This chapter examines the nature and artistic quality of double portraits. Double portraiture poses unexpected and interesting challenges to existing philosophical accounts of portraiture. We give an account of double portraiture as involving the representation of a significant relationship between two subjects, and an expression of its character. The account argues that a picture with two single portraits does not necessarily make a double portrait, and that a double portrait does not have to contain two single portraits. (...) We then show how this yields a rich understanding of the artistic values of the genre, and explore the surprising implications for what may be considered a double portrait. (shrink)

In an age in which anthropocentrism is increasingly under fire, the investment of the artistic tradition in that paradigm deserves particular attention. Portraiture is especially significant, as it seems to be the anthropocentric art form par excellence. It seems to reinforce key features of anthropocentrism: the distinction of the human from the nonhuman and the superiority of the former over the latter. We can pursue these questions most effectively if we distinguish descriptive (“weak”) anthropocentrism from normative (“strong”) anthropocentrism. The (...) former involves some sort of focus on humans, the latter combines this with claims about their superiority over the nonhuman. Certain works by influential portraitists, such as Pablo Picasso, Frida Kahlo, and Ana Mendieta, contest both weak and strong anthropocentrism. Other portraits seem to be involved in weak anthropocentrism, but not necessarily strong anthropocentrism. Considering the artwork of Alice Neel and the philosophy of Judith Butler, I argue that such works have an important ethical role to play in orienting us in our relationships with humans, precisely in resisting strong anthropocentrism even in expressing weak anthropocentrism. (shrink)

This paper describes a now widely forgotten tradition in the nineteenth century which - to borrow a simile used or implied by the actors themselves - may be described as 'spectroscopic portraiture'. Quite unlike the later obsession with numerical precision in wavelength measurement, and also in stark contrast to the contemporary vogue of photographic mapping which presumptuously claimed 'mechanical objectivity', that is avoidance of any human intervention in the recorded data, there was among some spectroscopists a much greater preoccupation (...) with qualitative rather than quantitative aspects. The atlases of the solar spectrum by Cornu, Thollon, and Piazzi Smyth were supposed to convey the subjectively perceived Gestalt of the Fraunhofer lines, at the expense of precision. I shall argue that this was a systematic research programme addressed to a welldefined but small audience of specialists in the new subdiscipline of spectroscopy which was distinct from other practices such as spectrum analysis, which was directed mainly at chemists. Apart from this, the new tradition can also be identified by the dense net of cross-references in the publications of the various members, and by their critique of earlier work. This tradition of spectrum portraiture started with Kirchhoff's 1861-2 high-resolution chromolithographic plates of the solar spectrum, which were printed off a half-dozen different stones in order to render most faithfully the various line intensities. Focusing especially on the tension between representational goals and technical possibilities in the rapidly developing printing industry, I then trace the emerging tradition through its apogee to the close of the nineteenth century. (shrink)

In this article, I consider ‘skin portraiture’: a mode of representation that privileges quasi-anonymous, fragmented, magnified and anatomized images of skin. I argue that this mode of representation permits a heightened awareness of embodied experiences such as reflexivity, empathy and relationality. Expanding understandings of difference through its engagement with haptic imagery and visuality, skin portraiture reorients the boundaries between ‘I’/‘not I’ and subject/object – often through touch – and challenges the cultural commitment to traditional notions of bodily autonomy. (...) By doing so, skin portraiture functions as an antagonistic form of portraiture; that is, as a kind of anti-portraiture that pushes the genre into an expanded visual field and, at times, beyond representation. Exploring the skin-as-technology metaphor, I show that bio art skin portraiture creates chimeric skins through tissue culturing practices, permitting bodies to become radically relational. Bio art skin portraits celebrate the genetic and cellular differences between bodies through a visible collapse of epidermal boundaries, which engenders a hyper-haptic mode of seeing beyond the subject and her or his skin. Analysing the bio art of Jalia Essaïdi, ORLAN and Julia Reodica, and drawing on the work of Laura Marks and Erin Manning, this article explores the skin-as-technology metaphor in order to offer the arts and humanities an innovative understanding of contemporary embodiment. (shrink)

This paper examines the complex observational techniques of British anthropologists during the nineteenth century. In particular, using Galton’s initial work with anthropometric and composite photography in the late 1870s as a case study, it argues that nineteenth-century anthropological armchair studies were extremely sophisticated and that researchers were highly attuned to the problems associated with their methodologies. These nineteenth-century practitioners were not simply anthologising the materials of others; rather they were developing specialised methods for producing their own evidence and drawing conclusions. (...) Moreover, Galton’s use of photographic processes is instructive because it highlights one of the ways in which researchers interested in human diversity attempted to add further scientific credibility to their arguments by utilising the most cutting-edge technologies available during the period. (shrink)

Photography is clearly not a mirror of daily life: that images are constructions is especially obvious in 19th-century studio portrait photography. This book explores how indigenous Iranian photographers constructed their own realities in contrast to howforeign photographers constructed Iranians' realities. Through an in-depth comparative visual analysis of 19th-century Iranian portrait photography and Persian painting, the author arrives at the insight that aesthetic preferences correlate with socio-cultural habits and practices in writing, reading and looking. Subsequently, she advocates for a place in (...) a global history of photography for those unknown, local photo histories and for the indigenous photographers who produced them. (shrink)

Richard Wagner always represented for Nietzsche the Germany of that time. By examining Nietzsche's relationship to Wagner throughout his writings, one is also examining Nietzsche's relationship to his culture of birth. I focus on the writings from the late period in order to clarify Nietzsche's view of his own project regarding German culture. I show that Nietzsche created a portrait of Wagner in which the composer was a worthy opponent-someone with whom he disagreed but viewed as an equal. Wagner was (...) such an opponent because he represented the disease of decadence which plagued the culture and from which Nietzsche suffered for a time, but of which he also cured himself. In other words, Nietzsche emphasized his overcoming and revaluation of Wagner because he wanted his readers to understand it as a metaphor for his larger battle with decadence in general. The goal of this portraiture is to demonstrate on an individual level what could be done on a cultural level to revitalize culture. Through an analysis of Nietzsche's portrait of Wagner in the late period, I will claim that in order to understand Nietzsche's revaluation of decadent values in nineteenth century German culture, one must understand his relationship with the composer. (shrink)

“To whom is the Consecration of Medal, Stature or even Pyramid more jusly due, than to … the late Illustraious Boyle? … for the happy Improvement of Otto Guericks Magdeburg Exhausterm and for his Profound and Noble Researches into all the abstruser Parts and Recesses of the most useful Philosophy … I have named the Illustrious Boyle, and fix his Trophy here.”John Evelyn, Numismata, 1697.

This arts- based project creatively introduces residents to photography, self-portraiture and narratives to document the longitudinal journey of becoming a family physician. Visual arts and writing can foster reflection: an important skill to cultivate in developing physicians. Unfortunately, arts based programs are lacking in many residency programs. Tools and venues that nourish physician well being and resilience may be important in today’s changing healthcare environment and epidemic of physician burnout. Residents created self-portraits with accompanying narratives throughout their three-year training. (...) Analysis of the portraits and accompanying narratives completed the assessment. Residents created a body of work that includes 182 creative and deeply personal portraits and narratives. The five most frequent themes of portraits included “Residency is Difficult,” “Hobbies,” “Family,” “Growing as a Doctor,” and “Coping Mechanisms.” Self-portrait photography and reflection gives insight into the journey of becoming a family medicine physician at a deeply personal and professional level. Further partnerships between residency programs and the arts should be explored to promote reflection. (shrink)

This article explores the compatibility of posing and authenticity in portraiture. Often understood as a source of inauthenticity, I propose that posing in fact functions as an artistic tool that can support a truthful portrayal. My argument first discusses authenticity in relation to portraiture through the lens of Bernard Williams’s idea of “truthfulness,” which relies on his notions of “accuracy” and “sincerity.” Second, I introduce a phenomenology of posing. I identify two aspects of posing that can be present (...) in the portrait; these are the “posing sitter,” who holds the actual physical pose, but also point out the use of a “posing effect” in the image, which I call the “posed sitter.” Third, I address the worry of posing as a source of inauthenticity and demonstrate how this can be reframed in order to lay bare its capacity for enhancing truthfulness. The pose then need not be regarded with suspicion of artifice that clouds the authenticity of the sitter; instead, it can offer an approach to truthfully portray the sitter. (shrink)

La comparaison des portraits à l’huile réalisés par Romaine Brooks dans les années 20 et les photographies de Claude Cahun et sa partenaire Marcel Moore de la même époque rend visible les positions idéologiques conflictuelles que ces women of vision défendirent dans les milieux artistique et politique où les débats sur la femme moderne se sont élaborés.

Photographers John Shimon and Julie Lindemann use antique cameras, modern lens technology, artificial light, and contemporary pop culture to create portraits of the people in their native state amidst backyards, living rooms, parking lots, and the landscape of Wisconsin. These recent photographs are juxtaposed with portraits from the Milwaukee Art Museum’s permanent collections, including daguerreotype portraits, ambrotypes, and tintypes of anonymous people taken by nineteenth-century photographers, as well with photographs by such well-known artists as Alfred Stieglitz, Sally Mann, Larry Clark, (...) Walker Evans, Nan Goldin, Eugene von Beuenchenhein, and Francis Ford. The pairings of new and old illustrate the legacy of portraiture and the significance of “posing” before the lens, and each image is enriched by its proximity to another, unmasking sitter, photographer, and viewer. Unmasked & Anonymous: Shimon & Lindemann Consider Portraiture includes more than sixty color and black-and-white photographs plus essays by Shimon, Lindemann, and Milwaukee Art Museum curator Lisa Hostetler. (shrink)

This article examines photographic self-portraiture and investigates what happens when the genre’s proximity to conceptual borders – between the centre and the margins, self and other, normal and deviant behaviour, consciousness and unconsciousness – are crossed. Drawing on psychoanalytic and semiotic theories, and the history of the self-portrait, this article investigates the negativity ascribed to self-portraiture, its association with identity politics and social media, and problems of reference arising in contemporary artworks. The article starts out from the premise (...) that the objectification of one’s body image is inherently linked to narcissism. This idea is useful for understanding the meaning of the photo-album/photo-diary, the therapeutic aspects of self-portraiture, and the rhetoric applied to images produced to bring visibility to marginalized and under-represented groups, which also serve to challenge the art establishment. However, the prioritization of art as a context for photography, the popularity of the genre, and the changing ideas related to definitions of ‘the centre’ in these contexts, demand that the conceptual character of the representation of selfhoods be redefined. (shrink)

Anthony van Dyck’s period of service to the Stuart court stretches from 1632, when he was appointed “principalle Paynter in ordinary to their Majesties” and knighted, to his death at the end of 1641. After an earlier visit of a few months, beginning in December 160, van Dyck had gone to Italy to improve himself; there he had defected from the service of James I. On his return to England this was forgiven, and in the early years he was mainly (...) employed in making portraits of the royal family and household. Later he was again absent from England, spending an entire year beginning in July 1634 back in Antwerp. During the last six years van Dyck spent in England, his clientele widened further; it is chiefly the portraits of this latter period that I will consider here.These portraits have been approached and evaluated in two basic ways. First of all, they have been taken to demonstrate the adaptation of van Dyck’s preexisting skills, especially his command of the “grand style,” to the requirements of a court and aristocracy which prized grace and elegance as hallmarks of breeding and quality, and which at the same time welcomed the trappings of grandeur and the subtleties of variation, in costume, post, and gesture, that the artist could build into his presentation for their predilection.1 Second, where critical considerations have come up, these paintings have been evaluated in terms of whether the adoption of mannered and decorative traits now betokens a decline from the artist’s previous work, or whether it represents rather a different kind of achievement which gave rise, at its best, to equally outstanding successes in conveying refined and subtly enhanced distinction.2But both these approaches agree in finding no intellectual content in the works in question, either of van Dyck’s own devising or based on interests and concerns in which his subjects partook. This absence of implication to the portraits is seem as fitting with thea rtist’s tendency to make creative decisions on an ad hoc basis, as evidenced by his preference for rapidly made drawings from the life over the use of oil sketches and by the pentimenti that his finished works reveal.3 It is also seen as fitting with the whole pattern—cultural as well as social and economic—of his relationship to the Stuart aristocrazy, for which these images were fashioned. 1. See esp. Ellis Water house, Painting in Britain, 1530-1790 , pp. 49-50 ; and cf. more recently Christopher Brown, Van Dyck .2. See, for example, Erik Larsen, intro. to L’opera completa di Van Dyck 1626-1641 , p. 8 and Oliver Millar, intro. to exhibition catalog Van Dyck in England , p. 27 and esp. p. 31 .3. See Millar, Van Dyck in England, p. 31, citing the miniaturist Richard Gibson on the “Sketches made from the life,” mainly lost, and cat. no. 12, on the pentimenti found in the 1633 Charles I on Horseback. Mark Roskill is professor of the history of modern art at the University of Massachusetts at Amherst. His most recent book is The Interpretation of Cubism . Previous contributions to Critical Inquiry include “On the Recognition and Identification of Objects in Paintings” and “A Reply to John Reichert and Stanley Fish”. (shrink)

This article considers the relationship between subjectivity and representational form. More specifically, it discusses the transformation in self-representation between life and death by the artist Roger de la Fresnaye, reflecting his modernist articulations of life to pre-modern, classicist figurations of death. For the artist, modernity could not bear the demands that dying made upon representation, as unable to fully accord death a sign. Modernity's dissolution of the subject annihilated the very permanence of identity and presence that death guaranteed, but without (...) its covenant of ritual and history. Instead, classicism provided a coherent anterior body, another face from which he could speak after death: ?one? would always be present to speak for him. The face therefore addresses culture through its specific appeal to, and demand of, time, space, and history. (shrink)

This article considers the relationship between subjectivity and representational form. More specifically, it discusses the transformation in self-representation between life and death by the artist Roger de la Fresnaye, reflecting his modernist articulations of life to pre-modern, classicist figurations of death. For the artist, modernity could not bear the demands that dying made upon representation, as unable to fully accord death a sign. Modernity's dissolution of the subject annihilated the very permanence of identity and presence that death guaranteed, but without (...) its covenant of ritual and history. Instead, classicism provided a coherent anterior body, another face from which he could speak after death: “one” would always be present to speak for him. The face therefore addresses culture through its specific appeal to, and demand of, time, space, and history. (shrink)

In 1661, Samuel pepys arranged for his portrait to be painted for the first time. In his diary pepys refers to the painter only as ‘Mr Savill’. Using a range of archival sources, this Note conclusively identifies him as Daniel Savile, a successful City of London artist whose career has not previously been recognised. Savile catered to those men and women who could not afford the services of a ‘great’ painter such as peter Lely or Samuel Cooper. Savile’s interactions with (...) pepys offer insights into the pleasures and challenges of portrait commissioning in the Restoration. The records of Savile’s business also reveal that that he was responsible for training a significant proportion of the young women apprenticed to the painter-Stainers’ Company—an area of female employment about which little is known. The evidence about Savile’s studio allows us to deduce the potential benefits of such apprenticeship arrangements for the young women, for their employers, and for sitters. Together pepys’s diary and the records of Savile’s life illuminate the ways that painters and sitters from the middling sort negotiated the artistic culture of seventeenth-century London. (shrink)