The Self Portrait

Self-portraits have the power to illuminate a range of universal concerns, from identity, purpose, and authenticity, to frailty, futility, and mortality.In this new volume in the Art Essentials series, author Natalie Rudd expertly casts ...

The Self Portrait

A lively and accessible introduction to self- portraiture, reflecting on the work of over sixty artists from the Renaissance to the present day.

A Corpus of Rembrandt Paintings IV

Nowhere in the art history have all Rembrandt’s self portraits been discussed in such detailed and comparative manner by an authority such as Ernst van de Wetering. This is a standard work for decades to come.

A Corpus of Rembrandt Paintings IV

Volume IV of A Corpus of Rembrandt Paintings deals uniquely with the self-portraits of Rembrandt. In a clearly written explanatory style the head of the Rembrandt Research Project and Editor of this Volume, Ernst van de Wetering, discusses the full body of work of paintings and etchings portraying Rembrandt. He sets the different parameters for accepting or rejecting a Rembrandt self-portrait as such, whilst also discussing the exact working environment of Rembrandt and his apprentices. This workshop setting created a surroundings where apprentices could be involved in working on Rembrandt paintings making it more difficult to determine the hand of the master. Van de Wetering, who is one of the Rembrandt experts of our day and age, goes down to great detail to explain how the different self-portraits are made and what techniques Rembrandt uses, also giving an overview of which paintings are to be attributed to the Dutch Master and which not. In the additional catalogue the self-portraits are examined in detail. In clear and accessible explanatory text the different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging like X-radiography. This work of art history and art research should be part of every serious art historical institute, university or museum. Nowhere in the art history have all Rembrandt’s self portraits been discussed in such detailed and comparative manner by an authority such as Ernst van de Wetering. This is a standard work for decades to come.

The Self Portrait

Exhibition "The Self-Portrait: a Modern View" organised by Artsite Gallery, Bath International Festival, 1987.

The Self Portrait

Exhibition "The Self-Portrait: a Modern View" organised by Artsite Gallery, Bath International Festival, 1987.

Self Portrait

This text celebrates the lives of artists and their unique perspective on themselves and their work. An impressive array of self-portraits is presented in this major survey of the genre from the fifteenth century to the present day.

Self Portrait

This text celebrates the lives of artists and their unique perspective on themselves and their work. An impressive array of self-portraits is presented in this major survey of the genre from the fifteenth century to the present day.

From the Perspective of the Self

Brush's critical study of the Essays examines the complex process of writing a self-portrait, showing the ways in which it is an entirely different enterprise from writing autobiography.

From the Perspective of the Self

Brush's critical study of the Essays examines the complex process of writing a self-portrait, showing the ways in which it is an entirely different enterprise from writing autobiography. The author discusses how Montaigne revealed his "mind in motion," and the most remarkable feature of that mind, skepticism. He treats Montaigne's development of a conversational voice and explicates how Montaigne's intense self-examination became an evolutionary process which had consequences in his life and literature.

The Moment of Self Portraiture in German Renaissance Art

After a thorough examination of Durer's startlingly new self-portraits, the author turns to the work of Baldung, Durer's most gifted pupil, and demonstrates how the apprentice willfully disfigured Durer's vision.

The Moment of Self Portraiture in German Renaissance Art

So foundational is this invention to modern aesthetics, Koerner argues, that interpreting it takes us to the limits of traditional art-historical method. Self-portraiture becomes legible less through a history leading up to it, or through a sum of contexts that occasion it, than through its historical sight-line to the present. After a thorough examination of Durer's startlingly new self-portraits, the author turns to the work of Baldung, Durer's most gifted pupil, and demonstrates how the apprentice willfully disfigured Durer's vision. Baldung replaced the master's self-portraits with some of the most obscene and bizarre pictures in the history of art. In images of nude witches, animated cadavers, and copulating horses, Baldung portrays the debased self of the viewer as the true subject of art. The Moment of Self-Portraiture thus unfolds as passages from teacher to student, artist to viewer, reception, all within a culture that at once deified and abhorred originality.

Self Portrait

"Explores how artists use colors, textures, and expression to communicate something about themselves. Includes project ideas for kids to make their own self-portraits using various techniques"--Provided by publisher.

Self Portrait

"Explores how artists use colors, textures, and expression to communicate something about themselves. Includes project ideas for kids to make their own self-portraits using various techniques"--Provided by publisher.

Portraits of the Artist

With nearly two hundred images, this volume covers the development of the self-portrait from Filippo Lippi, Raphael, Rubens, and Hogarth to Gauguin, Mondrian, Van Gogh, and Man Ray

Portraits of the Artist

With nearly two hundred images, this volume covers the development of the self-portrait from Filippo Lippi, Raphael, Rubens, and Hogarth to Gauguin, Mondrian, Van Gogh, and Man Ray

Artists Self portraits

In this text, Omar Calabrese, who is a distinguished art historian and linguist, offers an analysis of a fascinating genre - the self-portrait.

Artists  Self portraits

In this text, Omar Calabrese, who is a distinguished art historian and linguist, offers an analysis of a fascinating genre - the self-portrait. He reveals that a self-portrait is far more complex than a mere likeness of an artist. The author explains how the genre evolved over the centuries from early examples in antiquity through its flowering in the Renaissance to modern interpretations.

Auto Focus

Photography writer and curator Susan Bright provides a clear guide through this significant and dynamic genre, showing how issues of identity--whether national, sexual, racial, personal, or artistic--are key to understanding the work of ...

Auto Focus

Auto Focusfeatures a dazzling array of self-portraits by seventy-five of the world's foremost contemporary photographers. Photography writer and curator Susan Bright provides a clear guide through this significant and dynamic genre, showing how issues of identity—whether national, sexual, racial, personal, or artistic—are key to understanding the work of many of today's leading photographers. This lavishly illustrated, accessible survey is organized into five thematic chapters: diaristic and autobiographical images; pictures of the body; the use of masks and masquerade; the return to studio portraiture and the photographic album; and performance, both public and private. An informative illustrated introduction explains the history of the photographic self-portrait from the 1840s to the late twentieth century, providing an invaluable context for the recent surge in artists' images of themselves. From intimate images of introspection and those that consciously challenge notions of ethnicity and sexuality to dramatic, stylized photographs of dreamlike scenarios, Auto Focus shows how one of the longest-established artistic genres continues to fascinate artists today.

Poetics of the Literary Self Portrait

trayal, more or less comfortably, takes place. The negative example of the
Shereshevsky case, though very revealing in other respects, proves in fact that
even a hypertrophied individual local memory does not suffice to produce a self-
portrait.

Poetics of the Literary Self Portrait

Investigates the literary self-portrait genre. From St Augustine to Montaigne, and from Nietzsche to Barthes, individual self-portraits are analyzed along with the cultural matrix from which self-portrayal derives its non-narrative structure, and many of its recurrent topics.

Self Portrait Vincent Van Gogh 1889

The compulsive, restless allover ornament of the background, recalling the work of mental patients, is for some physicians an evidence that the painting was done in a psychotic state.

Self Portrait  Vincent Van Gogh  1889

Decorative Notebooks for People who Love Art MULTIPURPOSE: Blank journal notebook for sketching, jotting down thoughts, doodling, and taking notes COVER DESIGN: A bold and beautiful reproduction of "Self Portrait" by Van Gogh (1889) QUALITY: Non-glossy cover, so fingerprints and light glare won't be a problem. Premium quality paper provides an enjoyable writing experience. SIZE: 6 x 9 inches - 100 pages - Easy to Carry About the Cover: This, the last of Van Gogh's self-portraits and one of the greatest, was painted only months before his death. The compulsive, restless allover ornament of the background, recalling the work of mental patients, is for some physicians an evidence that the painting was done in a psychotic state. But the self-image of the painter shows a masterly control and power of observation, a mind perfectly capable of integrating the elements of its chosen activity. The background reminds us of the rhythms of The Starry Night, which the portrait resembles also in the dominating bluish tone of the work. The flowing, pulsing forms of the background, schemata of sustained excitement, are not just ornament, although related to the undulant forms of the decorative art of the 1890s; they are unconfined by a fixed rhythm or pattern and are a means of intensity, rather, an overflow of the artist's feelings onto his surroundings. Beside the powerful modeling of the head and bust, so compact and weighty, the wall pattern appears a pale, shallow ornament. Yet the same rhythms occur in the figure and even in the head, which are painted in similar close-packed, coiling, and wavy lines. As we shift our attention from the man to his surroundings and back gain, the analogies are multiplied; the nodal points, or centers, in the background ornament begin to resemble more the eyes and ear and buttons of the figure. Self portrait is a motif that Van Gogh always returns to, as artists have always returned to their beloved themes - Monet his The Waterlily Pond, Cezanne his Mont Sainte-Victoire. During his lifetime, Van Gogh created more than 30 self portraits.

The Selfie Phenomenon

This is a qualitative research project exploring the role of the selfie as a form of cultural expression in the twenty-first century and uncovering the meaningful connections students may discover between selfies and traditional self ...

The Selfie Phenomenon

This is a qualitative research project exploring the role of the selfie as a form of cultural expression in the twenty-first century and uncovering the meaningful connections students may discover between selfies and traditional self-portraits, whether modern or historic. Reflections through books, articles, and blogs will be explored. Topics such as the effects of social media on student identity and interactions, purposes of the selfie in youth culture, and current topics and trends of selfie-taking will be examined. A photography curriculum overview is included to facilitate this theme.

Size of Facial Self portrait Correlating with Self esteem in College Students

The purpose of this study was to determine if there was a positive correlation between the total area size of a facial self-portrait and self-esteem among college students.

Size of Facial Self portrait Correlating with Self esteem in College Students

The purpose of this study was to determine if there was a positive correlation between the total area size of a facial self-portrait and self-esteem among college students. Participants (N=30) were asked to complete the Rosenberg Self-Esteem Scale (RSES) and to create a self-portrait of themselves from the neck up. Results from this study showed that there was no significant correlation between the self-portrait size and self-esteem levels. Though the results were not significant, art therapists should continue to explore the concept of utilizing facial self-portraits for assessment purposes with other ages and populations.

Mirror Mirror

"Mirror Mirror explores the history and function of the self-portrait in the work of forty women artists, from the seventeenth century to the present day.

Mirror  Mirror

"Mirror Mirror explores the history and function of the self-portrait in the work of forty women artists, from the seventeenth century to the present day. It covers works in all media, from oil painting to photography, from woodcut to ceramic sculpture, and includes self-portraits from such major artists as Mary Beale, Gwen John and Dame Barbara Hepworth; as well as lesser-known figures such as the Zinkeisen sisters, Madame Yevonde and Lee Miller. There are also portraits by women artists known primarily for their work in other media - including the self-portrait relief by Susie Cooper." "The works themselves appear chronologically, and include full biographical details of the artists. They are supported by essays from two leading art historians in this academic field: Whitney Chadwick, who discusses ideas of style and technique, including the artists' exploration of their own identity, and Frances Borzello, who presents the historical background and artistic context to the illustrated works."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

The Self Portrait

'There is never a dull passage in this book: the detail is crisply imparted; the content richly arcane at times, but more usually profoundly human; the ideas come freshly coined.' - The Guardian

The Self Portrait

In this highly illustrated survey, art historian and critic James Hall brilliantly maps the history of self-portraiture, from the earliest myths of Narcissus to the prolific self-image-making of contemporary artists. This intelligent and vivid account shows how artists' depictions of themselves have been part of a continuing tradition that reaches back for centuries. It reveals the importance of the medieval 'mirror craze'; the explosion of the genre during the Renaissance; the confessional self-portraits of Titian and Michelangelo; the role of biography for serial self-portraitists such as Courbet and van Gogh; themes of sex and genius in works by Munch, Bonnard and Modersohn-Becker; and the latest developments of the genre in the era of globalization. 'There is never a dull passage in this book: the detail is crisply imparted; the content richly arcane at times, but more usually profoundly human; the ideas come freshly coined.' - The Guardian

From Self Portrait to Selfie

In the age of the selfie, this book traces self-portraiture in film and video from the Western tradition in painting and literature into present-day digital media.

From Self Portrait to Selfie

In the age of the selfie, this book traces self-portraiture in film and video from the Western tradition in painting and literature into present-day digital media. The essays assess the significance of the self-portrait in the moving image and new media by exploring a varied and international body of works.

Anne Sexton

A selection from the thousands of letters written by the late poet reveals the inner and outer affects of her life, the reality of her battles with mental illness, and her career as a successful poet. Reprint.

Anne Sexton

A selection from the thousands of letters written by the late poet reveals the inner and outer affects of her life, the reality of her battles with mental illness, and her career as a successful poet. Reprint.

The Self Portrait A Cultural History

Comprehensive and beautifully illustrated, the book features the work of a wide range of artists including Alberti, Caravaggio, Dürer, Emin, Gauguin, Giotto, Goya, Kahlo, Koons, Magritte, Mantegna, Picasso, Raphael, Rembrandt, and Warhol.

The Self Portrait  A Cultural History

“Hall provides a lively cultural interpretation of the genre from the Middle Ages to today. . . . Rather than provide a series of ‘greatest hits,’ he is more concerned with the reasons why artists create self-portraits.” —The Weekly Standard The self-portrait may be the visual genre most identified with our confessional era, but modern artists are far from the first to have explored its power and potential. In this broad cultural survey of the genre, art historian and critic James Hall brilliantly maps the history of self-portraiture, from the earliest myths of Narcissus and the Christian tradition of “bearing witness” to the prolific self-image-making of today’s contemporary artists. Hall’s intelligent and vivid account shows how artists’ depictions of themselves have been part of a continuing tradition that reaches back centuries. Along the way he reveals the importance of the medieval mirror craze; the explosion of the genre during the Renaissance; the confessional self-portraits of Titian and Michelangelo; the biographical role of serial self-portraits by artists such as Courbet and van Gogh; themes of sex and genius in works by Munch, Bonnard, and Modersohn-Becker; and the latest developments of the genre in the era of globalization. Comprehensive and beautifully illustrated, the book features the work of a wide range of artists including Alberti, Caravaggio, Dürer, Emin, Gauguin, Giotto, Goya, Kahlo, Koons, Magritte, Mantegna, Picasso, Raphael, Rembrandt, and Warhol.

Stories and Portraits of the Self

This volume is intended to cover such an historical, social and intellectual ground, where self-representation comes to the fore.

Stories and Portraits of the Self

In contemporary societies privatization has long ceased to be just an economic concept; rather, it must increasingly be made to refer to the ongoing shrinking of the public space under the impact of the representation of individual lives and images, which cuts across all discourses, genres and media to become one of the primary means of production of culture. This volume is intended to cover such an historical, social and intellectual ground, where self-representation comes to the fore. Targeting mostly an academic readership but certainly also of interest to the general educated public, it collects a wide range of essays dealing with diverse modes of life writing and portraying from a variety of perspectives and focusing on different historical periods and media. It thus offers itself as a major contribution to a better understanding of the world we live in: its past legacy and present configuration.ContentsIntroduction: Signposts of the Self in Modernity Part I. The Representational Dilemma Christopher PRENDERGAST: The Self as a Work of Art: Proust's ScepticismPaulo DE MEDEIROS: (Re-)Constructing, (Re-)Membering Postcolonial Selves Aleksandra PODSIADLIK: `Doing Identity? in Fiction: Identity Construction as a Dialogue between Individuals and Cultural Narratives Clara ROWLAND: Self-Representation and Temporality: `Parabasis? in Guimar'es Rosa's Grande Sert'o: Veredas Daniel ROVERS: New Man: Marie Kessels? Inner Portrait of a Writing Self Gaston FRANSSEN: Good Intentions, Ethical Commitment, and Impersonal Poetry:The Work of Gerrit Kouwenaar Jan RUPP: `For-Getting? Plural Selves: Narrative and Identity in Caryl Phillips's A Distant Shore Lars BERNAERTS: The Straitjacket of Normality. The Interaction with the Psychiatrist in Maurits Dekker's Waarom ik niet krankzinnig benLars DALUM GRANILD: The Self's Struggle for Recognition: August Strindberg and the Other Marinela FREITAS: Unshaded Shadows: Performances of Gender in Emily Dickinson and Luiza Neto Jorge Part II. Signalling Identity Peter BROOKS: The Identity Paradigm Roland GREENE: The Global I Davy VAN OERS: Staining the Past with Ink in Lorenzo Da Ponte's Memorie (1830): The Fallacies of Autobiographical `Writing? Eli PARK SORENSEN: Between Autobiography and Fiction: Narrating the Self in Gabriel Garcia Marquez's Vivir para contarla Mirjam TRUWANT: The Passion of Lena Christ: From Fictionalized Autobiography to Biographical Novel Ricardo GIL SOEIRO: Dreams in the Mirror: George Steiner by George Steiner Part III. Images of the Self Across the Arts Timothy MATHEWS: Reading W. G. Sebald with Alberto Giacometti Paula MOR?O: The Impossible Self-Portrait Anna Viola SBORGI: Between Literature and the Visual Arts: Portraits of the Self in William Carlos Williams, Marianne Moore, and Fernando Pessoa Jakob STOUGAARD-NIELSEN: Photography and Shadow-Writing: Henry James's Revisions of the Self in the New York Edition Patrick VAN ROSSEM: Consumed by the Audience. Inhibition, Fear, and Anxiety in the Oeuvre of Bruce Nauman Anke BROUWERS: There Was Something about Mary: Mary Pickford's Perfect `Little American? Verena-Susanna NUNGESSER: Paint it Red: Death Artistry as a Portrait of the Self