The Anglo-Saxon patron often commissioned images in which he or she bears a visual rendering of his or her donation. The donor’s model is often overlooked in modern scholarship because there is no existing framework with which to address larger issues raised by the image type. This thesis proposes a framework developed through a close reading of Anglo-Saxon poetry. Using the Old English literary trope of the tacen, or in modern English, the token, this thesis seeks to reframe the donor’s model in order to understand how the model creates meaning. Like the donor’s model found in medieval donor portraits, the tacen in Anglo-Saxon literature is a held object that in large part symbolizes the gift giver’s relationship with the community. This thesis argues that beyond merely a model used to attribute patronage, the tacen found in Anglo-Saxon donor portraits acts simultaneously as a visual record of an event and an object used to teach and encourage viewers. Viewing the donor’s model as a tacen also surpasses the purely historical function of the image type by allowing the representation of the model to transcend both time and space. Using the concept of the tacen as a framework for analysis demands that an entirely new set of questions be asked of Anglo-Saxon donor portraits (and potentially all medieval donor portraits) in which a model is featured. This thesis strives to answer the how instead of the what. And in doing so it has the potential to foster a greater understanding of the image type that spread, by the requests of patrons, throughout the Anglo-Saxon world and the wider medieval world. Beyond cultivating a greater understanding of the medieval donor portrait, this thesis underlines the profound connections between medieval literature and art and highlights the advantages of interdisciplinary scholarship. / text

Šeima yra svarbiausia institucija, kurioje bręsta, auga ir ugdosi asmenybė. Be artimų žmonių, šeimos nebūtų ir mūsų pačių. Todėl verta apie šeimą kalbėti, ją prisiminti, vaizduoti, kūrybiškai įamžinti būsimoms kartoms. Mes pasaulį, mus supančią aplinką, taigi ir jai visų pirma priklausančius artimuosius suvokiame per pagrindinius penkis pojūčius: lytėjimą, skonį, klausą, uoslę ir regą. Savo kūrinyje naudoju ne tik vizualią išraišką, bet kuriu ir sąsajas tarp regos ir klausos pojūčių, kad įtikinamiau perteikčiau kitų medijų reikalaujančius brolio ir vyro portretus. Tokiu būdu siekiu užmegzti kuo glaudesnį ryšį tarp portretuojamojo ir žiūrinčiojo. / Family is the most important institution, where our mentality and individual features are developed. That's why it's very important to talk about it, to memorialize it, portray it for the next generations.

<p>This dissertation models a new approach to the study of ancient portrait statues—one that situates them in their historical, political, and spatial contexts. By bringing into conversation bodies of evidence that have traditionally been studied in discrete categories, I investigate how statue landscapes articulated and reinforced a complex set of political and social identities, how space was utilized and manipulated on a local and a regional level, and how patrons responded to the spatial pressures and visual politics of statue dedication within a constantly changing landscape. </p><p>Instead of treating sites independently, I have found it to be more productive—and, indeed, necessary—to examine broader patterns of statue dedication. I demonstrate that a regional perspective, that is, one that takes into account the role of choice and spatial preference in setting up a statue within a regional network of available display locations, can illuminate how space shaped the ancient practice of portrait dedication. This level of analysis is a new approach to the study of portrait statues and it has proved to be a productive way of thinking about how statues and context were used together to articulate identity. Understanding how individual monuments worked within these broader landscapes of portrait dedications, how statue monuments functioned within federal systems, and how monuments set up by individuals and social groups operated along side those set up by political bodies clarifies the important place of honorific statues as an expression of power and identity within the history of the site, the region, and Hellenistic Greece.</p> / Dissertation

This thesis investigates the development of the biography of the Baroque portrait painter, Mary Beale (1633-1699), through historiography. The conventional gendered construction of Mary, primarily as a wife and mother, and secondarily as an artist, will be traced and examined, from the earliest art historical references to her, to the most recent. / Graduate

My paintings are inspired by the places I have seen, as well as the people God has placed in my path. The individuals in my portraits are some of the people with whom I have shared a special bond. Upon reflection, they have been instrumental in deepening my faith. Their love, prayers, support, and deep questioning of my beliefs have enhanced my understanding of God and helped to strengthen my relationship with Him. 1 am very thankful for the ability to paint their portraits as an expression of my gratitude and love. God has also blessed me with opportunities to travel and experience His creation in different areas of the world. One moment I felt closest to Him was in Alaska as I stood awestruck at the bottom of a glacier-coated mountain, without a manmade object in sight. The vastness and icy glow of the mountain surrounded by lush greenery filled me with a sense of God's presence. In my landscape paintings, I attempt to capture these moments on canvas. I can never quite attain the original beauty of the landscape but I use vibrant colors in an attempt to recreate the majestic nature of God's creation, the original master artist.

This thesis examines four European portrait prints of Ottoman sultan Mehmed II, dated 1470 to 1493. At the center of this study is a formal and iconographical analysis that indicated all are rooted in traditional artistic conventions of both Western princely portraiture and stereotypical imagery of evil doers. Part of a feverish textual and visual discourse that was the result of great fear for the Ottoman aggression, they all adhere to a conventionalized type for the Eastern despot. The portraits employ to varying degrees a general pictorial language of evil, based on medieval folk imagery, that employed sartorial and physical signifiers used for a wide range of social groups that were not accepted by Christian society. The result is four images that share certain characteristics, most notably an iconic hat, but differ considerably in others to bring across diverging messages about the sultan's ambiguous public identity.

Investigations into Social Game Theory is a document that describes my two-year exploration of the ritual encapsulated in our societal framework. It discusses the thoughts and processes that accompanied the three bodies of work that led to the creation of my final thesis exhibition.

Digitized by Kansas Correctional Industries

This study offers a history of the concept of realism in portrait photography through the examination of a set of categories that have colored photographic practices since the origins of the medium in 1839: the posed and the candid. The first section of this study deals with the practices of posing in early photography, with chapters on the daguerreotype, the carte de visite, and the amateur snapshot photograph. Considering technological advances in conjunction with prevailing cultural mores and aesthetic practices, this section traces the changing cultural meaning of the portrait photograph, the obsolescence of the pose, and the emergence of an "unposed" aesthetic in photography. The second section of this study examines three key photographers and their strategies of photographic representation, all of which involved candid photography: it looks at Erich Salomon's pioneering photojournalism, Humphrey Spender's politicized sociological photography, and Walker Evans' complex maneuvering of the documentary form. Here, the emphasis is on the ways in which the trope of the candid informed these three distinct spheres of photography in the early 20th century, and the ways in which the photographic aesthetic of candor cohered with--or contested--political and cultural developments of the interwar period in Germany, Britain, and the United States.

Os retratos fotográficos são uma forma consolidada de se representar. Refletir a partir da visão do retratado no momento em que esta se direciona no sentido oposto ao nosso olhar propõe a existência de um espaço contíguo ao corte que atravessa a quarta parede. Tal compreensão tensiona o contexto que circunda fisicamente o espaço da obtenção dos retratos. Neste trabalho, propõe-se a ampliação do espectro das análises em direção a um espaço definido pela formulação da noção de contraperspectiva: um espaço perspectivo inverso ao tradicional que se instaura no direcionamento do olhar para a câmera, e que se projeta sobre quem observa a imagem, incluindo-o, concebendo que o sentido é, também por isso, ampliado. Este espaço foi complexificado pela prática da selfie, promotora da sobreposição dos papéis do fotógrafo e do fotografado. Para tanto, propôs-se uma investigação qualitativa através de entrevistas com fotógrafos profissionais, buscando entender suas concepções e conflitos acerca dos perfis e retratos dos outros (ou de si próprios). Além da proposição teórica da contraperspectiva, este estudo propõe as noções de espacialidade constitutiva e figurativa, as quais, respectivamente, conceituam as possibilidades físicas da circunstância de obtenção e, no segundo caso, a materialização de uma escolha dentre as possibilidades. Outra percepção advinda do estudo sustenta que a presença de duas forças - que se entrecruzam no plano da imagem – atuam como vetores de entrada e saída da imagem em relação à quarta parede, estabelecendo-se em conflito constante, desperta principalmente pela posição do olhar direto. Acrescenta-se ainda, neste trabalho, a compreensão da ideia dos espaços perpendicular e paralelo, no qual o primeiro estabelece relação entre o retratado e o espaço que ele ocupa, que lhe circunda e do qual ele faz parte, e o segundo posiciona-se sobre o eixo retratado/câmera, efetuando-se na ligação estabelecida entre os olhares do sujeito retratado/visto em relação à posição da lente/observador/vidente. Neste sentido, propõe-se o entendimento que o olhar direto estabelece, mesmo que por breve instante, uma sensação de compartilhamento de espaços entre o observador e o observado. Assim, foi possível compreender em maior profundidade o espaço que permeia a obtenção e como este se relaciona, enquanto dinâmica, com as noções inclusivas nos processos de observação destes retratos. / The photographic portraits are, for human beings, a consolidated way to represent. Reflecting from the viewer's perspective, at the moment it is directed in the opposite direction to our normally projective look (at the moment the subject is looking at the lens), it suggests the existence of a space adjoining the cut, translucent, which breaks through the fourth wall. Such an understanding aims to reflect about the whole context that physically surrounds the space of obtaining the portraits, understanding it as everything that involves the production of photographs. In this paper, it is aimed the amplification of the spectrum of the analysis that comprise a movement, inflated by the practice of selfies, that brings up the theoretical frame of the counter-perspective: a perspective space inverse to the traditional one that establishes in the direction of the look for the camera, And that is projected onto the one who observes the image, including that person, conceiving that the meaning is, therefore, also enlarged. In addition, the practice of selfie, which promotes the overlapping of the roles of photographer and photographed, also stresses spatiality insofar as it subverts the role of the observer to the observed. In addition to the theoretical proposition of contraperspective, this study proposes the notions of constitutive and figurative spatiality, which, respectively, conceptualize the physical possibilities of the circumstance of obtaining and, in the second case, the materialization of a choice among the possibilities. Another perception from the study maintains that the presence of two forces act as vectors of entrance and exit of the image in relation to the fourth wall, establishing itself in constant conflict, aroused mainly by the position of the direct look . It is also added in this work the understanding of the idea of perpendicular and parallel spaces, in which the former establishes a relation between the portrayed person and the space he occupies, which surrounds him and of which he is a part, and the second position On the retracted axis / camera, effecting the established connection between the glances of the subject portrayed / seen in relation to the position of the lens / observer / sighted. In this sense, it is proposed the understanding that the direct look establishes, even for a brief moment, a sense of space sharing between the observer and the observed. Thus, it was possible to understand in greater depth the space that permeates the obtaining and how this relates, while dynamic, with the inclusive notions in the processes of observation of these portraits.