizante de las Bellas Artes, donde el retrato era el modo de perpetuar el prestigio, la celebridad, la posición o la belleza de las damas y los señores de la corte.
El arte contemporáneo desde Bacon, con una sensibilidad desgarrada, propia de la pintura del desastre, inscribe su intimidad sobre la piel de figuras innombrables, de planos abstractos y objetos autistas, desheredados de una tradición académica tributaria de los estilos precedentes. Ahora es el retrato mismo del pintor el que se trasunta y queda inscrito en la superficie de sus telas, la cual opera como espejo de su pasión, de su encanto o de su furia. Sobre esta superficie especular no se inscribe el nombre del pintor, sino el clamor de mil voces que lo constituyen.

- "Rostros y lugares del anonimato; De la pintura metafísica a la sobremodernidad".

In English and Spanish. Catalog from the exhibition "Andrés Sánchez Gallque y los primeros pintores en la Audiencia de Quito" held at the Museo de Arte Colonial in Quito, Ecuador (2014). This is the galley proof. The footnotes for my article are unfortunately off by one number.
Catálogo de la exposición celebrada en el Museo de Arte Colonial en Quito, Ecuador (2014). Este es el machote. Lamentablemente, las notas al píe de página de mi artículo están corridas por un número.

Le manuel d'Artémidore de Daldis - Onirocriticon (La clé des songes), écrit à la fin du IIe siècle, est riche de détails concernant l'image mentale, son statut et son potentiel polysémique. L'auteur enquête pour savoir si l'image peut avoir plusieurs significations ou une seule, puis comment sa signification change en fonction des circonstances et enfin comment les différentes images peuvent avoir la même signification. L'auteur évoque ensuite les critères iconographiques, critères qui aident à mieux comprendre les relations entre les attributs et les dieux. Artémidore met en relation des symboles simples avec des thèmes plus complexes; ce même type d'associations n'est pas sans évoquer ce que nous rencontrons dans l'iconographie plastique. Cette démarche n'avait, jusqu'alors, jamais été entreprise. Les explications des images mythologiques que donne l'onirocrite ont déjà permis de comprendre mieux leur utilisation dans l'art funéraire et ont révélé leur mode de fonctionnement imaginaire (see M.T. Olszewski, Artémidore, mythologie et symbolique funéraire, Archeologia (Warsaw) 52, 2001, pp. 39-60).

streets,|and much rain on his head,|until the moment when the project was complete.|And then, to the above named prince,|this book was offered and given|by the said Jehan, and I do not lie,|in the year 1372,|with a good heart, and it is worth a thousand marcs,|on the 28 th day of March.3

This special issue of "kritische berichte" contains seven interdisciplinary essays on the human face.

CONTENTS
Jeanette Kohl and Dominic Olariu: Editorial 3

Jean-Claude Schmitt: For a History of the Face: Physiognomy, Pathognomy, Theory of Expression 7

Bernard Andrieu: Appearance-Based Prejudice. Between Fear of the Other and Identity Hybridization 21

Sigrid Weigel: Phantom Images: Face and Feeling in the Age of Brain Imaging 33

Georges Didi-Huberman: Near and Distant: The Face, its Imprint, and its Place of Appearance 54

Claudia Schmölders: Eye Level. The Linear Perspective in Face Perception 70

Jonathan Cole: Facial Function Revealed through Loss. Living with the Difference 83

Jeanette Kohl, Dominic Olariu and Rainer Schmelzeisen: Face Matters. Facial Surgery from the Inside 95

View on:
http://www.ulmer-verein.de/?page_id=14080

This paper aims to shed new light on the physiognomy of Socrates by comparatively examining Plato's and Xenophon’s passages on the topic. A comparative analysis of these texts is of primary importance for understanding the reception of Socrates’ physiognomy in antiquity, inasmuch as subsequent literary and visual depictions of Socrates almost completely depend on them. The first part of the paper deals with the Silenus motif in Plato and Xenophon: this motif describes a peculiar feature which defines what Socrates is, i.e., his seriocomicness. But Plato and Xenophon also provide other motifs that describe what Socrates does, how he behaves, and which skills he is famous for. These motifs are zoomorphic: Xenophon compares Socrates with a crab; Plato compares him with a bull, a pelican, young female Laconian hounds, a torpedo ray, and a gadfly. This “Socratic bestiary” provides a wealth of information
about Socrates’ activity as a philosopher—and even as a young talented
ephebe, still far from getting acquainted to philosophy: Socrates had a charismatic gaze, which was at times menacing, at times magnetic; he was able to track down arguments even before getting acquainted with philosophy; he would benumb his interlocutor with confusing arguments; and he would stir up his fellow citizens, reproaching and persuading them not to stick to their convictions.
However, Plato and Xenophon do not provide a physiognomic diagnosis in the strict sense: as the paper shows, Plato's and Xenophon's interest in Socrates’ appearance is not physiognomic, but philosophical.

in: Wissenschaftliches Jahrbuch der Tiroler Landesmuseen 2016, p. 50-137.

The text presents a catalogue raisonné of the portait
paintings by the German Renaissance painter Hans Maler
(ca. 1475–1526/29). It is the first catalogue of Maler’s
portraits since the 1960s and only the third since the late
19th century. Maler was born in Swabia, probably in Ulm,
where he was trained as a painter and during his earlier
career produced religious paintings. In 1515/17 he moved
to Tyrol and settled in Schwaz east of Innsbruck, one of
the leading European mining centres of its time. Here,
in Schwaz Maler shifted his artistic focus to portrait
paintings; about 40 portraits from his workshop dating
from ca. 1515 to 1526/29 are known nowadays. Maler
painted local mine owners and officials, south-German
merchants and financiers invested in the Schwaz mining
industry (Fugger) and members of the Habsburg family and
their court. The group of portraits by Hans Maler provides
a unique insight in the political, financial and social
elite of Northern Tyrol in the years about 1520 when the
mining city of Schwaz was a dominating force in Central
European economy and politics.

French blurb / quatrième de couverture:
Ce livre est le fruit d'un projet ambitieux visant à replacer l'émergence du portrait européen dans le contexte large d'une évolution où parmi d'autres facteurs les rites funéraires et les masques mortuaires jouent un rôle déterminant. L'« archéologie de la ressemblance » est ainsi la formule que l'auteur propose pour renouveler notre connaissance des débuts du portrait au XIIIe siècle, c'est-à-dire bien avant l'apogée du portrait individuel à la Renaissance. Par une transgression audacieuse des frontières du champ disciplinaire, l'enquête jette un éclairage inattendu sur l'environnement culturel qui favorisa l'apparition de ce genre visuel si caractéristique du continent européen. Le recours à la méthode étymologique enrichit tout particulièrement l'investigation en éclairant d'un jour nouveau les causes profondes de cette représentation figurée. Sur un sujet où tout déjà semblait avoir été dit, un arrière-plan aux multiples facettes se trouve ici mis au jour, qui d'une manière exemplaire révèle la complexité des facteurs intervenant dans l'histoire de la représentation figurée.

Hans Belting


German blurb / Klappentext:
Das Buch spannt einen weiten Bogen und ordnet die Herausbildung des europäischen Porträts in einen viel größeren Zusammenhang ein, in welchem auch Grabriten und die Totenmaske eine Rolle spielen. So ist etwa die „Archäologie der Ähnlichkeit“ ein Stichwort, um unsere Aufmerksamkeit für die Anfänge des Porträts im 13. Jahrhundert, lange vor der Blütezeit des Individualporträts in der Renaissance, neu zu wecken. Indem sie die Fachgrenzen kühn überschreitet, bietet die Untersuchung einen unerwarteten Einblick in das kulturelle Umfeld, in welchem es zur Entstehung dieser für Europa so charakteristischen Bildgattung kommen konnte. Das gilt auch für die Etymologie der Begriffe, die bei diesem Vorgang eine Rolle spielen und ein neues Licht auf die Motivation hinter diesem Bildnis werfen. In einem Thema, in dem alles schon gesagt schien, wird hier ein vielfach verzweigter Hintergrund freigelegt, der exemplarisch beweist, wie komplex die Gründe sind, die in der Bildgeschichte eine Rolle spielen.

Hans Belting

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.

Collana: Frontiera d'Europa -Studi e Testi, Nuova Serie, 6 Napoli: Istituto Italiano per gli Studi Filosofici, 2016 pp. X+246; 24 cm. ISbN 978-88-89946-51-0 © 2016 Istituto Italiano per gli Studi Filosofici questo libro è scaricabile gratuitamente dal sito "www.frontieradeuropa.it". Ne sono state stampate trecento copie numerate, recanti la scritta "Fuori commercio", destinate agli omaggi, in primo luogo alle Università, ai Dipartimenti, alle maggiori accademie e biblioteche, alle riviste scientifiche, ed a quanti ne facciano richiesta dimostrando interesse per questi temi. Per Liliana, regina del saber ser, sovrana del saber estar SoMMaRIo NoTa DEll'aUToRE IX abbREVIazIoNI X R. ajEllo, La nascita della socialità moderna 1. Il momento storico cruciale in cui fu redatto il "Carteggio" 1 2. Era tramontata l'idea dell'uomo creato a somiglianza divina 5 3. Origini altomedievali delle differenze tra le nazioni europee 10 4. Il pragmatismo tedesco trasferí le idealità nel culto dell'etnia 14 5. In Italia il super-idealismo medievale si trasformò in cinismo 18 6. Il cinismo portò alla svalutazione della religiosità: D'Andrea 24 7. Il riformismo francese contro il blocco ontologico italiano 28 8. Durata lunga della magia, gestazione lenta della razionalità 34 9. Il dominio della retorica nascose la lunga serie dei fallimenti 39 10. La svalutazione della mente, da divina a "mostruosa": Pascal 43 11. Il passo breve dalla socialità di Pascal a quella di Rousseau 47 12. Fu francese la piú valida rivoluzione mentale, morale, sociale 50 13. Pensiero moderno: un profilo umile, contro l'enfasi idealistica 56 14. Il rifiuto dell'illuminismo, la fedeltà all'ontologismo medievale 60 15. Presunzioni resistenti: «le tenebre sono piú chiare della luce» 65 16. Quadro estremamente tormentato della politica mediterranea 71 17. Finalità nuove della storiografia: analizzare le utilità sociali 77 18. L'esigenza di rifiutare l'idealismo e di adottare il pragmatismo 81 19. L'hegelismo espresse la rivincita dell'ontologismo medievale 86 20. Nietzsche: il pensiero è debole. Le due "inversioni dei valori" 93 21. Tre novità favorevoli al governo di Carlo a Napoli nel 1734 99 22. Carlo,"re proprio", risvegliò il culto della sovranità nazionale 104 23. Forte influenza di Amalia e di Tanucci nella maturazione del Re 110 24. Dopo il 1734: la storia delle Sicilie acquistò un profilo europeo 116 25. Origini personali e profonde dell'aspro radicalismo tanucciano 121 26. Fonti della civiltà sono: educazione pubblica e moralità statale 128 27. Difficili rapporti tra il radicato cinismo e la nuova solidarietà 134 28. Tanucci: dal rigorismo sterile alla visione sociale dei problemi 139 29. Il Re, la Regina e Tanucci fecero nascere un precario consenso 143 30. La forte spiritualità di Maria Amalia fu il segno di tempi futuri 148

"La muerte de un monarca o de un miembro de su familia desde
los siglos XVI al XVIII ponía en marcha todo un aparato de propaganda
política e ideológica funeraria: cortejos luctuosos, pompas fúnebres,
catafalcos efímeros, tumbas conmemorativas. Pero previamente a todo
este ritual, tenían lugar una serie de acontecimientos en torno a su
cuerpo moribundo. Era entonces cuando se tenían en cuenta tratados
como los del ars moriendi para prepararles en su tránsito. Se certifi caba
su muerte con la inspección del cadáver; se exponía públicamente e
incluso se retrataba o se tomaba su mascarilla mortuoria. Este trabajo
analizará aquellas imágenes en las que el monarca o su familia son
representados en estado cadavérico. Es en este momento en el que
el poderoso se muestra en algunas imágenes despojado de todo el
simbolismo que rodea su poder, para ofrecernos «retratos puros» en los
que lo importante son los rasgos mortuorios y el testimonio de su buena
muerte para su paso a la Gloria."

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.

Grâce à l’émergence du gros plan, le visage a trouvé au cinéma un pouvoir expressif inédit, un lieu d’expérimentation et de représentation privilégié. Le cinéma classique, dont l’échelle de plans et les codes narratifs sont entièrement structurés par cette "unité expressive", a forgé un véritable langage du visage. Mais si la fonction identificatoire et immersive du gros plan s’est banalisée au point de devenir la pierre de touche émotionnelle du film, le cadrage du visage a une histoire très riche, révélant un face-à-face entre la caméra et la physionomie bien plus surprenant et varié que l’on ne pourrait l’imaginer. Nous envisageons ici les théories et pratiques du gros plan développées en amont et en marge de sa codification narrative classique: des "portraits vivants" aux "films à expressions faciales"; des "vignettes" de protogénérique aux "plans emblématiques" ; en passant par la réception critique des premiers gros plans (taxés de "monstrueux", "minimalistes" ou "révolutionnaires"), et jusqu’à leur interdiction –mêlée d’adoration.

Bibliografi sche Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografi e; detaillierte bibliografi sche Daten sind im Internet über http://dnb.d-nb.de abrufbar.

Two sources leave telling traces of tensions in Albrecht Dürer's closest personal relationships. One, a letter that Dürer wrote to Willibald Pirckheimer, preserves for us a shocking and intimate exchange between the two men. Dürer sent the missive from Venice in 1506 and dated it "about fourteen days after St. Michael's Day," which places it in the middle of October. lt subsequently remained lost and forgotten for centuries together with other letters and papers behind a secret panel in a Nuremberg house. The subject of the discussion was the artist's wife, Agnes.

The purpose of this dissertation is to demonstrate that a phenomenological approach to Chaïm Soutine’s portraits is more rewarding than the contextual and formalist approaches that have dominated the literature on Soutine to date. Soutine himself said very little about his life or his work, so biographies are based on stories told by eyewitnesses, which have often been romanticised to promote sales, to entertain, or for nostalgic reasons. Contextual accounts are variously based on such biographical information, art-historical categories such as ‘Fauvist’ or ‘School of Paris’, Soutine’s cultural status as immigrant Jew in France, and assessments of his psychological condition. Contextual accounts can be informative and entertaining but yield little real understanding of his work. Formalist accounts start with the works, but are unable to account for the emotional response a viewer has. Phenomenology, on the other hand, is admirably suited to an analysis of Soutine’s portraits because it encompasses the total lived experience of the works. This dissertation applies the phenomenological ideas of leading philosophers, psychologists and neuroscientists to Soutine’s portraits to provide a new insight into the way Soutine’s portraits express themselves. This proves to be more profound than any provided by the contextual and formalist accounts, and demonstrates that phenomenology is an invaluable tool for the twenty first century art historian.

The Barletta colossus is the sole large-scale statue in bronze preserved of a late antique emperor; the only comparable image is the even larger, but fragmentary, Constantinian emperor in Rome. According to local tradition, the Barletta colossus depicts the Byzantine emperor Heraclius (610-641). Modern researchers tend to regard this attribution as mere folklore and fiction. But while there is general agreement that the statue does not portray Heraclius, there is no agreement as to whom it may have been intended to portray. About a dozen different emperors have been proposed, suggested dates ranging from the fourth to the eighth century. The present article reviews the evidence and discusses the methodological problems we face when dealing with this enigmatic work.

Some portraits show Alexander the Great with his neck twisted and head tilted, mostly to the left, occasionally to the right. Similarly, Plutarch and later Sources describe Alexander as having a tilted or twisted neck. This head posture has been subject to discussion by archaeologists as well as physicians. While most archaeologists believe the posture to be a question of iconography, many physicians have put it down to a physical defect. In fact, in very recent medical publications, Alexander is still presented as suffering from torticollis, twisted neck, a diagnosis launched in the mid-nineteenth century. This study concludes that a potential physical defect is unlikely to have been depicted in the official portraits of Alexander.

The architectural typology of the gallery in Lombardy during the Spanish and Austrian ages is attested by very different examples, for decoration, structure, function, scarcely investigated except for individual cases. The reference model from the second half of the 16th century is offered by the Museum of Paolo Giovio in Borgovico di Como, of which at least three significant replicas are known in Lombardy: the series of portraits in the Pinacoteca Ambrosiana, founded at the beginning of the 17th century by the cardinal Federico Borromeo, the small “museum” of the Pavese scholar Girolamo Bossi and the great gallery of the Litta castle in Gambolò (Pavia). The latter case is the starting point for a reflection on the forms and functions of the 17th-century gallery in Lombardy, compared to other examples of spaces dedicated to collecting and with other cases of dynastic celebration always linked to the Paolo Giovio’s prototype. In 17th and 18th century the forms of Baroque celebratory rhetoric leave room in favour of scholarly recoveries or refined decorative arrangements, while at the end of the 18th century the patronage will lead to an extreme attempt at the revival of the Paolo Giovio’s Museo in an illuminist key and to a more pronounced sensibility as connoisseurs.

Osmanlı resim sanatında 16. yüzyıldan itibaren gelişen padişah portreciliği, 20. yüzyıl başına kadar sürmüş ve bu süreçte "portre ressamları" olarak tanımlanabilecek bazı sanatçılar öne çıkmıştır. Bunlar arasında Avrupalı ve levanten ressamların yanında Avrupa' da eğitim almış gayrimüslim Osmanlı sanatçıları Batı tarzı portre sanatının yayılmasında öncü olmuş, sanat piyasasını canlandırmıştır. Bu çalışmada 18. yüzyıldan 20. yüzyıl başına uzanan bir dönemde saray için padişah portreleri yapan gayrimüslim Osmanlı ressamlarına yer verilmiş ve etkinliklerinden örnekler sunulmuştur.

Monumental fountain structures, built by emperors and wealthy patrons in cities throughout the Roman Empire, have always been striking features of roman architecture. This book’s purpose was to approach some issues, such as the definition of the term fountain figure, its position and function in the monument, the selection and in some cases the interpretation of sculptural display programs.

The paper contextualises Lorck's 1562 portrait of the Ottoman Sultan in relation to the texts with which it was published, first in 1562, then in 1574 and later still in the 17th century. The portrait is also juxtaposed to texts describing the Sultan from Ogier Ghislain de Busbecq's famous Turkish Letters, a possible context for the portrait for a contemporary viewer, as Lorck and Busbecq shared the same lodgings in Constantinople for 3½ years and later appear to have shared both social circles and audience.

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.

The first part of this article examines different types of portraits in the guise of religious figures that came into existence, and sets forth the reasons why the appearance of these disguised portraits in a sacred context was held in abhorrence in early modern times. Various comments on this phenomenon by the most prominent theologians and polemecists of the sixteenth and seventeenth century (Murner, Savonarola, Erasmus, Molanus, Borromeo, Paleotti, among others) are drawn together in order to analyse the overall nature of the condemnation of portraits in the guise of holy figures. The scope of this paper is confined to the judgement of these particular portraits by ecclesiastic writers in Europe between 1500-1650, and more distinctively, to the restrictions imposed on portraits by local church authorities in the Southern Netherlands. In the second part these regulations will be connected to actual portrait conventions in Antwerp, Ghent and Bruges. Special attention is paid to the the Provincial Council of Mechlin of 1607 and subsequent synods and decrees that tried to put an end to the dipiction of private persons as part of a religious painting that served as an altarpiece.

This article explores photographic works produced by key members of the Minsk School of Photography before and after the collapse of the USSR in the 1980s and 1990s. Mostly reworking found images from the Soviet past, these artists employed the visual language of that period to disassociate themselves from Soviet practices of photographic recording. Appropriating conventions of the portrait genre, the Minsk photographers used them to create a stream of obfuscated representations in which individuals are presented devoid of their originary contexts, biographies, and, frequently, faces. Through their de-facing tactics, these photographers visualized forms of indirect postcolonial presence. Erasing subjectivity and abstracting imprints of lived experience, their vicarious photography articulates a model of dealing with history that allows presence without identity or identification.

The lost and last portrait of Edith Maryon (1872-1924), presented in the present paper, was painted by the Italian/Australian artist Ernesto Genoni (1885-1975) at Dornach in 1924. Maryon was appointed by Rudolf Steiner (1861-1925) at the Christmas Conference of the Anthroposophy Society, December 1923, as the leader of the Section for Sculptural Arts (akna Fine Art). She was an English sculptor who worked with Steiner to create the massive timber sculpture, ‘The Representative of Humanity’, now on display in the Goetheanum, the headquarters of the Anthroposophical Society, at Dornach, Switzerland. Ernesto Genoni trained at the renowned Brera Academy of Fine Art in Milan. He first met Maryon in 1920 on his first visit to Dornach. Genoni returned to Dornach at about the time of the Christmas Conference, December 1923, he successfully applied to Steiner to be in the inaugural First Class of the School of Spiritual Science. Genoni remained in Dornach for most of the year 1924. Edith Maryon died on 2 May 1924 reportedly of tuberculosis (TB). Genoni left Dornach only after Steiner withdrew from public life and retreated to his sick bed (on 28 September 1924). Genoni took the art that he had created at Dornach back to Milan, Italy, and some of it went on to Australia when he emigrated in 1926. Genoni’s portrait of Maryon has remained in the Genoni family in Milan since that time but with the subject long forgotten (or perhaps never known to the family). Genoni painted portraits of significant women in his life, including his sister Rosa and his niece Fanny (in Milan, Italy), and his partner Ileen Macpherson and his niece Anne Fiedler (in Melbourne, Australia). The portrait of this paper, is now identified as of Edith Maryon, thereby reuniting the artwork with its subject, and dating it in the last four months of Maryon’s life (January to April 1924).