Presentation on theme: "A RADIUM OF THE WORD Photographs by Man Ray. the painted and literary portraiture of Mina Loy."— Presentation transcript:
A RADIUM OF THE WORD Photographs by Man Ray. the painted and literary portraiture of Mina Loy
The representation of a person. What is portraiture?
Both of these images fulfill critic Wendy Steiner’s definition of portraiture as a work of art that “render reality” allowing viewers to “feel the actuality and immediacy of the subject” (5). High art versus poor photography?
What makes a portrait a work of art? Steiner says the genre’s guiding conflict is that the portrait “represents a real person whose actuality announces through its title and through ‘individualizing’ detail; at the same time, it presents itself as a work of art—framed, highly structured, of interest ‘in itself’” (5). This question is at the heart of artistic portraiture.
Isn’t the artist’s fidelity to reality and license to aesthetic agenda true of all representational art? In each genre, the artist not only represents reality outside of the painting, but also creates a work of art within the painting’s frame.
What distinguishes portraiture? The subject of the painting is a human being. There is an interpersonal relationship between the artist and the human subject apparent in either the finished portrait or in the painting process.
Scale of artistic justice Portraits are indebted to representation, but the extent to which a portrait represents the human subject versus presenting a verbal/visual portrait itself varies with artistic movements.
“One whom some were following and some were certainly following him, one whom some were certainly following was one certainly working.” “This one was one certainly being one having something coming out of him. This one was one whom some were following. This one was one who was working” (Stein 334). Stein, Gertrude. “Three Portraits of Painters.” Selected Writings of Gertrude Stein. 327-37.
Loy, Mina. “Gertrude Stein.” The Lost Lunar Baedeker: Poems of Mina Loy. 94. Curie of the laboratory of vocabulary she crushed the tonnage of consciousness congealed to phrases to extract a radium of the word
“One whom some were following and some were certainly following him, one whom some were certainly following was one certainly working.” “This one was one certainly being one having something coming out of him. This one was one whom some were following. This one was one who was working” (Stein 334). Curie of the laboratory of vocabulary she crushed the tonnage of consciousness congealed to phrases to extract a radium of the word Comparison Gertrude Stein Mina Loy
“Gertrude Stein,” essay by Mina Loy 1927 and “If I Told Him: A Completed Portrait of Picasso” by Gertrude Stein, published in Vanity Fair 1924. Would he like it if I told him if I told him if Napoleon. Would he like it if Napoleon if Napoleon if I told him. If I told him if Napoleon if Napoleon if I told him. If I told him would he like it would he like it if I told him. Now. Not now. And now. Now. She knew full well how her brain’s slightest act, once it been been deformed by ridicule, would land amidst the literature of her time like a chemical precipitate. She has prodigiously dismantled the raw materials of style, and radically swept clean the literary arena, making new performances possible.
Pascin has passed with his affectionate swagger his air of the Crown in the role of jester The sidelong derby-slanted Bulgar cocked his jet-eye in its immaculate leer, and as a coin, tossed his destiny Jules Pascin, drawing by Mina Loy c. 1923 and “Jules Pascin” 1922.
A naked orientation unwinged unplumed --the ultimate rhythm has lopped the extremities of crest and claw from the nucleus of flight Constantin Brancusi, drawing by Mina Loy c. 1924 and “Brancusi’s Golden Bird” 1922.
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