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Georgian Portraits chronicles everyday life in the Republic of Georgia in the decade that followed the Rose Revolution of 2003. Recent anthropological developments argue for the use of “afterlives” as an analytical notion through which to understand processes of socio-political change. Based on a series of portraits, Martin Demant Frederiksen and Katrine Bendtsen Gotfredsen employ the theory of social afterlives to examine the role of revolution in the formation of a modern Georgia. The book contributes to a deeper understanding of life in the aftermath of political reform, depicting the hopefulness of the Georgian population, but also the subsequent return to political disillusionment which lead them to a revolution in the first place.
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.
Covers the period 1714-1760 and includes portraits in other collections.
Covers the period 1714-1760 and includes portraits in other collections.
One of The Tablet's Books of the Year 2021 Portraits of Wollstonecraft collects and introduces 102 texts and artifacts that document Mary Wollstonecraft's public reception in art, literature, philosophy and feminist politics. Each portrait is a milestone in her depiction in culture. From William Blake's 1803 poem 'Mary' to Maggi Hambling's contentious sculpture in 2020, these sources validate the monumental place Wollstonecraft holds in not just one but many canons. The color images in Part I: Public Sightings trace her earliest reception in portraiture, from 1785 to 1804, with detailed analysis paired with each of the illustrations. Arranged chronologically, these landmark images are followed by the reviews of Wollstonecraft's books that appeared during her lifetime in Jamaica, Madrid, Amsterdam and London. Part II: Global Afterlives, examines her multifarious posthumous reception and features diary entries, excerpts from English-language biographies, letters, articles and introductions to her books. From Olive Schreiner's introduction to the Rights of Women composed in Cape Town in 1889 to the translator's preface to the first Czech edition of A Vindication of the Rights of Woman in 1904, they showcase an impressive sweep of cross-cultural perspectives on her life and writings. The sources in Part III: Making an International Icon chart the depth and breadth of her legacies on a global scale. Feminists, philosophers, and social scientists-from Ruth Benedict to Virginia Sapiro to Amartya Sen-have written and spoken with conviction about the emotional power of looking into the eyes of the author of the Rights of Woman. This section includes major thinkers from across the 19th and 20th centuries who responded to Wollstonecraft's theories on virtue, love, gender, education, and rights: Mary Shelley, Emma Goldman, Virginia Woolf, Simone de Beauvoir, Betty Friedan, Susan Moller Okin, Barbara Johnson and Martha Nussbaum. We see how Wollstonecraft gained traction in feminist politics, both as a philosopher and as a transcultural icon of the cause, beginning with English suffragist Millicent Fawcett's centennial edition of the Rights of Woman in 1891 and extending through feminist art in The Paris Review during the age of #MeToo. Assembling responses from Ireland, Continental Europe, North and South America and across the former colonies of the British Empire, this one-of-a-kind collection tells a compelling story of Wollstonecraft's watershed contributions to human rights debates throughout the modern and contemporary world.
Publisher description
In this bold new study, Wendorf compares two arts--biography and portrait-painting--that have often been linked in a casual way but whose historical connections have remained unexplored. Reassessing the great age of English portraiture--from the arrival of Van Dyck to the publication of Boswell's Life of Johnson--Wendorf reveals that, despite their obvious differences, visual and verbal portraits often shared similar assumptions about the representation of historical character. Rooted in modern theory devoted to the comparison of literature and painting and to the problem of representation, the book examines each form of portraiture in terms of the other, bringing into discussion such writers as Izaak Walton, John Evelyn, John Aubrey, Roger North, Goldsmith, Johnson, Mrs. Piozzi, Boswell, and such artists as Van Dyck, Lely, Samuel Cooper, Jonathan Richardson, Hogarth, and Reynolds.