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Portraits, Colombian --- Portraits, Colombian

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Art --- self-portraits --- artists' portraits --- anno 1500-1799 --- Rome

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Vanity Fair: The Portraits brings together 300 iconic portraits from Vanity Fairs 95-year history in a remarkable book that captures the image of modern famethe magical thing that happens when individual talent and beauty (and sometimes genius) is caught in the spotlight of popular curiosity and passion. The photographersfrom Edward Steichen and Cecil Beaton to Annie Leibovitz and Mario Testinoare a glittering and celebrated group themselves. Their portraits have become the iconic likenesses of the best-known figures from the worlds of art, film, music, sports, business, and politics. 

From legends such as Pablo Picasso, Amelia Earhart, Cary Grant, and Katharine Hepburn to the stars, writers, athletes, style icons, and titans of business and politics of today, Vanity Fair: The Portraits offers an authoritative roster of talent and glamour in the 20th century.


Photography --- commercial portraiture --- portraits --- portretfotografie

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Of the triumvirate of sixteenth-century Venetian painters, Titian, Veronese, and Tintoretto, Paolo [Caliari] Veronese (1528-1588) best conveyed Venices civic splendor. His masterpieces in the Doges Palace conferred on the Republic a magnificence and authority that was rapidly dwindling by the end of the Renaissance. But on a private level, he also reshaped the fashions of the Serenissima through a steady stream of portrait commissions. Many members of Venices most elite families sat for Veronese, as did notable artists and authors, including Titian and Sir Phillip Sidney. Once regarded as Venices best portraitist, his talents in this genre unfortunately remain largely unknown to modern audiences. This book offers the first comprehensive study of the approximately forty portraits that survive. Shedding new light on early works, such as the pendants of the Da Porto and the frescos of the Barbaro in the Palladian villa at Maser, Professor Garton also examines Paolos images of women within the larger polemics surrounding the anonymous beauties of Giorgione, Palma il Vecchio, and Titian. The author analyzes Veroneses innovations in martial portraiture, melancholic portrayals of artists and nobility, and evocations of the antique. Relevant issues of social history, class insecurity, and poetic convention are all brought to bear in deciphering the meanings of these images and what they reveal about the painter and his clientele. This layered study of Venices golden age of painting ends appropriately with a glance at the moderns who profited most from the study of Veroneses portraits: Jean-Baptiste Carpeaux, Henri Fantin-Latour, Mary Cassatt, and Henri Matisse. A complete catalogue of Veroneses portraits follows the chapters.

portraits --- Italian Renaissance-Baroque styles --- Veronese, Paolo

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Thielemans, Toots --- Concerts --- Photography --- Photography --- Portraits