"Portraits of an Artist: A Novel about John Singer Sargent is a work of historical fiction based on the life of a brilliant yet troubled artist of the late nineteenth century. A contemporary and associate of famous celebrities such as Henry James, Oscar Wilde, Edward Burne-Jones and Sarah Bernhardt, Sargent's meteoric rise to fame followed by his striking fall from grace, and his retreat to London from Paris, are the tragic underpinnings of his unforgettable career. The stories behind two of his finest paintings, "The Daughters of Edward Darley Boit" and "Madame X", are also explored in context. Told in first-person perspective from the points of view of numerous individuals who figured prominently in Sargent's life, "Portraits of an Artist" is an unforgettable reconstruction of a talented man's search to find meaning in life through art. Highly recommended." -- The Fiction Shelf of the Midwest Book Review "An evocative rendering of the great portraitist, John Singer Sargent, as seen through the eyes of the subjects of his most famous paintings. A tour de force of historical and psychological imagination." --Paula Marantz Cohen, author of What Alice Knew, Jane Austen in Scarsdale "Burns skillfully brings the subjects of his portraits to life, telling their stories in their own voices as the mystery of who Sargent really is, and the culture that both supported and constrained him, is gradually and artfully revealed." -- Laurel Corona, author of Finding Emilie, Penelope's Daughter, The Four Seasons

Inspired to paint or enthralled by the world of portraiture A Little Book of Portraits: Beyond the Canvas accompanies the celebrated Sky Arts Portrait Artist of the Year series and includes sixty-four of the finest portraits painted during the competition with illuminating commentary from the three series judges: Tai Shan Schierenberg, Kathleen Soriano and Kate Bryan. The paintings featured in this book, include portraits of famous sitters, such as Juliet Stevenson and John Humphrys, self-portraits of the artists themselves and commissioned paintings of Hilary Mantel and Sophie Dahl. The judges approach each painting from a different angle and with a unique voice, reflecting their differing specialities within the art world. Between them they uncover the approach, style and effectiveness of each portrait whilst discussing the techniques critical to the success of the painter's brushwork, likeness and perspective. With a wide range of different mediums from oil to charcoal or even soil, the book takes us behind the finished portrait and into the myriad of processes that creates one great work of art. A Little Book of Portraits reveals the skills behind the artist's brush that makes timeless and inventive portraiture.

A Portrait of the Artist as a Young Man is semi-autobiographical, following Joyce's fictional alter-ego through his artistic awakening. The young artist Steven Dedelus begins to rebel against the Irish Catholic dogma of his childhood and discover the great philosophers and artists. He follows his artistic calling to the continent.

In his fascinating survey, art historian Omar Calabrese reveals that self-portraits through the ages are both a reflection of the artist and of the period in which the artist lived. Organized thematically, the author first presents a basic definition of the genre of the self-portrait, interpreting the picture to be a manifestation of self identity, and including examples from an Egyptian tomb painting and pictures on stained glass during the Middle Ages and continuing to modern times. The next chapter focuses on the turning point for the establishment of the genre during the Renaissance when the status of the painter or sculptor was raised from artisan to artist and, as a result, portraits of the artist were considered worthwhile pictures. At first a self-portrait was hidden in a narrative painting: an artist would paint his image as part of a crowd scene, for example, or as a mythological figure. On the other extreme, once the genre was accepted, it was practiced by some artists—Rembrandt, van Gogh, Munch, and Dali, for instance—as almost an obsession. In contemporary art the self-portrait can become a deconstructed genre with the artist hiding or satirizing himself until he nearly disappears on the canvas. Among the 300 pictures featured here are examples by such artists as Albrecht Dürer, Velazquez, Elisabeth Vigée-Lebrun, Ingres, Degas, Toulouse-Lautrec, Gainsborough, Matisse, James Ensor, Egon Schiele, Frida Kahlo, Man Ray, Henry Moore, Robert Rauschenberg, Norman Rockwell, and Roy Lichtenstein. This intriguing book is a fresh way to appreciate the history of art and to understand that a self-portrait is far more complex and meaningful than merely a portrait of the artist.

Many of the sitters in this collection were John Singer Sargents close friends. They are posed informally, sometimes in the act of painting or singing, and it is evident from the bold way they confront us that they are personalities of a creative stamp. Brilliant as these pictures are as works of art and penetrating studies of character, they are also records of relationships, allegiances, influences and aspirations. This volume, and the exhibition it accompanies, aims to explore these friendships in depth and draw out their significance in the story of Sargents life and the development of his art. The book is structured chronologically, with sections arranged according to the places Sargent worked and formed relationships during his cosmopolitan career: Paris, London, New York, Italy and the Alps. The cast of characters includes famous names, among them Gabriel Fauré and Auguste Rodin, Robert Louis Stevenson and Henry James. But the authors also make their point with images of Sargents familiars, such as the artists Jane and Wilfrid de Glehn who accompanied him on his sketching expeditions to the Continent, and the Italian painter Ambrogio Raffele, a recurrent model in his Alpine studies. In such paintings Sargent explored the making of art (his own included) and the relationship of the artist to the natural world. These are examples of an absorbing range of images and personalities, all distinguished in one way or another for their artistry, and all linked by friendship and a shared aesthetic to the central figure of Sargent himself.

Colored pencil painter Alyona Nickelsen reveals how to use the medium to push the limits of realistic portraiture. Colored Pencil Painting Portraits provides straightforward solutions to the problems that artists face in creating lifelike images, and will prime readers on the intricacies of color, texture, shadow, and light as they interplay with the human form. In this truly comprehensive guide packed with step-by-step demonstrations, Nickelsen considers working from photo references versus live models; provides guidance on posing and lighting, as well as planning and composing a work; discusses tools, materials, and revolutionary layering techniques; and offers lessons on capturing gesture and expression and on rendering facial and body features of people of all age groups and skin tones.

Using clear and concise language and in-depth, step-by-step demonstrations, author and renowned artist Mary Whyte guides beginning and intermediate watercolorists through the entire painting process, from selecting materials to fundamental techniques to working with models. Going beyond the practical application of techniques, Whyte helps new artists capture not just the model's physical likeness, but their unique personality and spirit. Richly illustrated, the book features Mary Whyte's vibrant empathetic watercolors and works by such masters of watercolor as Mary Cassatt, Thomas Eakins, Winslow Homer, John Singer Sargent, and Georgia O'Keeffe.

The chief art critic for "The New York Times" gives a painter's-, sculptor's-, and photographer's-eye view of art as he explores museums with some of today's most important artists. Photos throughout.

Draw the best portraits with form and spirit. Drawing techniques from a master! Mau-Kun Yim learned to draw as the Old Masters did and believes that to render the essence of life in portrait drawing, one must continue to pursue the old ways. This philosophy and methodology relies on a holistic approach to observation, analysis and critical-thinking honed through time and patience. • Start with a solid foundation - Classical bust drawing is a must. These lessons aid in constructing volume in your drawing and introduce concepts of structure. • Move on to sketching - The best way to train your observation skills. Anatomy, value and state of mind are the focus of these lessons. • 12 step-by-step tutorials put it all together - Form and spirit combine along with more clearly defined details to bring life and dimension to your portraits. • An extensive gallery of beautifully and classically executed portraits, figures, sketches and busts serves as inspiration.

As women entered the field of cultural production in unprecedented numbers in nineteenth-century France and Britain, they gradually forged a place for themselves, however tenuous, in artistic movements and exhibitions, in academies and salons, and finally in the public imagination. Portraits of the Artist as a Young Woman: Painting and the Novel in France and Britain, 1800-1860 focuses on a decisive period in that process of professional self-invention and maps out the concrete and symbolic roles played by women painters, real and fictional, in the construction of female artistic identity in the aesthetic and the public spheres. Alexandra K. Wettlaufer examines the diverse and complex ways canonical and non-canonical women painters and novelists--including Anne Brontë, Sydney Owenson, Margaret Gillies, Marceline Desbordes-Valmore, George Sand, and Hortense Haudebourt-Lescot--figured and brought forth the radical image of a female subject representing the world. Wettlaufer brings to light a rich and nearly forgotten culture of women's artistic production, allowing us to understand the nineteenth-century in more complex and nuanced ways across the borders of gender, genre, and nation. In her close readings of paintings by women and novels about women painting, she charts the political and cultural resonances of this artistic self-representation, tracing its evolution through themes of "The Studio" (Part I), "Cosmopolitan Visions" (Part II), and "The Portrait" (Part III). By pairing painting and literature in a single study that also considers works from two distinct but closely related cultures, Portraits of the Artist as a Young Woman locates the interpretation of these works in the dialogic context in which they were created and consumed, highlighting aesthetic and political intersections between nineteenth-century British and French art, literature, and feminism that are too often elided by the disciplinary boundaries of scholarship.