1000 resultados para Alphonsine (1829-1883) -- Portraits


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scanned in two pieces and joined, entire image with mount (slightly cropped, but no loss of information or image) = 1of2; 1200 dpi scan of central portion (portraits) without mount = 2of2

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On cover: Portraits and memoirs of the most illustrious personage s of British history...Fourth edition. With an entirely new set of plates, and sixty additional subjects, completing the work to the present period.

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"A sketch of Carl Schurz's political career, 1869-1906, by Frederic Bancroft and William Dunning": v. 3, p. [311]-455.

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Most of the plates are printed on both sides.

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Portraits: Hector Berlioz. Franz Liszt. Charles Gounod. Victor Massé. Antoine Rubinstein.--Souvenirs: Une traversée en Bretagne. Un engagement d'artiste. Georges Bizet. Louis Gallet. Docteur à Cambridge. "Orphée." Don Giovanni--Variétés: La defense de l'opéra-comique. Drame lyrique et drame musical. Le théâtre au concert. L'illusion wagnérienne. Le mouvement musical. Lettre des Las Palmas.

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"Prilozhenīe k zhurnalu 'Russkai͡a︡ myslʹ."--At head of title.

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In this paper I analyse UK artist Alison Jones’ sonic interventions Portrait of the Artist by Proxy (2008), Voyeurism by Proxy (2008) and Art, Lies and Audio Tapes (2009). In Portrait of the Artist by Proxy, Jones – who, due to deteriorating vision, has not seen her reflection in a mirror in years – asks and trusts participants to audio-describe her own image back to her. In Voyeurism by Proxy, Jones asks participants to audio-describe erotic drawings by Gustav Klimt. In Art, Lies and Audio Tapes, Jones asks participants to audio-describe other artworks, such as W.F. Yeames’ And When Did You Last see Your Father?. In these portraits by proxy, Jones opens her image, and other images, to interpretation. In doing so, Jones draws attention to the way sight is privileged as a mode of access to fixed, fundamental truths in Western culture – a mode assumed to be untainted by filters that skew perception of the object. “In a culture where vision is by far the dominant sense,” Jones says, “and as a visual artist with a visual impairment, I am reliant on audio-description …Inevitably, there are limitations imposed by language, time and the interpreter’s background knowledge of the subject viewed, as well as their personal bias of what is deemed important to impart in their description” . In these works, Jones strips these background knowledges, biases and assumptions bare. She reveals different perceptions, as well as tendencies or censor, edit or exaggerate descriptions. In this paper, I investigate how, by revealing unconscious biases, Jones’ works renders herself and her participants vulnerable to a change of perception. I also examine how Jones’ later editing of the audio-descriptions allows her to show the instabilities of sight, and, in Portrait of the Artist by Proxy, to reclaim authorship of her own image.

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Handwritten correspondence on verso covered over with pasted black paper

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Digital Image

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Digital Image