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Unveiling the unconventional : Kehinde Wiley's portrait of Barack Obama / Taína Caragol -- "Radical empathy" : Amy Sherald's portrait of Michelle Obama / Dorothy Moss -- The Obama portraits, in art history and beyond / Richard J. Powell -- The Obama portraits and the National Portrait Gallery as a site of secular pilgrimage / Kim Sajet -- The presentation of the Obama portraits : a transcript of the unveiling ceremony.
"Published to accompany the exhibition Votes for Women: A Portrait of Persistence at the National Portrait Gallery, Smithsonian Institution, Washington, D.C. (March 1, 2019-January 5, 2020)"--Colophon.
Includes the novels Jane Eyre, Villette, Wuthering Heights, Agnes Grey, and The Tenant of Wildfell Hall.
The Victorians and Edwardians believed passionately in the historical importance of their age and wanted to record the great figures of their time. During Queen Victoria's reign (1837-1901) Britain became the world's first industrialised commercial power. This wealth, combined with the prestige of the British empire, created an extraordinary source of patronage for portraiture, and a legacy that includes the world's first dedicated gallery of portraits - the National Portrait Gallery, London. This informative and accessible guide reveals an astonishing range of styles,techniques and subjects from the nineteenth and early-twentieth centuries. Illustrations and engaging commentaries on sitters, from Charles Darwin to Virginia Woolf, shed light on the various ways in which people chose to be presented - wherever possible using the actual words of the artists, photographers and their subjects themselves. Although Edward VII's reign lasted for less than a decade (1901-10), he oversaw not only the growth of a more democratic state, but also the development of art education and training for women artists. The Edwardian sitters featured in this book reveal the changing society that came to influence twentieth-century British portraiture.
An old genre is given a new look, as portraits and self-portraits of Marcel Duchamp invent and cover up as much as they reveal and portray. One of the most influential artists of the twentieth century, Marcel Duchamp (1887-1968) was a master of self-invention who carefully regulated the image he projected through self-portraiture and through his collaboration with those who portrayed him. During his long career, Duchamp recast accepted modes for assembling and describing identity, indelibly altering the terrain of portraiture. This groundbreaking book (which accompanies a major exhibition at the Smithsonian Institution's National Portrait Gallery) demonstrates the ways in which Duchamp willfully manipulated the techniques of portraiture both to secure his reputation as an iconoclast and to establish himself as a major figure in the art world. Although scholars have explored Duchamp's use of aliases, little attention has been paid to how this work played into, and against, existing portrait conventions. Nor has any study yet compared these explicitly self-constructed projects with the large body of portraits of Duchamp by others. Inventing Marcel Duchamp showcases approximately one hundred never-before-assembled portraits and self-portraits of Duchamp. The (broadly defined) self-portraits and self-representations include the famous autobiographical suitcase Boîte-en-Valise and Self-Portrait in Profile, a torn silhouette that became very influential for future generations of artists. The portraits by other artists include works by Duchamp's contemporaries Man Ray, Alfred Stieglitz, Francis Picabia, Beatrice Wood, and Florine Stettheimer as well as portraits by more recent generations of artists, including Andy Warhol, Jasper Johns, Sturtevant, Yasumasa Morimura, David Hammons, and Douglas Gordon. Since the mid-twentieth century, as abstraction assumed a position of dominance in fine art, portraiture has been often derided as an art form; the images and essays in Inventing Marcel Duchamp counter this, and invite us to rethink the role of portraiture in modern and contemporary art.
This book sets a new standard as a work of reference. It covers British and Irish art in public collections from the beginning of the sixteenth century to the end of the nineteenth, and it encompasses nearly 9,000 painters and 90,000 paintings in more than 1,700 separate collections. The book includes as well pictures that are now lost, some as a consequence of the Second World War and others because of de-accessioning, mostly from 1950 to about 1975 when Victorian art was out of fashion. By listing many tens of thousands of previously unpublished works, including around 13,000 which do not yet have any form of attribution, this book becomes a unique and indispensable work of reference, one that will transform the study of British and Irish painting.
This catalogue includes such famous figures as David Garrick and Dr Samuel Johnson, Sarah Siddons and Emma Hamilton, and the work of such artists as Gainsborough, Reynolds and Romney. It has been compiled by one of the leading authorities on 18th-century English portraiture, John Ingamells.