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BLURRED BOUNDARIES: FRANCIS BACON’S PORTRAITS

100%
Lelik T. A.
World Literature Studies
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2019
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vol. 11
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issue 4
84 – 96
EN
In his oeuvre Francis Bacon hints at the fact that portraiture sacrifices the subject for the sake of representation. For this reason, portraiture as a genre needs to re-determine the conditions that originally shaped it. Through an analysis of the manner in which Bacon depicts his subjects I will argue that his portraits blur the boundaries between object and subject, portrait and viewer, in order to remodel conventional notions of portraiture. Through Gilles Deleuze’ s theory on Francis Bacon, I will reinterpret Bacon ’s works through the prism of Buddhism, arguing that understanding the works through Buddhist practices opens the possibility of a complete transformation of pre-existing concepts which traditionally shaped portrait making.
2

Kā tapa izstāde. Portreta spoguļattēls

100%
Gerharde-Upeniece G.
Makslas Vesture un Teorija
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2019
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vol. 23
66-71
EN
The lavishly illustrated article presents a major event in the program of Latvia's 100th anniversary celebrations from the viewpoint of organisers. The exhibition The Portrait in Latvia. 20th Century Facial Expressions took place simultaneously in three venues, comprising all kinds of visual arts and a broad spectrum of stylistic trends.
3
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DEO & PATRIAE: PORTRAITS OF BISHOP-CHANCELLORS OF THE POLISH-LITHUANIAN 'RESPUBLICA' FROM THE 17TH AND 18TH CENTURIES

100%
Pokora J.
Biuletyn Historii Sztuki
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2005
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vol. 67
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issue 3-4
223-238
EN
The author's objective is to draw attention to the iconography of these offices, until now largely overlooked, by selecting a group of portraits dating from the 17th century. At the moment these works arose only two of their subjects would have still been in office, but in almost each case the official insignia was placed on the portrait. The author endeavours to explain this phenomenon, indicating that the bishops were depicted according to a convention typical of representative portraiture. The duality of functions performed by such figures, state and clerical, was glorified in their coat-of-arms, in spite of the fact that a law of 1650 forbad any bearer of the status of Chancellor also being a member of the Catholic clergy. In conclusion, the author states full consideration is possible of the subject 'bishop as chancellor' by focusing on two fields of research: one general and the other specific in relation to administering the Polish-Lithuanian Respublica, but as a result of the current state of studies it is difficult to establish whether the dating of portraits based on the seal of office depicted is actually correct.
4
Content available remote

A PORTRAIT CONCEIVED IN ACCORDANCE WITH THE PRINCIPLES OF REBUS? HENRYK LUBOMIRSKI AS THE GENIUS OF FAME, BY ELISABETH VIGÉE LEBRUN (1789)

100%
Pokora J.
Biuletyn Historii Sztuki
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2007
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vol. 69
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issue 1-2
37-56
EN
Brought up by a blood relation of princess Izabella Lubomirska of the Czartoryskis, prince Henryk Lubomirski (1777-1850) was apparently renowned among the aristocracy of Europe for his good looks; hence the portraits by, amongst others, Angelica Kauffmann and Antonio Canova's celebrated sculpture, depicting the youth most typically as Amour naked. Elisabeth Vigée-Lebrun portrayed the boy three times. The subject of this article is the portrait defined by the artiste as 'Le petit prince Lubomirski, en amour de la Gloire'. It is claimed that a replica of the portrait gave rise to the painting known as 'La Génie de l'Empereur Alexandre I' (housed in the Hermitage). The standard interpretation found in previous publications on the subject is categorically rejected that he (Lubomirski) is 'the genius of fame' (Fama). The key to solving the question lies in the way Vigée-Lebrun defined the work, bearing in mind that the personifications depicted thus far have been misinterpreted. Reference is additionally made to portraits bearing titles that were riddles of the names of those depicted, one of Henryk Lubomirski actually being attributed by the article's author to Izabella Czartoryska.
5

A PORTRAIT OF THE ARTIST AS A YOUNG WOMAN: EVA MARGARETHE BORCHERT-SCHWEINFURTH IN THE ART LIFE OF RIGA IN THE EARLY 20TH CENTURY (Makslinieces portrets jauniba: Eva Margarete Borherte-Sveinfurte Rigas makslas dzive 20. gs. sakuma)

88%
Abele K.
Materiali Latvijas makslas vesturei
|
2004
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vol. 4
105-121
EN
Although Eva Margarethe Borchert-Schweinfurth (1878-1964) has been repeatedly praised as the most interesting figure in the whole early-century Baltic German art of Latvia and Estonia, her reputation of the first lady in Riga art life by the World War I so far has not been based on detailed biographical investigations. To the deepest regret of the present-day State Museum of Art, Borchert-Schweinfurth's daring artistic statements, including her 1908 life-size self-portrait with a palette, are destroyed. With very few minor exceptions, it is exclusiveely from black-and-white reproductions of the Baltic Art Yearbook ('Jahrbuch fur bildende Kunst in den Ostseeprovinzen') that we now can learn something of this lost chapter in the local art history. Still a lot of press reviews, archive materials and other sources allow to reconstruct the artist's early career in a great detail, making this intriguing figure more real. Eva Margarethe Schweinfurth was the twelfth child of a wealthy Riga wine merchant, and her initial progress was similar to that of many other women artists of her class: Elise Jung-Stilling's Art School in Riga, drawing instructor's certificate from the St. Petersburg Imperial Academy of Art and several inspiring study years abroad, in Paris (1898, 1900 or 1901) and Munich (1901). Beside portraits, nudes, landscapes and interiors in oil, pastel, watercolour, various drawing materials and printing techniques, her first exhibitions included fantastic compositions suggesting a possible further development toward the fairy-land Symbolism of her future husband Bernhard Borchert's (1863-1945) work. In 1902 they married, and Eva Margarethe soon found her own true vocation in portraiture. Contemporary opinions about her mostly large-scale pastels and oil paintings of stately women images ranged from sheer admiration to resentment and rage. In about 1905-1910 Borchert-Schweinfurth visualised the spirit of modem womanhood in greatly impressive combinations of imposing attitudes with the 'vertical stripe manner', her bold Neo-Impressionist brushwork that marked the culmination of her creativity.
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