Use Of Portraits Research Articles

Mahmud II e l’uso propagandistico della propria immagine. Il caso della Miniatura di Torino

"Mahmud II and the Propagandistic Use of His Own Image. The Case of the Torrino Miniature. The article, through the analysis of miniature depict Mahmud II by Luigi Gobbi, wants to demonstrate the political use by the Ottoman Sultan of his image in the form of a portrait. Assuming that the reforms promoted by Mahmud II marked a turning point in Ottoman society and that the consensus of the elites was essential for their implementation, this contribution aimed to shed light on how Mahmud II used his image to convey his reform program and achieve international consensus. Careful use of portrait combined with the formation of a modern diplomatic corps is the two points from which starts this reflection for an interpretative analysis of the Sultan’s miniature not only from a historical-artistic point of view but also of its diplomatic value. The miniature portrait thus becomes a historic testimony of the diplomatic relations between the Kingdom of Sardinia and the Ottoman Empire during Tanzimat. Keywords: Mahmud II, Luigi Gobbi, ritratto miniato, Ottoman Empire, Sardinia Kingdom "

Picturing Sympathy: Felicia Hemans’s Portraits and Portrait Poems

ABSTRACT This article situates Felicia Hemans’s portrait poems in the context of the sentimental portrait poem genre and the conditions of reception created by the literary annuals. By suggesting that all images are subject to interpretation and that all interpretations are expressions of the viewer’s desires, Hemans challenges the sentimental portrait poems’ insistence that portraits transparently reveal the minds, hearts, and souls of their subjects. In recasting the ekphrastic conflict between the verbal and visual arts, between poem and portrait, as a struggle between the woman artist and the viewer over her reception and interpretation, Hemans critiques the literary annuals’ use of author portraits to foster a sympathetic connection between authors and readers. While Hemans sought to manage her image by withholding her portraits from circulation, after her death, engravings of these portraits became widely available and were used by the similarly proliferating memoirs and biographies to represent competing versions of “Mrs. Hemans”. The posthumous use of portraits to shape Hemans’s persona has tended to overwrite both her own self-fashioning and her critique of the annuals and sentimental portrait rhetoric.

The Trans Body in Christer Strömholm’s Vännerna Från Place Blanche (1983)

This article explores Christer Strömholm’s depictions of trans women in his 1983 photobook Vännerna Från Place Blanche (Friends of Place Blanche). Specifically, it queries the inclusion of portraits that unmask his subjects’ projected trans identities in a work about friendship and solidarity with gender non-conformity. The first part of the article considers the photographer’s use of French Nouvelle Vague film stills as templates for his sixties’ era Place Blanche portraits. The photographs, provided to his subjects as gifts, depict them as movie heroines. Unlike comparable imagery produced by Parisian trans cabarets, the film still portraits do not undermine or qualify the women’s gender presentations. The second part of the article considers Strömholm’s artistic use of portraits where the women subtly or blatantly fail to “pass”. We argue that because the photographer represented himself artistically as an adventurous explorer of liminal peoples and places, and a collector of abject things, his project required that he “out” some of his subjects; otherwise, it would simply come across as unoriginal copying of cinematic still styles. The unmaskings were achieved variously, with a few full-frontal naked shots being the most direct and uncompromising.

Potret Sebagai Data Pribadi Yang Di Komersilkan

Portraitis works of copyrighted photography with human objects. Personal data is data inthe form of personal identities, codes, symbols, letters or numbers of personal identifiers.Personal data includes personal life affairs including (history) someone's communication.Whereas in concept, personal data is not merely information about domestic sphere, but alsoinformation about professional history,professional and public life because a person'spersonal affairs also intersect with the relevant public affairs (interpesonal relationships andalso facts that occur in public spaces). Legitimacy of personal rights is regulated asconstitutional rights as regulated in Article 28G paragraph (1) of the 1945 Constitution ofthe Republic of Indonesia. Portrait in which there are human beings as objects is part ofpersonal data. Portrait is part of human identity that must be protected. The use of unlicensedportraits for commercial purposes can be detrimental to portrait owners not onlyeconomically, this action injures self-identity which can cause a bad image for that person.The use of portraits as personal data without permission for commercial purposes can besubject to criminal sanctions (Copyrights Law) and civil claims (Law on ElectronicInformation and Transactions). This paper discusses how portrait settings are as commercialdata. The purpose of this writing is that the output of the purpose of this paper is as the outputof the Beginner Lecturer Research compiled by the author with the title "CopyrightProtection on Portrait Photographs in Social Media".

HAK EKONOMI DAN HAK MORAL KARYA CIPTA POTRET DI SOSIAL MEDIA

<p>Copyright is an exclusive right which contains economic rights and moral rights. Portrait is part of a protected creation. In a portrait that is distributed offline or online through social media, namely economic rights and moral rights that must be presented and adhered to by users. Copyright infragement that still occur for portraits on social media are related to violations of economic and moral rights. The use of portraits on social media without permission for commercial purposes is a form of violation of economic rights. While the form of violations of moral rights over portraits is not to include the creator or source of portraits used in social media. The regulation and protection of economic and moral rights of portraits on social media are regulated in the Copyright Law. Economic rights are stipulated in Article 12 to Article 15. Moral rights are stipulated in Article 5 to Article 7.</p>

From 2000s to the Present, Analysis of Use of Portraits in Ex-libris Design

From 2000s to the Present, Analysis of Use of Portraits in Ex-libris Design

Pedagogical portraits: re-negotiating the first year preservice teacher experience

Purpose The purpose of this paper is to investigate those teaching and learning factors that either hindered or encouraged preservice teacher participants to succeed in their first year of study. The impact of administrative support alongside pedagogical styles that facilitated a sense of engagement for first year preservice teachers is also discussed. Design/methodology/approach This research builds on the work of Sarah Lawrence-Lightfoot’s use of “portraiture” to “capture the complexity and aesthetic of human experience” (Lawrence-Lightfoot & Hoffmann Davis, 1997, p. 4). The use of portraits as a tool for creating a first year student narrative, rich in its canvas of human emotions, is central to the work that follows. Qualitative data that were gathered in this research project are presented. Findings The portraiture methodology in this paper enabled the researchers to capture a sense of belonging for first year university students that involved more than procedural matters, orientation events and attendance at information sessions. Practical implications These portraits draw wider attention to transition and retention matters beyond considerations of “who our students are” and illustrate how engagement and belonging are enhanced by how these students are engaged by skilful and knowledgeable tutors and group work and collegial approaches to the course. Originality/value Portraiture methodology enabled a more nuanced form of viewing “belonging” and “engagement” of these preservice teachers through more personalised forms of engagement with tutors, the development of groups and the practicum placement.

Portraiture and social understanding

Purpose – The purpose of this paper is to discuss the possible explanations for deficits in social understanding evident in individuals with autism spectrum disorder (ASD). A potential intervention technique is proposed that has not yet been examined in this population: viewing and drawing portraits. This portraiture-based intervention seeks to address some of the core issues set forth in each of the theories explaining impaired social functioning. Furthermore, this intervention is intended to specifically increase exposure to facial stimuli in a safe and controlled environment. Instructions about how to look closely at a social partner’s face and how to glean salient emotional information from the facial expression displayed can be developed through a focused exploration of drawing and viewing portraits. Current techniques such as eye tracking and fMRI are discussed in the context of this proposed intervention. Design/methodology/approach – This paper reviews existing research about ASD and seeks to present a new proposal for an intervention using portraiture. First the paper discusses existing interventions and reviews the current research about potential causes/areas of deficiency in individuals on the spectrum. This paper subsequently proposes a new type of intervention and discusses the reasons underpinning its potential success in the context of existing research. Findings – This was a proposed study so no empirical findings have been reported. However, observations of individuals on the spectrum engaging with artwork are discussed in this paper. Originality/value – No other research or study has been proposed in current literature relating specifically to the use of portraits (looking at and creating) to help individuals with ASD.

Visions of identity: Pictures of rabbis in Haredi (ultra-Orthodox) private homes in Israel

This article discusses the use of portraits and photographs of rabbis in the private sphere – the home – amongst the ultra-Orthodox (Haredi) scholar-society in Israel. It shows that the pictures of rabbis help to transform the home from a place that is essentially functional into a sphere that participates actively in the politics of Haredi identity. This politics plays a central role in contemporary Haredi society, both because of that society's internal diversification as a result of the relatively recent affiliation of new groups and because of the ongoing and charged interaction of parts of this society with its non-Haredi environment. The pictures of rabbis serve as visions of identity, in two senses: in their visibility, they are part of the cultural effort to signify social belonging and boundaries in a society that is boundary-challenged, both inwardly and outwardly; and in the sense of the vision that they reflect, the choice of portraits and the manner in which they are displayed connect their users to a religious, communal, and political vision that is identified with a particular rabbinical figure or set of figures.

Scenography, Portraiture, and The Rover on the 17th Century English Stage

AbstractUsing textual evidence, the author explores how contemporary notions about scenographic stage design might be applied to 17th century English theatrical practice. The scenographic use of portraits is examined in brief case studies of John Webster’s The White Devil, the second part of Thomas Heywood’s If You Know Not Me, You Know Nobody, and Aphra Behn’s The Rover. Using methodology suggested by Michael McKeon’s analysis of Behn’s Love‐Letters between a Nobleman and his Sister, the author probes some of the evident and coded meanings of the famous portrait scene in Behn’s play.

The Use of Portraits and Performance Statements of Service Providers in Marketing Communications

Previous research has found ad size, information content, and the use of color to be critical in Yellow Pages advertising. In addition, we suggest that the presence of an assurance cue and service owners’ portraits also help in enhancing ad effectiveness, and that the effectiveness of these cues varies across service types. Our findings demonstrate that the use of portraits and personal performance statements as cues of service quality are effective as compared to an ad without such cues, but the impact of each and synergistic effects on attitude toward the ad and behavioral intentions vary across service types.

A Mimetic Psyche

Apollo come dance with me examined by my interpretation and art practice. the expression of chaos and order as a creative paradigm in the (tragic) theater of ancient Greece, the (black-figure) Ancient Greek vase painting and in my painting The project includes three series of paintings as well as an interpretation that examines the mimetic, and metamorphic metaphorical expression that adheres to these three art forms. These designs include detailed methods, methodology, philosophy and psychology of visual expression of this art form. Dealing with the creative paradigm of chaos and order in the tragic drama arose from the use of portraits of me and my family to characters of the Theban plays of Sophocles portray. This illustrates my contemporary art, the individual and society with regard to the investigation of human experience in the tragic theater: the social, psychological and cognitive relationships between the characters with each other and with the external world.

The royal portrait: image and impact

This is a fresh assessment of the importance of portraiture in the image-making of monarchs from Richard II to the present day. This book covers a far wider timescale than any previous studies of the subject, and is the first to focus on royal portraiture from within the Royal Collection. Starting with the pattern-book-style royal portraits of the early kings, it covers works by Holbein, Van Dyck, Zoffany, Landseer and Freud, among many others. Each of the six chapters opens with a quotation, and is structured around specific key images which are discussed in particular detail. The final chapter investigates the new role of portraiture in the age of photography and global media coverage. The impact of the finished image within its specific intended location will be explored, alongside the use of portraits through the ages to promote the public (and private) face of the monarch. New groupings of major portraits are presented alongside little-known works to highlight the evolving role of royal portraiture, and its continuing significance today.

Screening non-coding RNAs in transcriptomes from neglected species using PORTRAIT: case study of the pathogenic fungus Paracoccidioides brasiliensis

BackgroundTranscriptome sequences provide a complement to structural genomic information and provide snapshots of an organism's transcriptional profile. Such sequences also represent an alternative method for characterizing neglected species that are not expected to undergo whole-genome sequencing. One difficulty for transcriptome sequencing of these organisms is the low quality of reads and incomplete coverage of transcripts, both of which compromise further bioinformatics analyses. Another complicating factor is the lack of known protein homologs, which frustrates searches against established protein databases. This lack of homologs may be caused by divergence from well-characterized and over-represented model organisms. Another explanation is that non-coding RNAs (ncRNAs) may be caught during sequencing. NcRNAs are RNA sequences that, unlike messenger RNAs, do not code for protein products and instead perform unique functions by folding into higher order structural conformations. There is ncRNA screening software available that is specific for transcriptome sequences, but their analyses are optimized for those transcriptomes that are well represented in protein databases, and also assume that input ESTs are full-length and high quality.ResultsWe propose an algorithm called PORTRAIT, which is suitable for ncRNA analysis of transcriptomes from poorly characterized species. Sequences are translated by software that is resistant to sequencing errors, and the predicted putative proteins, along with their source transcripts, are evaluated for coding potential by a support vector machine (SVM). Either of two SVM models may be employed: if a putative protein is found, a protein-dependent SVM model is used; if it is not found, a protein-independent SVM model is used instead. Only ab initio features are extracted, so that no homology information is needed. We illustrate the use of PORTRAIT by predicting ncRNAs from the transcriptome of the pathogenic fungus Paracoccidoides brasiliensis and five other related fungi.ConclusionPORTRAIT can be integrated into pipelines, and provides a low computational cost solution for ncRNA detection in transcriptome sequencing projects.

Helen Bömelburg, Der Arzt und sein Modell. Porträtfotografien aus der deutschen Psychiatrie 1880 bis 1933, Medizin, Gesellschaft und Geschichte, Band 30, Stuttgart, Franz Steiner, 2007, pp. 238, €38.00 (paperback 978-3-515-09069-8).

This book investigates how photographic portraits of psychiatric patients generated concepts about mental illness that were then diffused into society. Bomelburg argues that psychiatrists had a marked interest in visually portraying mental deviance. She explores how these portraits were understood and used, and what aesthetic and moral preconceptions psychiatrists brought to this imaging technology. She describes the book as “a medical, photographic, artistic, and cultural history of vision and representation” (p. 33). It draws on patient records from Hamburg, Giessen and Goppingen (chapter 3) and on pictures published in journals and textbooks (chapter 4). In chapter 5 Bomelburg considers the aesthetic and gender attributes of the portraits, before finally attempting to embed them in the traditions of other physiognomic, bourgeois and criminological forms of representation. Throughout much of the book, Bomelburg’s analysis is plagued by the albatross of psychiatrists having written virtually nothing about the photographs they used. Although Bomelburg notes this on several occasions, it does not stop her from drawing sweeping conclusions about the significance of portraits. Nor does it prevent her from extrapolating—at times recklessly—from those relatively isolated examples of practitioners who did reflect on their use of portraits (such as Hermann Oppenheim or Robert Sommer) to all psychiatrists in Germany between 1880 and 1933. Bomelburg interprets portraits as “stagings of morbid deviance” (p. 23) and as mirror-images of bourgeois values. There is certainly much truth to these claims. But they are also only part of the story, because psychiatrists also had an interest in curing their patients. Alongside the staging of deviance stood their efforts to demonstrate that many patients were cut from the same cloth as everyone else. If only to evoke empathy in the general public or to demonstrate the danger that mental illness posed to everyone, psychiatrists had no unbounded interest in staging deviance. On the contrary, the walls separating psychiatric institutions and the general populace were becoming more porous. Outpatient clinics, expanding community care, and institutional alternatives for alcoholics and “nervous” patients blurred distinctions between the institutionalized madman and “respectable” society. While at times psychiatrists had an interest in staging the otherness of patients needing their expertise, they also had an interest in staging the sameness of patients returning to productive lives. Bomelburg’s narrow perspective on portraits fails to capture these dual motives; nor does she recognize that psychiatrists may well have shied away from using portraits because they did not want to reinforce the public stereotypes that undercut their efforts to see patients reintegrated into society. In some respects, Bomelburg has tried to have her cake and eat it too. On the one hand, she sees a “fundamental contradiction” in psychiatrists publishing psychiatric portraits while simultaneously warning about the dangers of “naively reading disease from a patient’s body” (p. 106). On the other, she finds that the “proportion of patient portraits was small” (p. 109) compared to other kinds of pictures in medical journals. Indeed, it seems that publishing patient portraits was very much the exception, not the rule. Yet reading the book, one comes away with the sense that photographic portraits were enthusiastically embraced by psychiatrists as being morally salubrious and scientifically de rigueur. But in fact, portrait-photography faced resistances and critique. For example, contrary to Bomelberg’s assertions, German Lombrosians like Hans Kurella never defined a viable portrait style. If anything, Lombroso and Kurella put psychiatrists off trying to depict the complexities of madness using portraits. Furthermore, to my knowledge, no one ever claimed that portraits could supplant direct bedside observation; indeed, perhaps portraits were so little used and talked about because psychiatrists recognized them to be exceedingly poor clinical tools. By contrast, if there was a style of representation used to depict madness between 1880 and 1933, then it is far more likely to have been the microscopic photography of stained brain specimens. Compared with patient portraits, these images were immeasurably more significant in producing psychiatric knowledge, legitimating professional practice, shoring up bourgeois values and cultivating an aesthetic sense of scientific work. Because Bomelburg fails to recognize these alternatives and resistances, hers is an implausible story of portrait photography’s role and significance in psychiatric practice.

Het Laatste avondmaal, het eerst bekende schilderstuk van Karel van Mander de Jonge

AbstractA large panel of the Last Supper (fig. 1) can now be attributed to Karel van Mander the Younger (Haarlem c. 1583 – Delft 1623), after cleaning by the present owner, Douwes Fine Art in Amsterdam. The monogram at lower right (fig. 3), on the base of the pillar, has been identified as being that of the young artist and not of his father, the famous painter and writer of the Schilder-boeck, Karel van Mander the Elder. This painting is the first one by Karel van Mander the Younger to have been discovered.Although it is known that the young Karel van Mander had been trained as a painter in his father's workshop and registered at the latest in 1613 as a painter in the Delft guild of St Luke, the artist has until now only been known as a designer for tapestries. This he did from about 1604 at the workshop of François Spiering, which he left in 1615 to start his own tapestry workshop. The numerous sources on this period speak mostly of the difficult, troublemaking character of Van Mander, who's family fled to Denmark after his untimely death in 1623.The Last Supper is intriguing for its many borrowings from prints by and after artists from Karel van Mander the Elder's circle. The pose of several figures as well as some details of the tableware appear to have been derived from a large print by Jan Harmensz. Muller after a painting by Gillis Coignet (fig. 5). Three oddly large hands of figures at left, centre and right, are repetitions of hands from the Apostles series by Hendrick Goltzius of 1589, as is the upwards turned head of the apostle at upper left (figs. 6-8).Some of the figures have been identified by Elisabeth Valentiner, in her study on Karel van Mander the Elder of 1930, as portraits. Whereas one of them, at left of Christ, might indeed have been modelled after the print by Goltzius of Dirck Volckertsz. Coornhert (fig. 9), the identification of the person at lower right, left of the pillar, as Goltzius, is not convincing. The only actual portrait seems to be the more contemporary looking figure at upper right, whose reaching hand has been derived from yet another print by Jan Muller after Goltzius. Although not convincingly applicable for this painting, the use of portraits in a Last Supper was not uncommon. In the Schilder-boeck Van Mander described a, now lost, series of Christ and the Apostles with portraits of artists on which his friend Cornelis Ketel was working.Another interesting aspect of the painting is its date of 1602. This was the year that Van Mander's friend Bartholomeus Spranger, the court painter of Rudolf II, visited Amsterdam and Haarlem, where he was received by artists and rhetoricians. It is tempting to see the painting, possibly a joint project of both father and son Van Mander, as having been made in honour of this visit, as a tribute to Spranger with borrowings from prints by the two artists who engraved his designs, Hendrick Goltzius and Jan Muller. As such a large panel must have been made on commission, the Amsterdam notary and art patron Jacques Razet, a close friend of Karel van Mander the Elder, to whom the above mentioned print by Jan Harmensz. Muller was dedicated, comes to mind, also for the fact that he was known to support young artists.

Secret Portraits of Serafina: Portraiture in the Golden Age Comedia of Spain

My article explores the multiple ways in which portraits and portraiture function in two comedias, El vergonzoso en palacio by Tirso de Molina and El pintor de su deshonra by Calderón. After briefly discussing the parameters of Spain's Golden Age and offering a detailed definition of the comedia, I begin the dramatic and artistic analysis. In each comedia, one of the female protagonists is named Serqfina, and through both a textual and character analysis, I explain how each Serafina manifests her distinctive attributes throughout the drama, in addition to discussing how art is directly related to each Serqfina. In El vergonzoso, Serqfina is a strong, stubborn female who creates multiple subject positions for herself; she even cross dresses. The Serafina in El pintor, on the other hand, is a shy, subjugated female who becomes a victim of mistaken identities and of extremely unfortunate misunderstandings. I then analyse the specific instances of the use of portraits and the metatheatrical situations created by portraiture in both comedias. Portraits are secretly made of each Serafina and have a direct impact on the conclusions. Art constructs the framework of El pintor, and in El vergonzoso, art is the underpinning for the outcome of the situation. After examining the conclusions of the plays, we learn that art is the essential component that forces the action of the comedias to evolve and reach an unanticipated, shocking finale.

Secret Portraits of Serafina: Portraiture in the Golden Age Comedia of Spain

My article explores the multiple ways in which portraits and portraiture function in two comedias, El vergonzoso en palacio by Tirso de Molina and El pintor de su deshonra by Calderón. After briefly discussing the parameters of Spain's Golden Age and offering a detailed definition of the comedia, I begin the dramatic and artistic analysis. In each comedia, one of the female protagonists is named Serqfina, and through both a textual and character analysis, I explain how each Serafina manifests her distinctive attributes throughout the drama, in addition to discussing how art is directly related to each Serqfina. In El vergonzoso, Serqfina is a strong, stubborn female who creates multiple subject positions for herself; she even cross dresses. The Serafina in El pintor, on the other hand, is a shy, subjugated female who becomes a victim of mistaken identities and of extremely unfortunate misunderstandings. I then analyse the specific instances of the use of portraits and the metatheatrical situations created by portraiture in both comedias. Portraits are secretly made of each Serafina and have a direct impact on the conclusions. Art constructs the framework of El pintor, and in El vergonzoso, art is the underpinning for the outcome of the situation. After examining the conclusions of the plays, we learn that art is the essential component that forces the action of the comedias to evolve and reach an unanticipated, shocking finale.

Fashioning an Identity: A Study of Dutch and Flemish Portraits from the Agnes Etherington Art Centre

Portraiture developed as a distinct genre of art during the Renaissance in response to the growing interest in humanism. The new humanist ideal placed emphasis on individual human identity and critical thinking. This interest in the individual resulted in the growth of portraiture. During the early development of this genre, portraits were reserved for the elite and commissioned by members of the aristocracy. The high cost and perceived egotism associated with commissioning a portrait meant that it was not a popular or accessible genre of art for the general public during the Renaissance. This stagnant state of portraiture transformed with the economic growth in the Netherlands during the Seventeenth Century often referred to as the Dutch Golden Age. Dutch international trade created a period of economic prosperity during the Seventeenth Century that resulted in a rapidly expanding middle class. Through investments in trade, individuals began amassing wealth and, in turn, status. The rising middle class combined with a shift away from inherited titles and the aristocracy created a unique social position in the Netherlands whereby status was based on financial wealth and the Dutch could fabricate their own identities. My research examines the use of portraits to shape identity through the study of a selection of portraits from the Agnes Etherington Art Centre. These works can tell the viewer about the sitters’ public and or perceived private life as well as the society they belonged to through the study of their physical appearance, setting, attributes and stylistic choices.