Some of these presumably deposed physiognomies appear male, others female, and still others androgynous.
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Willem Dafoe and Robert Pattinson have two of the most mesmerizing — and pleasurably unnerving — physiognomies in movies.
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Noses were reduced to holes, jaws broken beyond repair, eyes blinded, and whole physiognomies blurred by ripped flesh.
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As the catalogue essays by scholar Katy Siegel and Hyperallergic Weekend's John Yau point out, Krasner's fascination with physiognomies in nature coincided with her reading of Symbolist poets like Arthur Rimbaud, and these twin forces informed the breakthrough Little Image paintings in the 1940s.
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Her portraits, history paintings, and genre pieces feature the distinct Baroque brushwork technique built up from a brown ground, using transparent washes for dark areas of hair, armour and drapery, while flesh is modelled in a sanguine palette—characteristically using reds and ochres for lowlights around the features—physiognomies most recognizably Dutch.
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Soon, Nadar's caricatural enterprise came to display three characteristic themes: a particular interest in the physiognomies of the great and the good; an interest in monetizing his works through ingenious forms of packaging; and a willingness to put his friends to work — writing elaborate captions for his drawings, for example — while taking credit, Tom Sawyer style.
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The Qumran Physiognomies was one of the Dead Sea Scrolls, a large collection of scrolls and fragments found near the Qumran community. The document labeled 4Q186, was known as "Astrological Physiognomies" or "Horoscopes".
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The Pantanal is an alluvial plain influenced by rivers that drain the basin of the Upper Paraguay, where it develops a fauna and flora of rare beauty and abundance. This ecosystem is formed by largely sandy terrains, covered by different physiognomies due to the variety of microregions and flood regimes.
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St Peter Healing the Sick with His Shadow, by Masaccio. Lower centre wall, left side, by Masaccio. The episode depicts . The picture's attribution to Masaccio is based in on the perspective structure used to create the street setting and the craggy naturalism of the physiognomies of the old man and the cripple.
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Soutine with his distorted physiognomies. De Kooning and his sprawling grimacing bodies. Pollock’s convulsed “dripping.” Jonny points to a book of Marino Marini’s paintings from the 1960s and suggests “They are just like Baselintz and Lupertz, only twenty years earlier” and “Nolde and Kirchner are really primitive,” which is a high praise of Jonny’s. Roberto Matta’s almost electric colors.
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The impoverishment of identity caused by the new technologies is suggested by sketchy physiognomies to which colour sometimes adds a touch of coquetry and frivolity. In a world in which communication is instantaneous and takes place in a network, the people imprisoned in the image seem to be terminals connected to a central computer which simply cannot establish a real communication.
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Every neighborhood has its own unique and different geography that describes the people that live there along with the culture of the neighborhood itself, and Faubourg Livaudais is no different. Neighborhoods serve as geographical frames of orientation, encompassing the demographic, economic and ecologic physiognomies of a particular place. The definition of a "neighborhood," however, relies heavily on perspective. Neighborhoods have different geographic gauges that assist different purposes.
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The work shows the stylistic characteristics of the artist: the use of rapid touches and a free brush in the physiognomies and palette of the painting. The face of Gerolamo is marked by study and age, and weighed down by dark and voluminous circles. His eyes are vivid and very mobile and their liquidity and brightness is highlighted through carefully placed highlights and dots of color. The hands follow less the diaphanous and elongated form of the Vandyckian model.
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The zodiac nature of the horoscope can only be inferred through "in the foot of the bull" in the text and then applying zodiacal thought from other sources. This phrase can then be understood through possible Greek zodiacal sources, such as Teukros. This form of interpreting the text does not use the typical locations of the sun, moon and planets as in modern horoscopes. Rather, Qumran physiognomies utilizes the location, as mentioned before, of different "parts" of Taurus (see Teukros) on or above the horizon.
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Their physiognomies recall the profiles of ancient Greek art, with the nose angled straight from the forehead and distinctly outlined eyes, while the faces bear a languorous, nostalgic expression. Żak, like Modigliani, by means of sophisticated drawing and a poetic imagination with a romantic tint, created a very special "human race" found only in the figures of his pictures. Pastorale His cubified houses and masses of rocks were always composed with a decorative rhythm. Their refined combinations of broken colors and reserved expression distinguish these paintings.
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Therefore, a man born with more parts of the zodiac sign above the horizon (or in the light), is good, and with more parts below the horizon (or in the darkness) is bad. The first subject of 4Q186 therefore, will be "meek" (in other words, good) because he has "six parts in the House of Light and three in the Pit of Darkness," while the second subject has "eight (parts) in the House of Darkness" and is therefore "very wicked." These predictions about their "good" or "bad"ness are therefore physiognomies.
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His aim was just collect nine profiles, nine figures of writers, whose spiritual relationship becomes tangible in our reading. And this aim, this art of combining, performed by a young author who not for nothing studied Mathematics in Moscow, gets fully met in these 'Physiognomies.'” –Rafael Rojas, in Encuentro de la Cultura Cubana. About Inventario de saldos (Inventory balances): "Inventory balances not only yields much less than it offers in its Introduction, but also notoriously misreads (not in the creative, Bloomian meaning, but in the common meaning) Bloom’s theory" –Duanel Díaz, Cubaencuentro.
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As is the case with Viviano Codazzi, several of compositions also include daily scenes in which elegantly dressed personages appear together with simply dressed common people. This shows his debt to the genre works of the group of genre painters active in Rome and known as the Bamboccianti who depicted Roman scenes with ordinary people. The careful physiognomies and gestures of his figures also show his familiarity with the figures of Cornelis de Wael and Pandolfo Reschi. His compositions regularly used compositional and architectonical schemes borrowed from Viviano Codazzi.
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Since trees can grow larger than other plant life-forms, there is the potential for a wide variety of forest structures (or physiognomies). The infinite number of possible spatial arrangements of trees of varying size and species makes for a highly intricate and diverse micro-environment in which environmental variables such as solar radiation, temperature, relative humidity, and wind speed can vary considerably over large and small distances. In addition, an important proportion of a forest ecosystem's biomass is often underground, where soil structure, water quality and quantity, and levels of various soil nutrients can vary greatly.James P. Kimmins.
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"The Paris of the Second Empire in Baudelaire" is organized into three sections: (1) La Bohème (2) The Flâneur (3) Modernity. Each section is devoted to a large scale historical phenomenon of which Baudelaire plays the part of the exemplar or specimen. In "La Bohème", Benjamin looks at the relationship between "professional conspirators" or "professional revolutionists" and the social milieu of Bohèmian circles in Paris. The first section begins with a meditation on the genre of physiognomies—pamphlets describing stereotyped social groupings in Paris—and how Baudelaire's poems complement this genre, even as they transcend it.
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These closely > studied physiognomies show no trace of the sentimental idealization from > which most painters of Indian subjects find it almost impossible to escape. > Each is firm, clear, and direct, recording the subtle differences of aspect > difficult enough to discern in races other than our own, and seizing the > essential message of the face with youthful certainty and conviction.ART: > Portraits of American Indians, New York Times, March 26, 1922 Throughout his career, he also illustrated a number of books, including Indian Days in the Canadian Rockies by Marius Barbeau (1923) and Pocahontas and Her World by Francis Carpenter (1961).
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The succession of would-be American heroes forms the body of Hawthorne's narrative. In succession, a merchant of immense wealth, a conquering general, a politician renowned for his skilled oratory, and finally a brilliant writer return to the glen. After enjoying the brief plaudits of their admirers, the four men each reveal themselves to have character flaws that prevent them from fulfilling the conditions of the prophecy. Each of them have slight flaws in their physiognomies, recognized at once by the sensitive Ernest, that serve as foreshadows of their inability to live up to the expectations of their eager friends.
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30 His interest in portraiture led Degas to study carefully the ways in which a person's social stature or form of employment may be revealed by their physiognomy, posture, dress, and other attributes. In his 1879 Portraits, At the Stock Exchange, he portrayed a group of Jewish businessmen with a hint of anti-Semitism. In 1881 he exhibited two pastels, Criminal Physiognomies, that depicted juvenile gang members recently convicted of murder in the "Abadie Affair". Degas had attended their trial with sketchbook in hand, and his numerous drawings of the defendants reveal his interest in the atavistic features thought by some 19th- century scientists to be evidence of innate criminality.
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Originally popular, Emblems was panned by 17th and 18th century critics but the publication of a new edition illustrated by Charles Bennett and W Harry Rogers indicated that it may still have been popular in the 1800s. London People contains some of Charles Bennett's best illustrations. Co-authored with John Hollingshead, the book brings together sketches from the Cornhill Magazine, “designed to exhibit faithful delineations of physiognomies characteristic of different classes of LONDON PEOPLE as they appear, not aiming at humorous exaggeration on the one hand or ideal grace on the other. In 1865, Charles Bennett contributed a frontispiece and three illustrations to The Reverend John Allan's temperance tale, John Todd and How He Stirred His Own Broth-pot.
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This does not exclude the possibility that other social groups, mainly children and adolescents, performed a secondary role. The transport of receptacles over long distances, in the absence of good roads, must have been an equally difficult operation, requiring itinerant craftsmen or special workshops near the more important centers. The partial representations, the schematic physiognomies, as well as the faithful thematic rendering, though rare, all speak of a new symbolic expression that dominated the art of statuettes too. The moulding of the zoomorphic and anthropomorphic statuettes no longer attain the rich realism of the prior epoch, which is explained by the changes occurring in the religious and cult structure of the society.
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The term applied to the indentured during this period, and which has since become a derogatory term for Mauritians of Asian descent, was coolie. The island soon became the key-point in the trade of indentured laborers, as thousands of Indians set forth from Calcutta or Karikal; not only did they modify the social, political and economic physiognomies of the island, but some also went farther, to the West Indies. Indo-Mauritians are descended from Indian immigrants who arrived in the 19th century via the Aapravasi Ghat in order to work as indentured laborers after slavery was abolished in 1835. Included in the Indo-Mauritian community are Muslims (about 17% of the population) from the Indian subcontinent.
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The sitter is depicted as having a homely face—widely spaced and flat—with a small nose and thin lips. The lack of idealised beauty has led to a general belief that this work was painted on commission, although it is possible that the model was Vermeer's daughter. The artist probably used a live model but, as with Girl with a Pearl Earring, did not create the work as a portrait, but as a tronie, a Dutch word meaning "visage" or "expression", a type of Dutch 17th-century picture appreciated for its "unusual costumes, intriguing physiognomies, suggestion of personality, and demonstration of artistic skill". The picture encourages the viewer to be curious about the young woman's thoughts, feelings, or character, something typical in many of Vermeer's paintings.
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Popen o Fuku Musume ("Young woman blowing a poppen glass"), which appears under both series titles of Kamisuki ("Combing the hair"), from the series of Fujin Sōgaku Jittai (, "Ten physiognomies of women") and Fujo Ninsō Juppin (, "Ten classes of women's physiognomy") are the titles of what may have been two series of ukiyo-e prints designed by the Japanese artist Utamaro and published . Only five prints from one series and four from the other survive, and one print appears in both series, so that eight distinct prints are known. The two series may have been made up of the same prints, or they may have been the same series with a title change partway through publication. Utamaro had another series published titled Fujin Sōgaku Jittai ().
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6600 – 5500 BC) consists of two cultural layers: genetically linked and with similar physiognomies. The first (layer Gura Baciului - Cârcea/Precriş) is the exclusive result of the migration of a Neolithic population from the South Balkan area, while the second (the Starčevo-Criş culture) reflects the process of adjusting to local conditions by a South Balkan community, possibly a synthesis with the local Tardenoisian groups. Layer Gura Baciului – Cârcea, also called the Precriş culture, is a spin-off of a Protosesklo culture group that advanced north and reached the North Danubian region where it founded the first culture of painted pottery in Romania. The small number of sites attributable to this early cultural time has not allowed the route followed by the group, to penetrate the Inter- Carpathian area, to be firmly established, yet in all likelihood, it was the Oltului Valley.
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He was also a member of the executive council for the Federation of Jewish Communities of Romania, one of the ethnic minority representative bodies. Having published a 1994 collection of essays with Minerva (Înțelesuri, "Meanings"), Ornea centered his research on the interwar far right, fascist or Nazi-inspired political movements, publishing with Editura Fundației Culturale Române his Anii treizeci. Extrema dreaptă românească (title translated as The Thirties: The Far Right in Romania). "Reeditare Z. Ornea: Anii treizeci. Extrema dreaptă românească", in Observator Cultural, Nr. 468, April 2009 Cosmin Ciotloș, "Documente de epocă", in România Literară, Nr. 31/2009 His other anthumous works include a 1995 revised edition of Junimea și junimismul and a series of new volumes of essays: Fizionomii ("Physiognomies", Editura Nemira, 1997), Medalioane ("Medallions", Institutul European, 1998), Portrete ("Portraits", Minerva, 1999) and Polifonii ("Poliphonies", Polirom, 2001).
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Illustrates "big head" portraiture and use of strong aniline reds and purples. Deep red make-up indicates anger, obstinacy, indignation, forcefulness. Like most artists of his era and genre,Faulkner pp 32, 34, 35 Kunichika created many series of prints, including: Yoshiwara beauties compared with thirty-six poems; Thirty-two fashionable physiognomies; Sixteen Musashi parodying modern customs; Thirty-six good and evil beauties; Thirty- six modern restaurants; Mirror of the flowering of manners and customs; Fifty- four modern feelings matched with chapters of The Tale of Genji; Scenes of the twenty-four hours parodied; Actors in theatrical hits as great heroes in robber plays; Eight views of bandits parodied. Toyohara Kunichika: Toyokawa — The Scenic Places of Tokaido (1863) In 1863 Kunichika was one of a number of artists who contributed landscape prints to two series of famous Tokaido scenes commissioned to commemorate the journey made by the shōgun Iemochi from Edo to Kyoto to pay his respects to the emperor.
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Maxwell, p. 200. Although Lendvai-Dircksen has been referred to as "brown Erna" for the promotion of Nazi ideals in her work under the Third Reich, her portrait photography can be compared to the work of Dorothea Lange or Walker Evans as documentation of impoverished people, and Margaret Bourke-White also photographed labourers in a heroic light. As pointed out by Berlin photographic curator Janos Frecot in the catalogue of an exhibition at the Albertina which included her work, her portraits and those of others at the time can be seen as applications of the same ethnographic principle as portraits of people in faraway cultures; similarly, Leesa Rittelmann has shown that the same principle of characterising a country by the physiognomies of its people, although a throwback to 19th-century theories,Or even earlier; Gray, p. 354 judges her views about the "authenticity" of rural people as expressed in their faces to be "identical in many ways" to those of Johann Kaspar Lavater in the second half of the 17th century.
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