LEADER 03504oam 22004572 450 001 9910799937003321 005 20200110112913.0 010 $a0-429-58125-4 010 $a0-429-58315-X 010 $a0-429-19937-6 035 $a(CKB)4100000009930692 035 $a(MiAaPQ)EBC5982078 035 $a(OCoLC)1128379642 035 $a(OCoLC-P)1128379642 035 $a(FlBoTFG)9780429199370 035 $a(EXLCZ)994100000009930692 100 $a20190905d2019 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aPortraits and philosophy /$fedited by Hans Maes 210 1$aNew York, NY :$cRoutledge,$d2019. 215 $a1 online resource (343 pages) 225 1 $aRoutledge Research in Aesthetics 300 $aIncludes index. 311 $a0-367-18940-2 327 $aPortraiture portrayed / Ivan Gaskell -- Truth and empathy in the portraits of Kokoschka / Jenefer Robinson -- Respecting photographic subjects / Macalester Bell. 330 $a"Portraiture is one of the most well-established genres in art. One finds portraits not just in museums and galleries, but also in newspapers and magazines, in the homes of people and in the boardrooms of companies, on stamps and coins, and on millions of cell phones and computers. Despite its huge popularity, however, portraiture hasn't received much philosophical attention. While there are countless art historical studies of portraiture, including self-portraiture and group-portraiture, contemporary philosophy has largely remained silent on the subject. This book brings together philosophers and philosophically minded art historians with different areas of expertise to discuss this enduring and continuously fascinating genre. The essays in this volume are grouped into thematic sections, each of which is guided by numerous research questions relevant to the genre of portraiture. Part I explores the boundaries of portraiture. What makes something a portrait? In what way is it similar to and different from other genres? How have artists pushed the limits and conventions of the portraiture? How does the recent vogue of selfies relate to the tradition of self-portraiture? Part II responds to questions about empathy and emotion in portraiture. How do artists express attitudes and emotions towards sitters of their portraits? Why are we moved by certain portraits and not so much by others? In Part III, the contributors address questions about fiction and depiction. Do portraits fall within the domain of non-fiction? Can authenticity in portraiture be achieved if portraits necessarily involve posing? Finally, Part IV grapples with the following question: What are the moral dimensions of the relation between artist, sitter, patron, and audience? Portraits and Philosophy tangles with deep questions about the nature and effects of portraiture in ways that will substantially advance the scholarly discussion of the genre. It will be of interest to scholars and students working in philosophy of art, history of art, and the visual arts"--$cProvided by publisher. 410 0$aRoutledge research in aesthetics. 606 $aPortraits$xPhilosophy 615 0$aPortraits$xPhilosophy. 676 $a704.94201 702 $aMaes$b Hans$f1975- 801 0$bOCoLC-P 801 1$bOCoLC-P 906 $aBOOK 912 $a9910799937003321 996 $aPortraits and philosophy$93873617 997 $aUNINA