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Pointon, Marcia, , . Portrait, Fact and Fiction
2013, in: Portrayal and the Search for Identity, Reaktion Books, pp. 23-46.
Added by: Hans Maes, Contributed by:

Summary: Considers portraiture an unstable, destabilizing, potentially subversive art through which uncomfortable and unsettling convictions are negotiated. As such, it is primarily an instrumental art form, a kind of agency. Also argues that there is an element of the fictive involved in all portrait representations. Explains how portraiture is a slippery and seductive art.

Comment: Useful in discussing portraiture, as well as depiction and representation in general.

Artworks to use with this text:

Garibaldi at Caprera, frontispiece of G.M. Trevelyan, Garibaldi and the Thousand, May 1860 (1931 edition)

A reproduction of a photograph of a copy of a many times copied portrait of the guerilla leader. Devoid of monetary or aesthetic value. Not very likely that Garibaldi looked like this or posed for the artist. The portrait works to endow the historical narrative with its illusion of a unified subject.

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