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The article highlights a trend in Russian and Western painting concerning the boundaries between genre and portraiture. In the article the author refers to such pieces of art as a mixed ‘everyday genre with portraiture’, though some other definitions are also taken into account. The article contains a historical survey of this mixed genre encompassing times from the Late Middle Ages to the 19th century. The author focuses on the 19th century realism as a sum of the earlier European pictorial art manifesting to be the Protorealistic tendency. A special subject matter of the article is the psychological and social identity of the depicted characters. Another issue discussed is a fate of the ‘everyday genre with portraiture’ mix in the context of the terminal stage of the academic genre system and the widening stylistic range in the 19th-century fine art.

The purpose of the article is to analyse the use of fair plots in the works of Pieter Bruegel the Elder, to reveal their symbolism in presenting the panorama of contemporary society. The methodology of the work consists in the application of such scientific research methods as: historical - when examining the artist's paintings in the context of the historical era in which he lived and worked; analytical, which made it possible to single out works with a fair plot from the artist's creative heritage; synthetic, thanks to which observations acquired through analysis became the basis for formulating a general conclusion; comparative art analysis is applied to reveal the specifics of Bruegel's genre painting depicting fairs. The scientific novelty of the work consists in the actualisation of the study of the work of the Dutch artist Pieter Bruegel the Elder, which presents fair scenes that enabled the artist to comprehensively present the motley society of that time in an artistic manner specific to the artist. Conclusions. Pieter Bruegel the Elder's paintings are filled with hidden meaning, the depicted events are connected with history, contemporary politics, reflect the thoughts and ideas of the author, that is, they are symbolic. Bruegel is one of the founders of Dutch genre painting - a direction of fine art in which the painter's attention is devoted to ordinary, everyday, multifaceted life, in the centre of which are people. Using fair plots, the artist discovered new themes and images for art. With the help of fair scenes, Bruegel depicted a generalised picture of the life of society, recorded the traditions and daily life of his contemporaries. The artist's paintings are historical documents that make it possible to track the activities of his compatriots. Pieter Bruegel the Elder, thanks to his creative, innovative abilities, a keen sense of the urgent problems of his people, acquired many followers who copied his paintings, in particular from fair themes, developed his plots. For the artist, the fair plots became a conceptual basis that contributed to the comprehensive artistic reproduction of the national characteristics of the Dutch people, as well as a means of figuratively embodying his creative ideas. The fair theme of the paintings allowed the artist to depict the peculiarities of the modern multifaceted life and activities of the Dutch people, to demonstrate the transformational processes that took place among different layers of the population, to present his own vision of the panorama of the contemporary society, the miniature format of which was the fairs. [ABSTRACT FROM AUTHOR]

This article investigates the visual representation of Irish Catholicism in mid-nineteenth century genre painting through a close analysis of St Patrick's Day (1856), a picturesque genre painting by the Scottish artist Erskine Nicol. In doing so, it will explore why artists like Nicol, Frederic William Burton and others chose to equate Irish rural Catholicism with romantic ideas of nature and outdoor 'primitive' worship. This tradition of representation will be examined in the context of contemporary Catholic institutional expansion across Ireland following the removal of the legal disabilities known as the 'penal laws' in 1829, and the parallel emphasis on the church building as the location of worship, the sacraments, and Catholic devotional life. To date, scholars of Nicol's oeuvre have tended to focus on Nicol's representation of an Irish national 'type' or 'character'. My reading of Nicol's St Patrick's Day , however, aims to extend the art historical investigation of the signification of the Irish stereotype in Victorian painting, and to examine Nicol's painting within the interwoven frameworks of national identity and religious identity. This analysis of St Patrick's Day is rooted in a consideration of both genre and historical context, facilitating new insights into ideas of 'peasant' or 'primitive' Catholicism as central to mid-Victorian representations of the Irish 'national character'. [ABSTRACT FROM AUTHOR]

The article summarizes the emergence of schilderachtigheid in the sense of the picturesque in 17th-century Dutch landscape paintings. Topics discussed include rhyparographic landscape idiom in paintings by Jan van Goyen and other 17th-century Dutch painters, innovations in tronies, landscapes and genre paintings in the works of artists like Adriaen Brouwer and Jan Porcellis, and atticism as a style principle.

This paper utilizes Jean-Honoré Fragonard’s paintings, housed in collections across Europe and North America, as primary source material. Employing methods from art history, social art history, literary analysis, and intellectual history, the study aims to explore the connections between Fragonard’s artistic philosophy, the social context of 18th-century France, and the cultural trends of the time. The paper investigates Fragonard’s response to Enlightenment and rationality through his paintings. The results indicate that, situated in an era oscillating between Rococo and realistic styles, Fragonard’s works provide a glimpse into the social and cultural milieu of late 18th-century France. Driven by the spirit of reason, Fragonard created a series of landscapes and genre paintings. Simultaneously, his sensitivity to emotions rendered his works vivid and dynamic, embodying the collaborative interplay of sensibility and reason. [ABSTRACT FROM AUTHOR]

This paper examines Dutch printmaker Jan Luyken's visual strategy represented in his emblem book, Des Menschen Begin, Midden en Einde (1712). As a poet as well as a printmaker, Luyken wrote a poem in this book and produced image prints by himself. Jan Luyken has long been omitted from surveys of Dutch art due to the absence of archival evidence about his life and works. The themes that Luyken employed in his prints, such as parents' virtue, mother and child, and children's play, and his genre style, including doorsien, are all examples of contemporary pictorial devices of genre painting prevalent in Luyken's time. An analysis of the similarities between Des Menschen Begin, Midden en Einde and contemporary genre paintings demonstrates that Luyken's prints coincided with the development of Dutch Golden Age art. Luyken consciously employed a strategy of incorporating trendy interior items and idealized figures to make his pieces more attractive to his contemporaneous buyers. This is contrary to evaluations of him as an outdated artist indifferent to the contemporary art world. [ABSTRACT FROM AUTHOR]

This article examines descriptions of persons, objects or scenes in three novels, Virginia Woolf’s To the Lighthouse, Margaret Atwood’s The Handmaid’s Tale and Alice Thompson’s The Book Collector, which either straightforwardly or obliquely evoke various painting genres. I argue that although ekphrasis typically names nowadays “the verbal representation of visual representation” (James Heffernan), certain descriptions beg for a revision of the modern category of ekphrasis. My present corpus includes both ekphrases ‘proper’ and descriptions which evoke, without referring to, portraits, still lifes or genre paintings. I call the latter category readerly reverse ekphrasis, to emphasise the reader’s co-operation with the author – during the reading process – to determine, beyond the painterly affinities of the description, its structural makeup as ekphrasis.

Bunshō Zōshi is a tale of love and social ascent. This tale, composed during the Muromachi period, has had many illustrated editions, in both handwritten scrolls and printed books, from the beginning of the 17th century until the middle of the 18th century. Among these anonymous illustrated scrolls, one set stands out for its unique depiction of an aristocrat in disguise. The representation of his body, naked and disguised, show the whole social hierarchy underlying the story. The study of this set of scrolls is thus an opportunity to highlight the role of the representation of the body in narrative painting, and to link it to both the genre painting that emerged in the sixteenth century and to the new attention paid by painters to the naked body.

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The article deals with the art reviews of F. M. Dostoevsky. Based on the analysis of the articles “Exhibition at the Academy of Arts for 1860–61” and “About the Exhibition” published in “A Writer’s Diary” for 1873, the aesthetic criteria for Dostoevsky’s assessment of genre, historical, portrait and landscape Russian painting are determined. The author of the article reveals the most important criteria outlined by Dostoevsky: the expression of the author’s ideal that distinguishes a painting from mirror reflection and photography; the artist’s independence from direction, excessive naturalness, theatricality and “excessive showiness”. Particular attention is paid to Dostoevsky’s analysis of paintings by V. N. Jacobi, V. G. Perov, V. E. Makovsky, N. G. Sсhilder, M. P. Klodt, I. E. Repin, A. I. Kuindzhi, N. N. Ge, whose work aroused genuine interest of the writer and prompted reflections on artistic truth in art. The characters of the paintings as presented by Dostoevsky come to life, acquire a “history of feelings”, a psychological appearance and a voice. The work distinguishes between such concepts used by Dostoevsky to analyze contemporary painting for the writer in the light of “realism in the highest sense”, such as “natural truth”, “real truth”, “stage truth”, “artistic truth”, “higher truth”.

Copyright of Erciyes Akademi is the property of Erciyes Universitesi Sosyal Bilimler Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Goya is the property of Fundacion Lazaro Galdiano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Genre painting, also called genre scene or “petit genre”, represents aspects of everyday life by portraying ordinary people engaged in common activities. Jean-Baptiste Greuze (1725–1805) and JeanSiméon Chardin (1699–1779) are probably the most famous painters specialized in this genre in the eighteenth century in France. It is striking that often the characters in their canvases are deeply absorbed in ordinary activities, forgetting the surrounding world. The purpose of our paper is to illustrate the representations of self-effacement in French painting of the eighteenth century, based on the analysis of some paintings by Greuze and Chardin and also on theoretical and critical texts of their time. We draw as well a parallel between the work of Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot, and the theory of the flow of the psychologist Mihály Csíkszentmihályi, to show their common points considering always their appearances in the genre paintings.

This paper examines Dutch printmaker Jan Luyken’s visual strategy represented in his emblem book, Des Menschen Begin, Midden en Einde (1712). As a poet as well as a printmaker, Luyken wrote a poem in this book and produced image prints by himself. Jan Luyken has long been omitted from surveys of Dutch art due to the absence of archival evidence about his life and works. The themes that Luyken employed in his prints, such as parents’ virtue, mother and child, and children’s play, and his genre style, including doorsien, are all examples of contemporary pictorial devices of genre painting prevalent in Luyken’s time. An analysis of the similarities between Des Menschen Begin, Midden en Einde and contemporary genre paintings demonstrates that Luyken’s prints coincided with the development of Dutch Golden Age art. Luyken consciously employed a strategy of incorporating trendy interior items and idealized figures to make his pieces more attractive to his contemporaneous buyers. This is contrary to evaluations of him as an outdated artist indifferent to the contemporary art world.

Copyright of Ebisu is the property of MAISON FRANCO-JAPONAISE, Bureau français and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Philostrato is the property of Epiarte, S.L. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyzes the scientific collection owned by San Juan de Ribera, Archbishop of Valencia between 1569 and 1611. Rather than adopt a traditional perspective that treats the possession of scientific and artistic objects as a mere catalog, this article considers the phenomenon of Ribera’s collecting as an intellectual construction and ideological discourse. In this way, it combines an examination of Ribera’s 1611 post mortem inventory, his personal library and the 1615 post mortem auctions of his possessions with quotes of Fray Luis de Granada’s Introducción del símbolo de la fe (1583). This catechetical treatise is fundamental for understanding that San Juan de Ribera’s ob-jects of naturalia and artificialia, as well as his genre paintings, could accommodate religious readings about God’s creative activity, reflecting his goodness and wisdom in the natural world.

Copyright of Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the painting entitled "Scène d'atelier," by nineteenth-century artist Alexandre Antigna. Topics covered include Antigna's decision to depict in his painting an artist with an unfinished painting of an angel and monk, the painting's representation of the issues facing artists at the time, and how the work reflects Antigna's own career shift from religious art to genre painting.

This article highlights a time when Northern artists were no longer allowed to paint or carve holy images as they had done during the Middle Ages and the Renaissance. The Catholic Church banned this art form due to the interpretation of the second commandment: 'Thou shalt make no graven image of thy God'. Genre paintings were the outcome of this banishment and a way to represent and depict an everyday life scene in a Dutch seventeenth-century household. The paintings would show the best of a situation and also its worst counterpart in almost a mocking comical way. By exploring these paintings, we come to understand how women were fed propaganda into becoming a better housewife, mother and bearing the weight of physical nourisher to all. Although amusing, the images have been celebrated and considered legendary during the Golden Age of the Netherlands. While taking a closer look at genre paintings and the everyday practices of the Dutch household, we can connect patterns to how these paintings affected women and influenced their domestic duties in the Golden Age. [ABSTRACT FROM AUTHOR]

Genre painting, also called genre scene or "petit genre", represents aspects of everyday life by portraying ordinary people engaged in common activities. Jean-Baptiste Greuze (1725-1805) and Jean- Siméon Chardin (1699-1779) are probably the most famous painters specialized in this genre in the eighteenth century in France. It is striking that often the characters in their canvases are deeply absorbed in ordinary activities, forgetting the surrounding world. The purpose of our paper is to illustrate the representations of self-effacement in French painting of the eighteenth century, based on the analysis of some paintings by Greuze and Chardin and also on theoretical and critical texts of their time. We draw as well a parallel between the work of Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot, and the theory of the flow of the psychologist Mihály Csíkszentmihályi, to show their common points considering always their appearances in the genre paintings. [ABSTRACT FROM AUTHOR]

Copyright of Philostrato is the property of Epiarte, S.L. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims to examine some examples of Diego Velázquez’s oeuvre that could be interpreted as genre violations. From a metapictorial point of view, his Sevillian bodegones will be elucidated neither as “pictures of everyday life” nor as polysemic, emblem-like images, but rather as mimetic “inventions”. Despite its significance for the young Velázquez, still life would decline as an independent genre in his maturity. Yet much of what he learnt from its practice re-emerged purified in his “fables” or “history paintings”. With all these works, Velázquez would surpass the concept of simple imitation to the extent of developing that of dissimulatio artis as the true end of his painting.

This article discusses drinking practices and conceptions of drunkenness in the sixteenth- and seventeenth-century Low Countries from the perspective of the rederijkers or guildsmen who would regularly gather together to practice the vernacular art of rhetoric. The essay surveys the regulations and accounts of the chambers of rhetoric in which these gatherings took place, as well as the literary texts the rederijkers produced (including poetry, songs and theatre plays). It also examines the intersections with contemporary genre painting. The central argument of this paper is that drinking, and even drunkenness, was an essential aspect of rederijker culture and the urban middling groups represented by this culture. This argument nuances the influential thesis of the pervasiveness of a Dutch burgermoraal or bourgeois morality. Even though they created comical caricatures of drunkards, rederijkers indulged in heavy drinking themselves. These guildsmen were well aware of the need for moderation, but their regulations and literary texts go beyond moral didacticism and often reveal double layers and self-parody.

In the present article let's sense beforehand Jan Baptist de Wael's engraving that it must be put in relation with the work of Murillo "Four Figures on a Step", belonging to the Kimbell Art Gallery. We enter also in some form the process of creation of the image, of the history narrated in the masterpiece, according to the mind of the sevillian artist. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of the National Gallery in Prague / Bulletin Národní Galerie v Praze is the property of National Gallery in Prague and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos Dieciochistas is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to list the possible associations that the painting depicting seven women fighting for a man's trousers by the Antwerp genre painter Hiëronymus Janssens (1624–1692) may have raised in the minds of the seventeenth-century (Antwerp) audience, by pointing out noteworthy iconographic deviations in Janssens' representations of the theme, and discussing the familiarity of his Antwerp audience with this theme. In view of the visual and the cultural-historical tradition of the topic, various interpretations and representations of the theme are linked to Janssens' painting. It turns out that Janssens was not only inspired by the contemporary printing tradition, but also that he has mainly stressed the comical and erotic aspects of the topic. It is argued that Janssens' choice to depict this amorous/erotic topic fits within the scope of his œuvre. In general, the case study provides us with a beautiful example of the exchange of visual imagery between French prints and Southern Netherlandish genre painting in the seventeenth century. [ABSTRACT FROM AUTHOR]

Copyright of Revista 180 is the property of Revista 180 and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background: In Korea, there are many traditional foods that have developed along with the country's rich history. In addition, various food cultures have developed through agricultural traditions, ritual ceremonies, and the sharing of affection. Paintings, works of calligraphy, and music demonstrate some of these cultural characteristics of Korean foods. Further research and analysis of Korean food culture using these data sources is currently underway. Methods: This paper focuses on the cultural characteristics of Korean food revealed in paintings from the Chosun dynasty. The 10 most renowned paintings, including the work of Kim Hong-Doh, a representative artist in the Chosun dynasty, will be discussed in relation to the cultural characteristics of Korean food. Results: The results of our analysis of the genre paintings show that the characteristics of Korean food are well portrayed in these paintings in the same manner as Pansori. For example, genre paintings show that food is a symbol of power, which can be used to control people. Food has also been regarded as health supplements and medicine, and people have shared their feelings and affections through food culture. In addition, food contains people's wishes and is used as a medium to communicate with Gods. Conclusion: Beyond the basic value of food in maximizing nutrients and energy, Korean food culture has developed distinctive cultural characteristics through more than 5,000 years of agricultural history. Although the genre paintings analyzed in this paper are limited to a certain era, this paper will serve as a milestone in providing direction for future studies.

This article is taken from the author's presidential address at the annual meeting of the Pacific Coast Branch of the American Historical Association, delivered on August 3, 2018. It explores the structural and personal sources of Japan's surprisingly successful transition, in the decades around 1600, to an urban-centered market economy. Particular attention is devoted to artistic innovation as one indicator of the "climate of change" that enabled radical new choices in a society loosed from the authority of old regimes. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos Dieciochistas is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article deals with the role of illustrations in pictorial magazines in the second half of the 19th century (Světozor, Zlatá Praha, Květy etc.) and with changes in the image-text relationship. It focuses both on documentary and reportage drawings, which formed a significant part of magazine pictures, and on a magazine presentation of reproductions of works of art and the character of their accompanying commentaries. A closer inspection reveals that, despite the apparent dominance of the visual part, magazines still saw their crucial role in the textual part - which concerned not only the published articles but also the presentation of reproductions. The variation in the interaction between the image and the text is one of the most interesting methods of communication between illustrated magazines and their readers. On specific examples, the article illustrates how magazines worked with their pictorial part in connection with the reproduction techniques available and what meaning and content the reproductions could acquire in relation to the text. [ABSTRACT FROM AUTHOR]

This article examines word-image interaction in Enoch Arden (1866), the first gift book of Alfred Tennyson's sentimental poem 'Enoch Arden' (1864) illustrated by Arthur Hughes. I argue that Hughes's illustrations constitute a pictorial commentary that modifies the sentimentality of Tennyson's narrative poem, thus challenging mid-Victorian discourse about the subordination of the image to the word in gift books. The poem appeals to readers' tender feelings by focusing on the self-sacrifice of its eponymous hero, Enoch Arden, whereas the illustrations do so by focusing on Annie Arden, the sailor's wife. While Tennyson is silent over Annie's emotions and struggles -- she is a mere foil to display Enoch's heroism -- Hughes's illustrations make her emotions visible to readers and grant her identities borrowed from contemporary depictions of women in domestic painting. Although these illustrations are not subordinate to Tennyson's poem, they mirror its emphasis on sight and pictorialism, and both reflect contemporary ideological concerns regarding the preservation of the home and the family. Enoch Arden offers a multimedia reading experience where poem and illustrations are on a par in the production of meaning and presents sentimentality as a visual spectacle tied to domesticity. In Enoch Arden, the relationship between sentiment and ethics channels eighteenth-century moral philosophy to construct sentimentality as an introspective and moral form of feeling combining sight and insight. Poem and illustrations invite readers to pass judgment on Annie's involuntary bigamy and thus compel them to take an active part in creating this volume's moral and sentimental tableaux. [ABSTRACT FROM AUTHOR]

An anonymous sixteenth-century painting of the King’s Fountain in the Lisbon Alfama, Chafariz d’el Rei, recently the subject of speculation over its provenance and date, has also been of interest because of its depiction of so many black and white figures together, from all social strata and walks of life and in many (often water-related) trades in a public square. It very obviously suggests that black residents of Lisbon at that time, if originating from the trade in slaves, had been able to make their way as freedmen and women into Portuguese society. With careful reading of the figures in the painting against other written and painted portrayals from the time, the author attempts to deduce if this was an accurate depiction of Lisbon in the 1500s, or whether the painter might have distorted reality to render Lisbon as a ludic or exotic space – or indeed to disparage it. The painter himself might well have come from northern Europe. [ABSTRACT FROM AUTHOR]