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Arnaud Rogard (b. 1977) is a multifaceted artist: he makes drawings, ceramic work, writes poetry but is also active as a dancer and performer. In each of these media, his work excels in concealment, elimination, slowing down, pausing, abandonment or silencing. The power of Arnaud's drawings (perspectives or isometries) lies mostly in the space he does not draw. Arnaud finds his inspiration in the everyday architecture that surrounds him, room plans lying around in the studio but also in the limited library in his studio at art workshop De Zandberg in Harelbeke, where he has been working since 2001. The book ‘Ik met twee’ focuses on Arnaud's pencil-drawn (self) portraits. They find their strength in the certainty with which each line is applied and the absence of any superfluous detail. This clear line is as much a modest line, some drawings are barely visible, as if they would prefer to remain invisible.Pierre Muylle writes about this in the book, ‘Everything seems to have a standard place. The drawing is only a confirmation of a standard. But here that rock-solid conviction is only in the motif. The execution wavers in doubt and hesitation. A well-aimed imbalance that veers even this sterile portrait with Arnaud's personality.’

Rogard, Arnaud --- Art --- drafting --- self-portraits

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"This exhibition is the first to examine an intriguing but largely unknown side--in the literal sense--of Renaissance painting: multisided portraits in which the sitter's likeness was concealed by a hinged or sliding cover, within a box, or by a dual-faced format. The covers and reverses of these small, private portraits were adorned with puzzlelike emblems, epigrams, allegories, and mythologies that celebrated the sitter's character, and they represent some of the most inventive and unique secular imagery of the Renaissance. The viewer had to decode the meaning of the symbolic portrait before lifting, sliding, or turning the image over to unmask the face below. This widespread tradition in Italy and Northern Europe during the 15th and 16th centuries will be explored through approximately 60 double-sided and covered portraits from The Met collection and other American and European institutions, including the reunion of several portraits and their covers that had been split and made part of separate collections. Painted by artists such as Hans Memling, Lucas Cranach, Lorenzo Lotto, and Titian, the works range from portraits intended as portable propaganda to those designed to conceal a lover's identity. These varied three-dimensional, hand-held ensembles shed significant light upon the intimate and personal nature of portraits designed as interactive objects." --

Portraits de la Renaissance. --- Portraits (peinture) de la Renaissance. --- Peinture de la Renaissance. --- Iconography --- Painting --- double-sided portraits --- Renaissance --- anno 1400-1499 --- anno 1500-1599 --- Europe --- Portraits, Renaissance --- Portrait painting, Renaissance --- Painting, Renaissance --- paintings [visual works] --- iconography

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Painting --- paintings [visual works] --- portraits --- schilderkunst --- Hals, Frans

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Painting --- portraits --- Hopton, Sir Arthur --- Oost, van, Jacob I --- Meadows Museum [Dallas, Tex.]

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"Internationally renowned, highly educated and very well connected, Angelica Kauffman RA (1741-1807) led a brilliant career as a pioneering history painter, an innovative portraitist and one of only two women among the founding membership of the Royal Academy of Arts in 1768. Kauffman was admired by Goethe and Herder, and her clients included queens and emperors from across the continent. Her extraordinary life and work are beautifully presented in this catalogue, which contains her finest paintings and drawings"--Publisher.

Drawing --- Painting --- paintings [visual works] --- drawings [visual works] --- history painters --- portraits --- Kauffmann, Angelica --- Painters --- Kauffmann, Angelica,