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Added by: Hans Maes
Summary: Posits that aesthetic value has only rarely been the primary inspiration in the commissioning, display, and reception of portraits. Discusses the different functions that portraits and portrait collections have fulfilled. Includes sections on the portrait as biography, the portrait as document, the portrait as proxy and gift, the portrait as commemoration and memorial, the portrait as political tool.West, Shearer. Gender and Portraiture2004, In: Portraiture, Oxford: Oxford University Press, pp. 144-161.-
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Added by: Hans Maes
Summary: The gender of both artist and sitter needs to be taken into account when considering the history of portraiture. Explores how and why women were often portrayed in certain roles (as goddesses, historical or religious figures, allegorical embodiments of abstract notions). Discusses why many women artists before the 20th century were portraitists and considers a few examples. Also highlights changing notions of masculinity in portraiture.Comment: Useful in aesthetics classes discussing portraiture, depiction and representation, as well as philosophy of gender classes discussing representations of women.
Artworks to use with this text:
Lotte Laserstein, Self-Portrait with Cat (1928) vs Otto Dix, Portrait of the Journalist Sylvia von Harden (1926)
Both portraits were painted in 1920s Germany by artists linked to the New Objectivity art movement. Still, there is a notable difference between the 'objective' view of the male artist and the subjective self-image of the woman artist.
Elizabeth Siddal, Self-Portrait (1854)
There's a marked contrast between the unhappiness and fatigue visible in this self-portrait and the beauty and eroticism in Dante Gabriel Rossetti's Beata Beatrix (c.1862) in which he transfers the ideal qualities of Dante's Beatrice into the real portrait of Siddal.
Artemisia Gentileschi, Self-Portrait as "La Pittura" (c. 1630)
It could be said that the artist is complicit in the tendency of portraitists to generalize their women subjects as she embodied herself as the allegory of Painting. Nevertheless, Artemisia does not show herself in an idealized way and by self-consciously manipulating a set of conventions makes a unique contribution to the corpus of self-portraiture. Useful in aesthetics classes discussing portraiture, depiction and representation, as well as philosophy of gender classes discussing representations of women.
Artworks to use with this text:
Lotte Laserstein, Self-Portrait with Cat (1928) vs Otto Dix, Portrait of the Journalist Sylvia von Harden (1926)
Both portraits were painted in 1920s Germany by artists linked to the New Objectivity art movement. Still, there is a notable difference between the 'objective' view of the male artist and the subjective self-image of the woman artist.
Elizabeth Siddal, Self-Portrait (1854)
There's a marked contrast between the unhappiness and fatigue visible in this self-portrait and the beauty and eroticism in Dante Gabriel Rossetti's Beata Beatrix (c.1862) in which he transfers the ideal qualities of Dante's Beatrice into the real portrait of Siddal.
Artemisia Gentileschi, Self-Portrait as "La Pittura" (c. 1630)
It could be said that the artist is complicit in the tendency of portraitists to generalize their women subjects as she embodied herself as the allegory of Painting. Nevertheless, Artemisia does not show herself in an idealized way and by self-consciously manipulating a set of conventions makes a unique contribution to the corpus of self-portraiture.
Freeland, Cynthia. Animals2010, in: Portraits & Persons, Oxford: Oxford University Press, pp. 4-41.-
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Added by: Hans Maes, Contributed by: Christy Mag Uidhir
Summary: Defines a portrait as a representation of a living being as a unique individual possessing (1) a recognizable physical body along with (2) an inner life. A third condition is that the subject consciously presents a self to be conveyed in the resulting artwork. Pictures of animals can meet the first two criteria, but not the third.Comment: Freeland lays ground for a definition of portraits, offering a great introduction to the topic of portraiture, and representation in general. The text can inspire interesting discussions on the possible differences in depicting humans, animals and objects.
Artworks to use with this text:
George Stubbs, Whistlejacket (1761-2)
Freeland disputes the image's status as a portrait partly because of how formulaic it appears.
Jill Greenberg, Monkey Portraits (2006)
The artist anthropomorphizes the animals, as is evident in the titles she chose for some of the works ('The Misanthrope', 'Oy Veh'). So, do they qualify as portraits? Freeland lays ground for a definition of portraits, offering a great introduction to the topic of portraiture, and representation in general. The text can inspire interesting discussions on the possible differences in depicting humans, animals and objects.
Artworks to use with this text:
George Stubbs, Whistlejacket (1761-2)
Freeland disputes the image's status as a portrait partly because of how formulaic it appears.
Jill Greenberg, Monkey Portraits (2006)
The artist anthropomorphizes the animals, as is evident in the titles she chose for some of the works ('The Misanthrope', 'Oy Veh'). So, do they qualify as portraits?
Winter, Irene J.. What/When Is a Portrait? Royal Images of the Ancient Near East2009, Proceedings of the American Philosophical Society 153: 254-270.-
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Added by: Hans Maes
Summary: Argues that ancient sculptural images of Mesopotamia, while non-naturalistic, should be regarded as portraits. The title is a reference to Nelson Goodman's shifting of the question 'What is art?' to 'When is art?' in his book Ways of World-Making.Comment: Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Standing sculptures of Gudea, ruler of Lagash (ca. 2110 BCE)
On the basis of detailed lexicographical and iconographical research, Winter concludes that these sculptures, with their recognizably broad face and chin, large ears, and muscular arms, were intended as portraits. Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Standing sculptures of Gudea, ruler of Lagash (ca. 2110 BCE)
On the basis of detailed lexicographical and iconographical research, Winter concludes that these sculptures, with their recognizably broad face and chin, large ears, and muscular arms, were intended as portraits.
Keeshig-Tobias, Lenore. The Magic of Others1990, In Language in Her Eye: Views on Writing and Gender by Canadian Women Writing in English, edited by Libby Scheier, Sarah Sheard and Eleanor Wachtel: Coach House Press-
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Added by: Erich Hatala Matthes
Summary: In this short selection, Keeshig-Tobias (Ojibway) raises questions about representation and authenticity in fiction about Native people written by non-Native authors. With reference to certain Native belief systems, she contextualizes why the telling of a story could be viewed as theft in a way that might seem counter-intuitive to a liberal Western audience.Comment: This is a useful piece to pair with any of the more theoretical writings on cultural appropriation. It articulates some Native perspectives on cultural appropriation that may be less familiar to students, as well as pointing out problems with some of the assumptions on which defenses of cultural appropriation sometimes depend.
Chuang, Liu. Models, fiction and fictional models2014, In Guichun Guo, Chuang Liu (eds.) Scientific Explanation and Methodology in Science, World Scientific Publishing Co.-
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Added by: Laura Jimenez
Summary: The use of models to scientifically represent and study reality is widely recognized with good reasons as indispensable for the practice of science. Because models, unlikely pure verbal representation, are justifiably regarded as vehicles of representation that are not truth-apt, philosophical questions are natural raised concerning the nature of such vehicles and how they represent. A sizeable literature generated in recent years explores the possibility that ''scientific models are works of fiction''. Idealization and other similar strategies are often taken to be the means by which models are made. Arguing against this last claim, the thesis of this article is that most models in science are not fictional. The author argues against the idea that idealization is the means by which models of typically unobservable systems or mechanisms are made.Comment: Interesting paper about scientific modeling and scientific representation. Useful for undergraduates and postgraduates courses in philosophy of science.
Millikan, Ruth. Biosemantics1989, Journal of Philosophy 86 (1989): 281-97.-
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Added by: Jamie Collin, Contributed by: Nora Heinzelmann
Summary: The term 'biosemantics' has usually been applied only to the theory of mental representation. This article first characterizes a more general class of theories called 'teleological theories of mental content' of which biosemantics is an example. Then it discusses the details that distinguish biosemantics from other naturalistic teleological theories. Naturalistic theories of mental representation attempt to explain, in terms designed to fit within the natural sciences, what it is about a mental representation that makes it represent something. Frequently these theories have been classified as either picture theories, causal or covariation theories, information theories, functionalist or causal-role theories, or teleological theories, the assumption being that these various categories are side by side with one another.Comment: This would be useful in a course in philosophy of mind, philosophy of language, philosophy of biology, or any course in which naturalistic accounts of mental content are relevant. The paper makes use of memorable illustrative examples, which will help to convey its central ideas to students, and addresses objections to the position developed by Millikan. Suitable for undergraduate as well as graduate courses.
Morrison, Margaret and, Mary S. Morgan. Models as mediating instruments1999, In M. S. Morgan and M. Morrison (eds.), Models as Mediators: Perspectives on Natural and Social Science. Cambridge University Press.-
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Added by: Jamie Collin
Summary: Morrison and Morgan argue for a view of models as 'mediating instruments' whose role in scientific theorising goes beyond applying theory. Models are partially independent of both theories and the world. This autonomy allows for a unified account of their role as instruments that allow for exploration of both theories and the world.Comment: Useful as a primary or secondary reading in an advanced undergraduate course on philosophy of science, particularly within a section on scientific modeling. The paper is particularly useful in teaching because it is not unduly technical.
Morrison, Margaret. Fictions, representations, and reality2009, In Mauricio Suárez (ed.), Fictions in Science: Philosophical Essays on Modeling and Idealization. Routledge.-
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Added by: Jamie Collin
Summary: Uses Maxwell's model of the ether as a case study in accounting for the role of fictions in science. Argues that we should understand idealisation and abstraction as being different from fiction. Fictional models for Morrison are those that are deliberately intended to be such that the relationship between their structure and the structure of the concrete systems they model is not (immediately) apparent. This is different from mere idealisation, where certain structural features are omitted to make calculations more tractable.Comment: Very useful as a primary or secondary reading in an advanced undergraduate course on philosophy of science (or perhaps on philosophy of fiction). It is philosophically sophisticated, but also treats the science in enough detail to provide students with some clear ideas about the nature of scientific representational practices themselves. Would be appropriate in sections on scientific representation or modelling.
Masuda, Takahiko, others. Culture and aesthetic preference: comparing the attention to context of East Asians and Americans2008, Personality and social psychology bulletin 34(9): 1260-1275.-
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Added by: Simon Fokt
Abstract: Prior research indicates that East Asians are more sen- sitive to contextual information than Westerners. This article explored aesthetics to examine whether cultural variations were observable in art and photography. Study 1 analyzed traditional artistic styles using archival data in representative museums. Study 2 investigated how contemporary East Asians and Westerners draw landscape pictures and take portrait photographs. Study 3 further investigated aesthetic preferences for portrait photographs. The results suggest that (a) traditional East Asian art has predominantly context-inclusive styles, whereas Western art has predominantly object- focused styles, and (b) contemporary members of East Asian and Western cultures maintain these culturally shaped aesthetic orientations. The findings can be explained by the relation among attention, cultural resources, and aesthetic preference.Comment: This text is an excellent example of experimental aesthetics and psychology of art: it presents evidence that what seems natural or aesthetically pleasing can differ across cultures. This makes it useful in classes focusing on non-Western art or on the universality vs. relativity of taste. Since the text is focused on the psychology, it will likely be best used as a background reading alongside more philosophical works.
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West, Shearer. The Functions of Portraiture
2004, In: Portraiture, Oxford: Oxford University Press, pp. 43-69.
Comment: A central text for classes on portraiture. Very useful in any classes focusing on non-aesthetic function of art.
Artworks to use with this text:
Anonymous, after an engraving by Simon Van de Passe, Pocahontas (after 1616)
Words painted on a portrait were often important in establishing the authenticity of the likeness, but in this case that claim is misleading, as this portrait was a third-hand image. Moreover, Pocahantos is depicted as white, described as a Christian convert, and principally identified as the wife of John Rolfe.
Jean-Étienne Liotard, Portrait of Maria Frederike van Reede-Athlone at 7 years of age (1755-6)
Because pastel portraits rendered the person both lifelike and seemingly touchable, they potentially had an erotic and fetishistic quality and were collected obsessively. A central text for classes on portraiture. Very useful in any classes focusing on non-aesthetic function of art.
Artworks to use with this text:
Anonymous, after an engraving by Simon Van de Passe, Pocahontas (after 1616)
Words painted on a portrait were often important in establishing the authenticity of the likeness, but in this case that claim is misleading, as this portrait was a third-hand image. Moreover, Pocahantos is depicted as white, described as a Christian convert, and principally identified as the wife of John Rolfe.
Jean-Étienne Liotard, Portrait of Maria Frederike van Reede-Athlone at 7 years of age (1755-6)
Because pastel portraits rendered the person both lifelike and seemingly touchable, they potentially had an erotic and fetishistic quality and were collected obsessively.