Ten figurativ paintings from kitchen. Technology - acrylic on canvas.

v anglickém jazyce Theoretical part examines the topic of portrait as the specific genre of photographic media since the beginning of man capture through the photography until WW2. It is based on the study of recommended and other literature. It deals with the work of important artists in the field of photography and finds such a pictorial art works that relate to the photographic representation with their principle and concepts. This work follows transformations of so called official portrait photography and portrait in the social level. In conclusion, the work also focuses on the current positions of portrait now digital - photography. In the didactic part the aim is to create and practically verify the proposal of complete didactic project for Art education at the second grade of elementary school, which builds on current possibilities of digital photography as the available specific art medium, on the base of studying the Framework Education Programme for Elementary Education and findings from the study. The project also works with the psychological aspects of portrait. Realization of the proposed author project, which uses photography as the inspiration, motivation or the mean of art activities, confirmed that such a project can be successfully included into the curriculum of the second grade...

Rembrandt's use of light in his self-portraits has received an abundance of scholarly attention throughout the centuries--and for good reason. His light delights the eye and captivates the mind with its textural quality and dramatic presence. At a time of scientific inquiry and religious reformation that was reshaping the way individuals understood themselves and their relationship to God, Rembrandt's light may carry more intellectual significance than has previously been thought. Looking at Rembrandt's oeuvre of self-portraits chronologically, it is apparent that something happened in his life or in his understanding that caused him to change how he used light. A distinct and consistent shift can be observed in the location and intensity of light to the crown of the forehead. This change indicates that light held particular significance for Rembrandt and that its connection to the head was a signifier with intentional meaning. This meaning could have developed as a result of Rembrandt's exposure to and interest in the contemporary theological and philosophical debates of the seventeenth-century Netherlands, particularly those relating to the physical and eternal nature of the soul stemming from the writings of René Descartes. The relative religious and intellectual freedom of the Dutch Republic provided a safe place for Descartes to publish and defend his metaphysical ideas relating to the nature of the soul and know-ability of God through personal intellectual inquiry. The widespread disturbance to established thought caused by his ideas and methods sped their dissemination into the early seventeenth-century discourse. Rembrandt's associations with the educated elite, particularly Constantijn Huygens and Jan Six, increases the probability that he knew of this new philosophy and had the opportunity to consider its relevance to his own quest for self-knowledge. With his particular emphasis on self-exploration and expression, demonstrated through his prolific oeuvre of self-portraits, and his inclination toward emotive, complex, and interdenominational religious works, it follows that Rembrandt would be eager to embrace Descartes' metaphysics and demonstrate his awareness through his self-portraits. Light on the forehead becomes a metaphor for enlightenment and is the key to reading Rembrandt's late self-portraits through the lens of Cartesian influence.

This teacher graduate thesis investigates self-portrait practices of youth on Instagram; inorder to, shed light on how Swedish youth of today construct and perform identity throughself-portrait practices on Instagram, and how these constructs reproduce genderedstereotypes and norms. The study employed visual critical discourse analysis utilizingFairclough’s three dimensional model with Cultural Studies a theoretical framework. 20self-portraits were analyzed, collected from 4 youth participants Instagram accounts (5images from each participants). The participants used wide range of visual tactics in theconstruction and staging of their images. The study identifies one dominating consumerdiscourse and a pertaining interdiscursive and intertextual practice amongst theparticipants. The intertextual and interdiscursive practice included the use of posing,staging camera angles, cropping of images and the use of props in a similar if not identicalto the use of visual language in commercial media discourse. In turn, the appropriation ofcommercial consumer discourse led to the reproduction of media trends in theparticipators gender displays and expressions. The inclusion of Instagram in the visualart classroom could be utilized as an entry point for media literacy education fordiscussing media trends critically. However, the study gives a word of warning aboutusing Instagram as a pedagogical tool; because of, the platform's innate properties fordata mining and targeted advertisement makes the use of Instagram in a schoolenvironment both morally and legally troubling.

The purpose of this study is to illustrate the power image of Henry James's female protagonists through a Readers Theatre adaptation of his novels, Daisy Miller, The Wings of the Dove, and The Portrait of a Lady. Chapter I includes an introduction and defines the purpose of the thesis. Chapter II briefly examines biographical information on James. Chapter III includes the analysis of the three selected novels in relation to preparation of a performance based script for Readers Theatre. In the Appendix is the Readers Theatre script with the inclusive transition and introductory material. The illustration of a typical Jamesian woman reveals a philosophic view of the human possibilities in freedom, power, and the destructive elements that limit an independent spirit.

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The works of Henry James are renowned for their dense sub-text and the manner in which he leaves his reader to elucidate much of his meaning. In the field of adaptation theory, therefore, James presents somewhat of a problem for the film adaptor: how does one convey on screen James' delicate implications, which are formative to the text without actually existing on the printed page? This project not only works to answer that question, but it also addresses a more serious question: what does adaptation have to offer to the student of literature? In the case of Henry James, the film adaptations of his novels expose the trope of voyeurism which functions as one of the central operative mechanisms in the novels, allowing both authorial omniscience into the minds and lives of the characters, as well as the creation of a voyeuristic character through whose perceptions the reader's knowledge is filtered. In examining recent film adaptations of The Portrait of a Lady. The Wings of the Dove, and Washington Square, it becomes apparent that the key to adapting James is careful attention to this trope of voyeurism, which ultimately becomes more important to a successful adaptation (an adaptation which most closely reproduces James' observations and biases rather than those of the director) than exact fidelity to the plot itself. With these considerations in mind, I have indicated that Jane Campion's 1996 adaptation of The Portrait of a Lady most successfully achieves James' purposes, highlighting both the on-screen voyeurism of Ralph Touchett, then using techniques (lighting, camera angles, editing, sound) to similarly construct the viewer as voyeur. Agniezka Holland's Washington Square, however, ignores James' careful positioning of Catherine Sloper as an object of visual amusement to her father and creates an insipid film that plays the drama as a mercantile transaction gone awry. On the opposite end of the spectrum, Iain Softley's The Wings of the Dove bloats the construct of viewer as voyeur into ineffectuality through his use of full nudity to capture the eye of the audience, ensuring that the film's images, rather than its story, are all that is remembered.

This thesis explores the roles of widowhood and sympathy in Henry James's short and long fiction. By the time James established himself as a writer of fiction, the culture of sentiment and its formation of sympathetic identification had become central to American and British writers. Critically, however, sympathy in James's fiction has been overlooked because he chose to write about rich expatriates and European nobility. James's pervasive use of widowed characters in his fiction suggests the he too participated in the same aesthetic agenda as William Dean Howells and George Eliot to evoke sympathy in their readers as a means of promoting class unity. In this thesis I show how James's use of widowed characters places him in the same sympathetic tradition as Howells and Eliot not by eliciting sympathy for themselves, but, rather, by awakening a sympathetic response from his readers for his protagonists seeking love. In chapter one I explore why James may have used so many widowed characters in his fiction. I cite the death of his cousin Minny Temple as a defining moment in his literary career and argue that he may have experienced an "emotional widowhood" after her early death. I also discuss the role of widows in his short fiction, which I suggest, is different from the role of widows in his novels. This chapter is biographical, yet provides important background for understanding why, more than any other author, James's fiction is replete with widowed characters. Chapter two explains the culture of sentiment of which James has been excluded. It explores the theories of David Hume and Adam Smith and their influence on the aesthetic principles defining Howells and Eliot's work. In this chapter I contend that James is indeed part of this sentimental tradition despite his renunciation of sentiment in his fiction because he tried to promote sympathy among his readers through his widowed characters. In chapter three I do close readings of The Portrait of a Lady (1881) and The Wings of the Dove (1902) and argue that these two texts best represent James's attempt at sympathetic writing.

I believe an individual can be profiled by their color preferences, but not indefinitely, for a shorter period of time, a 24-hour period of time. A person's state of mind will change continually based on their experiences. These experiences will affect their perception and preference of color. I developed a model that will map an individual's profile, a portrait, through color. Participants are given a worksheet and a list of terms describing personality traits and states of mind. The worksheet is categorized by event, time of day, duration, impact, and summed term. From midnight to midnight, a 24-hour period, the participant records any event that they encounter providing information-fulfilling categories stated above. I use that information to then map out their portrait of 24-hours through color.