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Only a few artifacts discovered in Lithuania can be considered as examples of portable art from the Final Palaeolithic period. Three of them were found in the Neris river valley in central-eastern Lithuania: an engraved slate pebble from the Eiguliai 1? site, a notched blade from the Skaruliai 1 site, and a flint "figurine" from the Vilnius 1 site. Discovered by Rimutė Rimantienė and her father Konstantinas Jablonskis, these three finds were the first and for many years the only artifacts underpinning the discussion of art from the Lithuanian Final Palaeolithic. The debate on the tentative function of these items, initiated by Rimantienė, is reviewed in this study before presenting the results of the latest research on the subject between 2012 and 2017, carried out using a range of methods: visual examination, comparative analysis with other archaeological finds and reconstructed prehistoric tools, surface analysis under a microscope. The functional interpretation proposed as a result of these investigations in two cases disproves the identification of these artifacts as portable art. [ABSTRACT FROM AUTHOR]

The primary focus of this study is a series of engraved portraits of John IV produced between 1641 and 1645. Firstly, a close analysis is made of the iconographic, allegorical and emblematic features of these images. Attention is likewise paid to their historical precedents, and parallels are drawn to other media such as painting and the staging of the living presence of the king at festivals. In addition to a searching study of these images, this article also explores two fur - ther themes: (a) the relationship between the images and the broader political discourse that accompanied the restoration of the Portuguese monarchy in 1640, which in turn (b) provides a foundation to address the reception of the portrayal of John IV. [ABSTRACT FROM AUTHOR]

Boat engravings represent one of the most recurrent and characteristic themes in Gobustan rock art. From a stylistic point of view informed by preliminary studies, it seems that boat figures have been engraved over a long span of time, suggesting the importance of the aquatic environment of the past. Today Gobustan is a semi-desert region facing the Caspian Sea, which has shaped the area during the millennia. Petroglyphs and transgression and regression movements of the sea have deeply influenced the landscape of Gobustan. Therefore the studied different boat engravings in Böyük Daş, one of the five rock art sites in Gobustan, for a deeper understanding and the kinds of relationship that existed between humans, sea-landscapes and the engraved figures. [ABSTRACT FROM AUTHOR]

Cross-domain visual data matching is one of the fundamental problems in many real-world vision tasks, e.g., matching persons across ID photos and surveillance videos. Conventional approaches to this problem usually involves two steps: i) projecting samples from different domains into a common space, and ii) computing (dis-)similarity in this space based on a certain distance. In this paper, we present a novel pairwise similarity measure that advances existing models by i) expanding traditional linear projections into affine transformations and ii) fusing affine Mahalanobis distance and Cosine similarity by a data-driven combination. Moreover, we unify our similarity measure with feature representation learning via deep convolutional neural networks. Specifically, we incorporate the similarity measure matrix into the deep architecture, enabling an end-to-end way of model optimization. We extensively evaluate our generalized similarity model in several challenging cross-domain matching tasks: person re-identification under different views and face verification over different modalities (i.e., faces from still images and videos, older and younger faces, and sketch and photo portraits). The experimental results demonstrate superior performance of our model over other state-of-the-art methods. [ABSTRACT FROM AUTHOR]

A printed portrait sounds like an oxymoron: black and white and bereft of the illusionism that painted portraits used to trick the eye, did printed portraits actually have any stakes in the game of establishing identity, or were they hamstrung by their medium? Although there certainly were prints that doggedly aimed to identify the sitter, many early modern printed portraits did not make rigorous claims to positive identification, but floated in the space between prototype and identity. From the confluence of new materials and new audiences brought about by print emerged new faces and new uses for them: character heads in genres such as physiognomies and cosmographies began to reflect the results of observation. Mid-sixteenth-century physiognomies, books that coached viewers how to read the profiles of their friends and neighbours, aspired to present empirical knowledge to their readers. Despite the tightrope they tread between mimesis and idealization and their heavy reliance on convention, early modern prints were confident about their ability to cue observations and calibrate sightings; and their organizational aptitude should not be overlooked. Game changers in shaping disciplinary activity related to empirical experience, generic portraits, as this essay will argue, developed skills like visual acuity. [ABSTRACT FROM AUTHOR]

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Realistic pictures, whether paintings, photographs or rendered images of models, are traditionally obtained using classical perspective projection. Here 1 focus on pictures of people and discuss evi-dence suggesting that, for best results, full-length realistic-looking portraits should be produced by combining multiple viewpoints. 1 test this prediction experimentally and find that full-length portraits look more compelling if appropriate multiple viewpoints are chosen. 1 notice that multi-viewpoint portraiture has likely been used since the Renaissance, although no explicit mention of it is found in the literature. [ABSTRACT FROM AUTHOR]

The article offers the author's view regarding the Bow porcelain factory in Chelsea, Great Britain. The author reflects on the engraved portraits from 1780s, and 90s that were published in the "European Magazine" including Thomas Frye whose portrait appeared alongside that of Thomas Hollis, a revolutionary philosopher, and a rich collector. The author mentions that the portraits were engraved by William Bromley in 1784.

The ten portraits discussed here are interesting not only for their subjects, but as examples of the art of printmaking. None of them is commonly to be encountered, and several of them are extremely rare. Niccolò Nelli's engraving of the Neapolitan Massimo Troiano (1568) is one of the very earliest engraved portraits of a composer. Georg Friedrich Schmidt's engraving of Handel, one of five lifetime portrait prints of the composer, was considered by Sir John Hawkins to be the best; it was printed in only a handful of impressions. The portrait of Conrad Friedrich Hurlebusch by Pieter Antony Wakkerdak is a beautiful example of the mezzotint technique. The famous Delafosse portrait of the seven-year-old Mozart and his family is shown here in a proof before letters, one of only two such impressions known. The musical prodigy William Crotch is depicted at the age of three, playing the organ. Thomas Rowlandson's etching of The Polish Dwarf Performing Before the Grand Seigneuris a portrait of an actual person, the violinist Joseph Boruwlaski. Aglaé Quenedey's etching and aquatint of the pianist Daniel Steibelt is an example of the "physionotrace", a likeness produced through the use of a machine similar to a large camera oscura. Hector Berlioz was portrayed by the great etcher Alphonse Legros toward the end of the composer's career, when his health was on the decline. The caricature of the French pianist Raoul Pugno is from the cover of a printed menu for a dinner held in his honor in 1897. Joseph Joachim, in an atmospheric etching by Ferdinand Schmutzer, is shown in the last year of his life, playing a duo with the Baroness Alexandra von Keudell. [ABSTRACT FROM AUTHOR]

The article discusses the legacy in Europe of the literary portrait of the Aztec king, Moctezuma the Second, by French royal cosmographer, André Thevet as image of the ruler became inconsistent and varied in the continent during the 16th and 17th century. A monarchist rendition was applied by Thevet in his work which ultimately supported missions in the Americas by Spain. Early visualizations of Moctezuma paved the way for more theatrical and essentializing portrayals even though European portraits of him were based from traditions of biographical portraiture.

The article discusses the effect of scientific understandings of an era on its portraiture. It traces the history of portraiture in the 18th and 19th centuries, when depictions of human attributes were mediated by theories purporting to trace intelligence and character in physiognomy. It notes that early 20th-century portraits were governed by abstraction and reflected developments of physics, mathematics and psychology that informed modernism. It cites digitization, which in the 21st century allows conveying of information through minute bits of data, noting that this affects the idea of identity. It cites digital manipulation of photographs by artist Nancy Burson and works by artists Iñigo Manglano-Ovalle and Marc Quinn, whose portraits consist of genetic code rather than image.

The article provides information on the works of English engraver Sir Robert Strange in 1750. Strange has published and dealt his prints from his lodging and importing work from Paris and Rome while setting out to establish as a leading engraver of historical figurative subjects. A brief historical overview of Strange's historical prints, including the portrait dedicated to the Princess of Wales and a picture owned by a collector of French origin, is provided. Moreover, it discusses Strange's concentration on advertising on a series of three or four sales of his collection of painting.

The article provides information on prints published by French artist Claudine Bouzonnet Stella in 1667. A set of sixteen prints called "Les Pastorales" that have been called the chefs d'oeuvre of the pastoral genre in seventeenth-century France, and have been compared to the prints of Stella's uncle Jacques Stella who had been also involved with the print is discussed. It focuses on the quality of the drawing and the excellence of the prints of the scenes and figures of pastoral imagery in the eighteenth century.

The article reports on the print "The annunciation," by Richard Hamilton. Hamilton's "The annunciation" is a digital ink-jet print which was created from a number of photographic sources. It examines the relationship of photography to digital printmaking. It is described by Hamilton as a direct response to the great "Annunciation" fresco of Fra Angelico. It also includes a gallery interior or a depicted wall with an internal image of a photo-realistic painting of a seated nude female as its secondary image.

The article focuses on the works of Hanns Lautensack as a woodcut printmaker. It is stated that Lautensack was known for his etched landscapes inspired by the works of the Danube School and for his portraits of a number of Nuremberg and Viennese dignitaries. It cites several woodcuts by Lautensack listed in Hollstein including an author-portrait of the humanist Johannes Aventinus, an illustration to a Thurnier Buech showing "Duke Heinrich the Younger as a Standard-bearer", and a unique impression of a "Great Flood."

This essay is presented on the issue of political representation in the early years of the French Revolution through the perspective of a chain of deputies to the National Assembly. It is inferred that the prints influence the language of portraiture to create a balance between the representation of a series of individual men and a combined body politic. The prints are also said to encourage political participation and judgment from viewers.

The article explores the anthology "Florilège des Amours de Ronsard," a collection of poems by Pierre de Ronsard accompanied by lithographs created by artist Henri Matisse. It notes that the work was created as a book and intended to be read, however, it is generally experienced as art work viewed as separate museum pieces. Recurrent motifs are discussed and include flowers and portraits of women. The author discusses Matisse's interpretation of the Ronsard poems to present his own view of love, beauty, life, and death.

Copyright of Musique, Images, Instruments is the property of Editions du CNRS 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 differences in prints and in the drawing of St. Antony of Padua by Guercino, known to be a natural painter and compulsive draughtsman who lived during the 16th- to 17th-century. Accordingly, Guercino has made only two prints, the etchings of St. Antony of Padua, Half-length and The Infant St. John the Baptist Seated in a Landscape. His etching of St. Antony of Padua, however, has risen several issues as his drawing in an American private collection and his prints have differed greatly. One cited difference is that, the engraved saint is allegedly set further back in space, more as he appears in the print. Another difference is that, the proportions of the image of the St. Antony look marginally taller in format than the drawing.

New teachers, who are attempting to transition from the role of learner to that of teacher, have to overcome so many aspects of common sense that creating knowledge through reflection seems overwhelming. One way to understand common sense and its hold over us is to view it in relation to another perspective. As such, this study used poetic portraiture and focused on new teachers who were learning to teach. As a researcher, when I consider the new teachers whom I have known, I envision a gallery of portraits. Much like that in a museum, each portrait is showcased to be viewed alone, for composition and aesthetic qualities, and in a grouping by artist, topic, or design; yet, each portrait is unique, portraying an individual's strength, frailty, passion, or fear. Poetic portraiture uses inquiry research to generate and confirm the validity of the linguistic portraits created. Built into the design of this study was a desire to accurately depict new teachers as they learn to teach. [ABSTRACT FROM AUTHOR]

The article provides information on the portrait of member Louis Tocqué of the royal academies, engraved by artist Louis-Jacques Cathelin. When Tocqué died in 1772, his wife Marie-Catherine Pauline Nattier commissioned Cathelin to engrave her husband's portrait. In March 1773, Madame Tocqué presented a framed impression to the Académie Royale in Paris and at her death, the institution purchased the plate. Meanwhile, Cathelin's engraved portrait of 1773 was based on an earlier portrait of Tocqué and attested to the artist's training and pedigree.

The article presents information on the restoration technique through paper splitting in reconstructing historical prints. The restoration technique has been published by Michel Hennin in 1856, in Paris France. The method of paper splitting technique is the splitting of one sheet of paper into two thinner sheets of the same dimension. Several artists have performed the paper slitting method in restoration of the old portraits including William A. Baldwin, restorer of the engraved portrait of Henri IV; Alfred Bonnardot, and the infamous German restorer, Max Schweidler.

The author presents the revisited edition of his book "The Print in Stuart Britain 1603-1689." Here, the author presents some improvements to the published text. He is also grateful to a number of correspondents who have pointed out mistakes and sent him new information. One of the correspondents that he gave thanks is Katherine Gibson, the author of a thesis at the Courtauld Institute on the portraiture of Charles II, who has passed him much new information that she has discovered in the Public Record Office (PRO) in Great Britain.

The identity of the imperial portrait in the Kanellopoulos Museum in Athens has baffled modern viewers. The portrait lacks an inscription and the provenance is unknown, although it is probably from the Roman East. The portrait bears the imperial attribute of a corona civica yet its features do not closely resemble those of any emperor. Comparison with other provincial imperial portraits in sculpture and on coins reveals that deviation from Roman canonical types is common, a finding also supported in the ancient literature. Stylistic analysis places the portrait in the early 2nd century, so the Kanellopoulos Emperor is probably Trajan. [ABSTRACT FROM AUTHOR]

The article takes a look on the work of artist Giulio Campagnola. He first achieved his fame for his ability to copy. He copied the main figure in what is agreed to be one of his earliest prints called Saturnus. It stresses that the figure is taken from the river-god recumbing in the lower field of tondo intaglio cornelian. It cites that Giulio has failed to recognize the figure in its original context as a river-god, but he has abstracted the figure from its original context and it did not need to preserve its original iconography. Moreover, the dating of Giulio's æuvre has been based on the date of 1509 and it is inscribed on his work called Astrologer.

The article discusses the life and works of artist Blanche Mary Grambs. She was born in Beijing, China in 1916 and was raised in Tian-Jing, a small city divided into quarters that were each occupied by different Western business interests, embassies, and soldiers. Her interest in art had emerged at the age of thirteen, when she began participating in informal sketch group. She spent her free time drawing portraits of peasants who lived in the Chinese section of the city. Her facility with pastel had caught the attention of artist Pearl Eastham and encouraged her to apply to the Art Students League in New York. Several prints of Grambs depicting events of the Great Depression are offered.

The article offers information on the sculptural works and prints of artist Antonio Canova. Accordingly, Canova was the first artist who introduced the practice of publishing print version of his works through engraving which may depict different aspects and concepts. Various artist who were selected, controlled and supervised by him created the print version of his works, which require demanding and elaborate processes. The author adds that the publication of the prints of Canova provided him an opportunity to express his admiration and gratitude toward his fellows through the inscription incorporated in their artworks.

The article probes on the authenticity of Jan de Bisschop's "Map of Rome," an Italianate landscape and town view which was engraved by J. Lamsvelt and was presented in a different exhibition. Michiel Plom proposes that de Bisschop's work was based from the "Panorama of Rome" of Theodore Matham. It also questions the differences that had occurred between the two masterpieces particularly the shape of Bernini's belfry, the position of the Obelisco Flaminio on the Piazza del Popolo and the course of the Tiber.

The article provides information on the oriental portraits of Netherlandish painter and engraver Aegidius Sadeler. These portraits were commissioned by Sadeler for foreigners coming to Prague, including portraits based on sketches sent to him from abroad. The portraits reveal individual characteristics demonstrated in the compulsory oriental dress and in facial character as representing their Oriental culture. It notes that Sadeler executed many prints based on the paintings and drawings of Bartholomeus Spranger, Hans von Aachen, and Vrederman de Vries.

The article focuses on the exhibition of Agathe Sorel's artworks with accompanying catalogue by Tessa Sidey and Martin Hopkinson entitled, Agathe Sorel: Projections in Space and Time which both displayed the work and collection of an artist on October 2-November 29, 2004 in Bradford, England. Sorel's contribution has been influenced by the linear prints of Pablo Picasso, Georges Braque and her mentor S.W. Hayter and created with three-dimensional objects to articulate space, bearing the artist's marks, engraved, drawn and painted. Sorel's work was mostly abstract but her titles hint at personal meanings