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Portraits, Painters, and Publics in Provincial England 1540-1640
In this, the first comprehensive study of post-Reformation provincial English portraiture, Robert Tittler investigates the growing affinity for secular portraiture in Tudor and early Stuart England, a cultural and social phenomenon which can be said to have produced a 'public' for that genre. He breaks new ground in placing portrait patronage and production in this era in the broad social and cultural context of post-Reformation England, and in distinguishing between native English provincial portraiture, which was often highly vernacular, and foreign-influenced portraiture of the court and metropolis, which tended towards the formal and 'polite'. Tittler describes the burgeoning public for ...
Portrait Painting Atelier
The art of portraiture approached its apex during the sixteenth century in Europe with the discovery of oil painting when the old masters developed and refined techniques that remain unsurpassed to this day. The ascendance of nonrepresentational art in the middle of the twentieth century displaced these venerable skills, especially in academic art circles. Fortunately for aspiring artists today who wish to learn the methods that allowed the Old Masters to achieve the luminous color and subtle tonalities so characteristic of their work, this knowledge has been preserved in hundreds of small traditional painting ateliers that persevered in the old ways in this country and throughout the world....
Historical Portraits
Historical Portraits: Some Notes on the Painted Portraits of Celebrated Characters of England, Scotland, and Ireland is an excellent volume on art history, and more specifically portraiture. It is the work of English author and editor Henry Benjamin Wheatley containing reproductions and detailed entries on more than one hundred English, Irish, and Scottish portraits In Historical Portraits Wheatley remarks in his opening that the painting of portraits was one of the most widespread artistic endeavors in English history. The purpose of the book is thus to create a general catalogue of these works. The book is divided into chapters, each of which details a different segment of painted portrait...
The Self-Portrait
“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...
Citizen Portrait
For much of early modern history, the opportunity to be immortalized in a portrait was explicitly tied to social class: only landed elite and royalty had the money and power to commission such an endeavor. But in the second half of the 16th century, access began to widen to the urban middle class, including merchants, lawyers, physicians, clergy, writers, and musicians. As portraiture proliferated in English cities and towns, the middle class gained social visibility--not just for themselves as individuals, but for their entire class or industry. In Citizen Portrait, Tarnya Cooper examines the patronage and production of portraits in Tudor and Jacobean England, focusing on the motivations of those who chose to be painted and the impact of the resulting images. Highlighting the opposing, yet common, themes of piety and self-promotion, Cooper has revealed a fresh area of interest for scholars of early modern British art. Published for the Paul Mellon Centre for Studies in British Art
The Best of Portrait Painting
If the artists in this book have one thing in common, it is their ability to capture the elusive human spirit with their respective mediums - oil, watercolor, pastel, colored pencil, gouache and acrylic. By their example, you'll discover ways to: convey personality with expression or attitude, enhance your subject with color, communicate a certain mood or emotion, portray meaning with symbolism, use light to define your subject, describe your subject with a pose or gesture, tell a story with setting or props, and "set the stage" with design and composition. You'll also get insight on using photos, working from life, composing a multiple subject portrait and more.
