ANTHROPOLOGY OF VISUAL SELF-OBJECTIFICATION OF THE PAINTER (BASED ON WORKS BY ARTEMISIA GENTILESCHI) by O. M. Goncharova

“…The biographical method was used when working with data on the painter’s life, iconographic and figurative stylistic (techniques of composition, narrative, color characteristics) – when analyzing the art visuals: self-portraits, allegories and narrative paintings. …”
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Cosimo D’Amico: from the realism to hyper-realism by Giuseppina Vara

“…The Author introduces Cosimo D’Amico, a still little-known Sicilian painter whose technical mastery can be declined in heterogeneous and ever-new genres and pictorial imageries, ranging from metaphysical scenes to material landscapes, from ambiguous figures to portraits so real that they look alive.…”
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« A reality that almost amounts to illusion » by Martine Lambert-Charbonnier

“…Walter Pater’s description of Mona Lisa in The Renaissance (1873) turns the famous picture – which as a portrait gives the faithful image of a real person – into a symbol of human aspirations. …”
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Robert Louis Stevenson and the ‘Optic Nerve’. Portraiture in Weir of Hermiston by Clotilde De Stasio

“…Not much has been written so far about the marked visuality in the opening chapters and the influence of the Scottish painter Raeburn on Stevenson’s writing. I shall try to demonstrate that, while delineating the powerful image of the Scottish Judge, Lord Braxfield, the writer had in mind his portrait by Raeburn. …”
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Lounging Men, Standing Women: Pose and Posture in the Aesthetic Interior by Richard W. Hayes

“…A key moment in Henry James’s 1881 novel The Portrait of a Lady occurs when the story’s heroine, Isabel, enters the drawing room in her Roman palazzo to find her husband Gilbert Osmond seated and their guest Madame Merle standing. …”
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Autoportraits photographiques américains : De la blancheur à l’ombre chez Alfred Stieglitz ; de la nudité au pastiche chez Lee Miller by Marie Cordié-Levy

“…Our aim is to analyse the reasons behind overexposure in two self-portraits, one of Alfred Stieglitz (1911), and another of Lee Miller (1930). …”
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La matière des images dans The Duchess of Malfi by Anne-Valérie Dulac

“…The present paper explores the various types of painters and artists mentioned by John Webster in The Duchess of Malfi. …”
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