Psychology Press, 1991 - Psychology - 372 pages. Kimble, Michael Wertheimer, Charlotte White, C. Portraits of Pioneers in Psychology. Portraits of Pioneers in Psychology, Volume 2.
500–1500).In contrast to modern portraiture, which strives to capture the accurate likeness of a specific person, medieval portraiture was primarily valued for its ability to express an individual's social status, religious convictions, or political position. The theory.This exhibition explores portraits in illuminated manuscripts of the Middle Ages (about A.D. Got it before the set date btw.Audio: How did the artist create a sense of individuality in this portrait?As the artist plays a unique dual role of being both the subject and creator, glimpses of their intimate psychology are often revealed in their work. Thank u for coming up with a well researched paper for me. We can suggest several candidates, and you will choose the one you like best. The scenes, both tender and tension-filled, illustrate how our bodies contain relics of our emotional past.After we get all the information, we find the best expert for Mao Tse Tung: An Ideological And Psychological PortraitFedor Mikhailovich Burlatsky your work.
Artists invented these portraits by necessity, cleverly using facial types, costumes, and objects to help identify each figure. The image may have been intended to inspire religious devotion, arresting the viewer's attention and bringing the subject to life.Saint Veronica Displaying the Sudarium (detail) in a book of hours, Master of Guillebert de Mets, about 1450–55Audio: Why was the sudarium such an important devotional image?There are almost no physical descriptions of Christ or any of the other holy figures who appear so frequently in medieval books and paintings. The artist concentrated his efforts on recording Blaise's forceful gaze and psychological intensity. The goal of medieval portraiture was to present a subject not at a particular moment in time, but as the person wished to be remembered through the ages.Like most medieval portraits, this image of Saint Blaise was created without even a written description of the subject's appearance.
Hedwig's lace-trimmed robe signifies her status as an aristocratic wife and mother before she became a nun.The book's patrons, Duke Ludwig and his wife, commissioned this book to honor Hedwig, their revered ancestress. When she removed the cloth she found it imprinted with a perfect likeness of Christ's features.In this image of Veronica displaying the cloth (called the sudarium), Christ's face appears to hover before the folded cloth, emphasizing its miraculous nature.Saint Hedwig of Silesia with Duke Ludwig of Legnica and Brieg and Duchess Agnés (detail) in The Life of the Blessed Hedwig, Polish, 1353Audio: How does this image demonstrate Hedwig's piety?In this illumination from The Life of the Blessed Hedwig, a biography of Hedwig of Silesia (1174–1243), the saint looks solemnly out at the viewer, clutching a beloved ivory statue of the Virgin and Child.Draped over Hedwig's arm is a pair of soft boots, which remind the viewer that she always went barefoot in imitation of Christ's apostles. The best known of these was a portrait of Christ that was said to have been produced when a pious woman named Veronica wiped Christ's face before his crucifixion. Saints became so commonly associated with these objects, or "attributes," that they were instantly recognizable to medieval viewers.Some medieval portraits were renowned for their miraculous origins.
Some author portraits featured the writer hard at work, while others portrayed the writer accompanied by an object recalling some important aspect of the text. In the Middle Ages, the purpose of such portraits was to affirm that the author's work was trustworthy. The portrait was intended to serve as an object of veneration not only for her descendents but also for the book's viewers.Boethius Discusses Music with a Group of Men (detail) in Concerning Music, Virgil Master, about 1405Author portraits are one of the oldest categories of portraiture.
They are shown kneeling before Saint Bellinus along with two sons, probably from a previous marriage. Such portraits heightened the devotional experience book owners felt while saying their prayers.These portraits were often conventional rather than realistic, so artists included coats of arms or other clues that helped identify the subject.This illumination is found in the Gualenghi-d'Este Hours, the personal prayer book of Italian courtier Andrea Gualengho and his wife, Orsina d'Este. Such portraits collapsed time and space, enabling people to imagine themselves before their favorite saints, where they could ask directly for help or guidance. Because they looked very different from western European portraits, icons were thought to be exceptionally old and were often attributed to Saint Luke himself.Saint Bellinus Celebrating Mass (detail) in the Gualenghi d'Este Hours, Taddeo Crivelli, about 1469In medieval manuscripts, most portraits of living people had a religious function, showing the subject—often the owner or donor of a book—in prayer before Christ or a saint.
The man's personal mottoes, "Vie à mon desir" (Life according to my desire) and "Plus que jamais" (More than ever), appear in the margin.These elements helped to identify the subject as Simon de Varie and to confirm his status as a pious member of the nobility. He is accompanied by a woman who holds his coat of arms (later painted over). Andrea's whole family is expensively dressed, so that the image presents both their religious devotion and their very earthly riches.Simon de Varie Kneeling in Prayer in Hours of Simon de Varie, Jean Fouquet, 1455See a close-up of Simon de Varie's portrait.A man kneels in prayer before the Virgin and Child (depicted on the facing page in the manuscript).
A contemporary wrote that the artist's "penetrating vision enabled him to render a perfect likeness," an assessment that modern viewers can still appreciate.
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