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Dante Gabriel Rossetti painted some of the 19th century's most striking and spectacular portraits. The most haunting are of the three muses who obsessed his life: Lizzy Siddal, his bride, who died tragically young; Fanny Cornforth, the forthright blonde 'stunner' who was also his mistress and companion; and Jane Burden, the grey-eyed goddess unhappily married to his friend William Morris. Rossetti's luscious paintings of these three women unforgettably fixed the Pre-Raphaelite type; but his many drawings show an unexpected delicacy and tenderness that are often moving. This richly illustrated book by two experts, Christopher Newall and Sylvie Broussine, explores the ramifications of Rossetti's life and art.

Portraits, British --- Art and design --- Rossetti, Dante Gabriel,

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This is a lavishly illustrated volume that offers a new interpretation of the significance of the portrait image during the final decades of the nineteenth century in Britain, using materials drawn from the Mark Samuels Lasner Collection at the University of Delaware. This study highlights the connections between the images of writers' and artists' faces that circulated through the British periodical press, through exhibition spaces in London, and through book publishing, and such late-Victorian cultural obsessions as defining "genius," masculinity, femininity, and class status. It focuses in particular on the figure of Oscar Wilde as the writer who best exploited the new market for portraits in advancing his own career, but moves beyond him to look at the broader topic of how and why writers' and artists' faces were idealized, caricatured, and also studied by the general public. It examines, too, the relationship between the circulation of portraits and notions of modernity created through advertising, public relations, and commodification.

Artists --- Authors, English --- Portraits, British --- Samuels Lasner, Mark, --- Art collections --- University of Delaware --- Great Britain

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This book is the first comprehensive publication on Scottish portraiture from the period 1644 to 1714, with an emphasis on the painters David Scougall (1625-1685), and his son John Scougall (1657-1737). It is based on in-depth art historical and archival research. As such, it is an important academic contribution to this thus far little-researched field. Virtually nothing was known about the Scougall portraitists, who also include the somewhat obscure George Scougall (active c. 1690-1737). Thorough archival research has provided substantial biographical information. It has yielded life dates and data on family relations and, also, it has become clear that David Scougall had two parallel careers, as a portrait painter and as a writer (solicitor). The legal community in which the Scougalls were embedded has been defined, as well as an extended group of sitters and their social, economic, and family networks. The book includes a catalogue raisonné of the oeuvre of David Scougall. The most important contemporaries of the Scougalls were the portraitist L. Schüneman (active c. 1655/60-1667 or slightly later), his successor James Carrudus (active c. 1668-1683 or later), whose work is identified for the first time in this book, David Paton (c. 1650-in or after 1708), Jacob Jacobsz. de Wet (1641/42-1697) and Sir John Baptist Medina (1659-1710). Their lives and work are discussed. An extensive survey of Scottish portraits, with an emphasis on the work of the Scougall painters, is presented for the period 1644 to 1714. Numerous attributions to various artists and sitter identifications have been established or revised. An overview of the next generation is provided, in which the oeuvres and biographical details are highlighted of the principal portrait painters, such as William Aikman (1682-1731), Richard Waitt (1684-1733) and John Alexander (1686-1767). Countless paintings have been photographed anew or for the first time, and have been compared in detail, which had hardly been done before, while information is also included on technical aspects and (original) frames. The resulting data have been complemented by analysing the social and (art-) historical context in which the portraits were made. The works of the portrait painters in Scotland from this period, as this book shows, now form a solid bridge between the portraits painted prior to George Jamesone’s death in 1644, and those by the renowned Scottish painters of the eighteenth century.

Portrait painting, Scottish --- Portrait painting --- Scougall, David --- Scougall, John --- Scottish portrait painting --- Scougall, David, --- Scougall, John, --- Criticism and interpretation. --- Portraits [British ]

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The popularity of the comic performers of late-Georgian and Regency England and their frequent depiction in portraits, caricatures and prints is beyond dispute, yet until now little has been written on the subject. In this unique study Jim Davis considers the representation of English low comic actors, such as Joseph Munden, John Liston, Charles Mathews and John Emery, in the visual arts of the period, the ways in which such representations became part of the visual culture of their time, and the impact of visual representation and art theory on prose descriptions of comic actors. Davis reveals how many of the actors discussed also exhibited or collected paintings and used painterly techniques to evoke the world around them. Drawing particularly on the influence of Hogarth and Wilkie, he goes on to examine portraiture as critique and what the actors themselves represented in terms of notions of national and regional identity.

Actors in art. --- Actors --- Comedians --- Portraits, British --- Art and society --- Theater and society --- Society and theater --- Theater --- Art --- Art and sociology --- Society and art --- Sociology and art --- British portraits --- Comics (Persons) --- Stand-up comedians --- Entertainers --- Clowns --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- History --- Social status --- Social aspects

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Painting --- Iconography --- portraits --- painting [image-making] --- Homo sapiens [species] --- nudes [representations] --- Freud, Lucian --- anno 1900-1999 --- anno 2000-2099 --- Great Britain --- Painting, English --- Portraits, British --- Peinture anglaise --- Portraits britanniques --- Exhibitions --- Expositions --- Criticism and interpretation --- Human figure in art --- William Feaver --- kunst --- Groot-Brittannië --- twintigste eeuw --- Freud Lucian --- Auerbach Frank --- portret --- portretschilderkunst --- schilderkunst --- 75.071 FREUD --- painters [artists] --- Froid, Lusyan --- Phroint, Lousian --- פרויד, לוסיאן --- Freud, Lucianus --- ルシアン・フロイド --- フロイド, ルシアン --- Furoido, Rushian --- Фрейд, Люсьен --- Freĭd, Li︠u︡sʹen --- Фройд, Луціан --- Froĭd, Lut︠s︡ian --- Фройд, Люціан --- Froĭd, Li︠u︡t︠s︡ian --- Фройд, Люсьєн --- Froĭd, Li︠u︡sʹi︠e︡n --- Фройд, Лукіан --- Froĭd, Lukian --- Фрейд, Луціан --- Freĭd, Lut︠s︡ian --- 盧西安·弗洛伊德 --- 弗洛伊德, 盧西安 --- Fuluoyide, Luxi'an --- CDL --- human figures [visual works] --- Figurative art --- Freud, Lucian, --- Freud, Lucian.