The goal of the thesis is to investigate the importance of photographic portraits of sculptors at the turn of 1900 in history of sculpture, photography and portrait art. Impact of the portrait of sculptor in painting on the photographic portrait of sculptor and other way around is analyzed in the thesis. Novelties that photographic portraits of sculptors introduced to representation of sculptors are considered. The thesis explores the representation of women sculptors in photographic portraits and photographers’ styles. The question about how and in what context photographic portraits of sculptors can be used is discussed. The thesis has a connection to digital humanities, since Google Images and Google Lens were used to identify sculptures in some portraits, and digital collection of portraits of sculptors was created.

Lam Wai Kit. / Accompanying booklet inserted in pocket at end of book. / Thesis (M.F.A.)--Chinese University of Hong Kong, 2003. / Includes bibliographical references (leaves 65-67). / Abstracts in English and Chinese. / Chapter I. --- Foreword --- p.6 / Chapter II. --- Mirror and Photograph: Beyond its Function as a Carrier --- p.14 / Chapter III. --- The Photographer: Locating the Self in Photographic Portrait --- p.18 / Chapter A. --- Loss and Wholeness --- p.19 / Chapter 1. --- The Fragmentary Body and the Stranger --- p.20 / Chapter 2. --- The Empathy and the Security --- p.23 / Chapter B. --- Demand and Imaginary: Locating the Self in the Mirrored Other --- p.25 / Chapter 1. --- Lacan's 'Mirror Stage' --- p.25 / Chapter 2. --- The Misrecognition of the Self as the Mirrored Other --- p.28 / Chapter 3. --- This is the Self and this is not the Self --- p.29 / Chapter C. --- Desire and Symbolic Order: Photographing the Self with the Mirrored Other --- p.31 / Chapter 1. --- Selection and Fabrication --- p.34 / Chapter 2. --- From Demand to Desire: the Process of Assimilation --- p.38 / Chapter D. --- The Gaze --- p.41 / Chapter 1. --- Eternal Gaze --- p.43 / Chapter 2. --- Desiring to be Seen: The Desire of the Other --- p.44 / Chapter 3. --- """I saw myself seeing myself""" --- p.46 / Chapter E. --- The Endless Desire of Taking Photographic Portrait --- p.51 / Chapter 1. --- The Awareness of Existence --- p.52 / Chapter 2. --- The Limitations under Dominant Symbolic Order: The Impossibility of Authentic Self in Photographic Portrait --- p.54 / Chapter 3. --- The Endless Desire of Searching Authentic Self --- p.56 / Chapter IV. --- The Audience: Locating the Self in Photographic Portrait --- p.58 / Chapter A. --- Empathy --- p.59 / Chapter B. --- Alienation in Exhibits --- p.60 / Chapter V. --- Conclusion --- p.62 / Chapter VI. --- Bibliography --- p.65 / Chapter VII. --- Illustrations --- p.68

Portraits of hong merchants produced in the latter period of the Canton Trade (1820-1840) portray these merchants in a new manner — one that previously had not been seen in China. These portraits depict Chinese subjects through a pastiche of signs associated with China's elite, yet the medium of oil painting and the use of perspective, drawn primarily from European artistic traditions, was unusual in Canton and was not in popular use in China as a whole. This study examines portraits of hong merchants executed by a Scottish artist residing in Canton, George Chinnery, as well as his Chinese student, Lamqua, in order to trace a particular form of portraiture that emerged at this time. As I will argue, this type of portraiture evoked the contradictions inherent in the hong merchant's position, which was situated between Chinese rule and foreign trade, and also gave form to a range of tensions and disparities that existed between the merchants and Chinese mandarin officials, or hoppos. Along with the exchange of commodities which was central to the merchants trade, there existed a simultaneous cultural exchange which was affected by new media and new forms of knowledge. The introduction of oil painting to China and the circulation of merchant portraits are a case in point. The hong merchant portraits offered a stage for the performance of a carefully constructed and imagined identity that encapsulated a range of desires and aspirations for elite status within China. Furthermore, these portraits also served as an important mode of exchange with, and for, European viewers. This identity was a performance of status and class both in the imagination of the hong merchant, but also one performed for foreign traders who would see these images. The portraits of the hong merchants thus embody diverse social dimensions where the subject is embedded within a network of references to class, rank, and demeanour. Using the medium of oil paint, the illusion of the image extended beyond the use of shadow and perspective as the portraits inscribed an identity for the hong merchant that was at once elusive and illusive.

Inaug.-Diss.-Basel. / Vita. "Die Arbeit erschien auch erweitert und mit 27 Lichtdrucktafeln versehen als Heft 17 der "Studien zur Deutschen Kunstgeschichte" Verlag von J.H. Ed. Heitz ... Strassburg."

Thesis (Ph.D.)--Brown University, 2005. / Vita. Thesis advisor: K. Dian Kriz. Includes bibliographical references (leaves 231-250). Also available online.

published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

Portraits of hong merchants produced in the latter period of the Canton Trade (1820-1840) portray these merchants in a new manner — one that previously had not been seen in China. These portraits depict Chinese subjects through a pastiche of signs associated with China's elite, yet the medium of oil painting and the use of perspective, drawn primarily from European artistic traditions, was unusual in Canton and was not in popular use in China as a whole. This study examines portraits of hong merchants executed by a Scottish artist residing in Canton, George Chinnery, as well as his Chinese student, Lamqua, in order to trace a particular form of portraiture that emerged at this time. As I will argue, this type of portraiture evoked the contradictions inherent in the hong merchant's position, which was situated between Chinese rule and foreign trade, and also gave form to a range of tensions and disparities that existed between the merchants and Chinese mandarin officials, or hoppos. Along with the exchange of commodities which was central to the merchants trade, there existed a simultaneous cultural exchange which was affected by new media and new forms of knowledge. The introduction of oil painting to China and the circulation of merchant portraits are a case in point. The hong merchant portraits offered a stage for the performance of a carefully constructed and imagined identity that encapsulated a range of desires and aspirations for elite status within China. Furthermore, these portraits also served as an important mode of exchange with, and for, European viewers. This identity was a performance of status and class both in the imagination of the hong merchant, but also one performed for foreign traders who would see these images. The portraits of the hong merchants thus embody diverse social dimensions where the subject is embedded within a network of references to class, rank, and demeanour. Using the medium of oil paint, the illusion of the image extended beyond the use of shadow and perspective as the portraits inscribed an identity for the hong merchant that was at once elusive and illusive.

Although the donor portrait was extremely popular throughout Europe and mainland Italy during the late Middle Ages, the few art historians who have addressed the subject have concluded that the motif was not popular in fourteenth-century Venice. The political structures of Venice and its citizens’ supposedly innate abhorrence of public expressions of individuality in the Republic are often cited as reasons for the absence of individual donor portraits; the examples that have survived are commonly interpreted as direct reflections of state or communal values. This dissertation challenges these previous conclusions and poses the following questions: Was donor portraiture popular in Venice, and in what forms? And how did the appearance and function of donor portraits in Venice compare with those from Europe and Byzantium? The evidence examined here includes a catalogue of 83 examples dated approximately between 1280 and 1413. I have attempted to reconstruct the social, political, and physical environments for these examples, and for those images that have been lost through centuries of changing trends and political upheaval. Through case studies of donor portrait subjects from a cross-section of Venetian society, including doges, nobles, cittadini, confraternity groups, and patrician women, it becomes clear that such images were, in fact, popular in late medieval Venice and that they were mostly intended for public viewing. Furthermore, the fact that donor portraits are rarely mentioned in the extant documents suggests that such imagery was considered conventional and that it posed no significant threat to the ideology of the Venetian state. Further examination of these visual documents, and analyses of socio-historical developments in the period indicate that donor portraits in Venice, like similar portraits in Byzantium and mainland Italy, mainly reflect personal concerns about family, status, wealth, and salvation. Their physical appearance likewise suggests that these images were intended for display within the confines of city parishes and that ultimately, in this context, donor portraiture in late medieval Venice was no more likely to reflect state ideologies than donor portraiture in other parts of Europe. / Thesis (Ph.D, Art History) -- Queen's University, 2007-08-28 08:55:06.214

Thesis (M.F.A.)--Rochester Institute of Technology, 1989. / Includes bibliographical references (leaf 26).

Thesis (M.F.A.)--Rochester Institute of Technology, 1974. / Typescript.