John Constable: 110 Masterpieces (Annotated Masterpieces Book 19)

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Amy Woolner, Thomas Woolner, R. Daniel V. Thompson Jr. Ronald R. Jack, , 8. Didi-Huberman, La ressemblance , , discusses the mortiferous nature of the imprints. Christina Kiaer, October 81 Summer : — According to the National Portrait Gallery's registered papers, the mask was made in three parts the face and two sides after a postmortem that did not include the cranium and was then incorporated into a bust using a torso that was not Johnson's.

The bust is discussed by Helen Deutsch, Loving Dr. Johnson Chicago: University of Chicago Press, , 51— William Cumberland Cruikshank supervised the taking of the death mask and was responsible for the head or more likely the face , and then the sculptor James Hoskins transformed it into a bust. Most commonly, death masks are given the appearance of marble.

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However, some are given flesh tones through the use of balsam copaiba, which later turns brown. This is the case with that of Jonathan Swift: T. Reproduced in Schlosser, Tote Blicke , Jahrhundert Berlin: Reimer Verlag, Argus Melbourne , April 14, , The locus classicus for wax portraiture remains Schlosser, Tote Blicke. Susan Sontag is described by Kaplan as continuing the same rhetoric that privileges photography over painting on account of an indexical ontology, and she invokes the same analogy with the death mask; Sontag, On Photography New York: Doubleday, , There is a growing literature on waxworks.

It has been suggested that the photograph may show the sculptor William Ordway Partridge, who is known to have used death masks, and his occasional assistant Lee Oscar Lawrie.

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I am grateful to Michael L. According to Barbara Natanson, Library of Congress personal communication, , Bain also collected photographs from other sources.

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It is therefore possible that this photograph represents a studio in Paris or London rather than in New York. Benkard, Das ewige Antlitz. Benkard, Das ewige Antlitz , See also Hans W. Hertl usefully discusses the technicalities of taking imprints from the recently dead and is unique in asking the question why there are so few death masks of women, but his book is a fine art production with high-quality frontal photographs of death masks floating on a gray ground, organized as a gallery by type in the manner of Benkard.

Sarah E. The portraits were by August Sander. Walter Biemel, vol. The most pervasive is that of a beautiful and unknown young woman whose body was retrieved from the Seine in the late s and whose striking looks motivated an assistant at the Paris morgue to make a death mask. Admittedly, it would need a DNA test to ascertain that the hair was his and not that of a formatore , but it would have been very careless on the part of a professional caster to have permitted his own hair into the mold.

Peter Parshall Washington, D. Kaufman and N.

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Johnston, These names of artists were given in the Account book. See, however, Oxford Dictionary of National Biography , s. Obituary in Phrenological Journal 19 : —44, cited in Cooter, Cultural Meaning , —80, who uses the spelling Deville, but Outlines of Phrenology as an Accompaniment to the Phrenological Bust was published in London in by J. De Ville. Thanks to Katie Scott for allowing me to read a chapter from her forthcoming book on the copy. Harry Berger Jr.


Putnam's Sons, , , for an authoritative view on this. Harry Zohn ; London: Jonathan Cape, , — Leon S. New Haven: Yale University Press, —84 , vol. Joanna Woodall Manchester, U. Maria Edgeworth to C. Christina Colvin Oxford: Clarendon, , Revis, Edgeworth, to C. Sneyd Edgeworth, May 1, Mary Carlyle to J. The hands were cast separately but in such a way that they may be moved around and arranged to lie together, thus enabling an interaction between viewer and object.

See Stocker, Royalist and Realist. Oxford Art Online , s.

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Mikhail Bakhtin, Rabelais and His World , trans. There were also plaster casts of crania glazed and marked up with regions of the brain. Collections containing substantial numbers of death masks include Princeton University Library; Edinburgh University, where the Anatomy Museum in the Medical School has what survives of the collections of the Edinburgh Phrenological Society about of more than ; and the National Portrait Gallery, London.

A relation between the morphology of the skull and human character was first proposed by Franz Joseph Gall — A key proponent was the Scot George Combe — Anatomy Museum, University of Edinburgh, sec. Lucy Peltz, curator of eighteenth-century collections, National Portrait Gallery, London, personal communication, The Head of Collections has been unable to tell me with certainty when or by whom these boxes were made. However, he reported that the gallery employed a frame maker called Francis Draper in the early part of the twentieth century who may have been responsible.

Today they are kept on shelves with their original labels and in something like their original order by racial type in a galleried room off the Anatomy Museum.

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  4. James Strachey London: Hogarth Press, , vol. Freud invokes a child's toy, the Wunderblock , which used a stylus and a wax pad to allow the preservation of inscriptions long after they had apparently been erased from its surface. The donors were the daughters of Lawrence's executors. The brass handles were left behind and sent later. Jonathan Marsden, ed. Additionally, there are no. Information from Kathryn Jones, Royal Collections. All but two, which are at Frogmore, are at Osborne House; seven are by Mary Thornycroft, three by Abraham Kent, and the rest by an unknown artist. The mural also depicted Jane Seymour and Elizabeth of York , but it was destroyed by fire in It is known from engravings and from a copy by Remigius van Leemput.

    Jane died in October , shortly after bearing Henry's only son Edward VI , and Holbein painted a portrait of the infant prince about two years later, clutching a sceptre-like gold rattle.


    Holbein's portrait style altered after he entered Henry's service. He focused more intensely on the sitter's face and clothing, largely omitting props and three-dimensional settings. He travelled with Philip Hoby to Brussels in and sketched Christina for the king, who was appraising the young widow as a prospective bride. Neither portrait of these cousins has survived. Holbein painted Anne of Cleves at Burgau Castle , posing her square-on and in elaborate finery.


    There is a tradition that Holbein's portrait flattered Anne, derived from the testimony of Sir Anthony Browne. Henry said that he was dismayed by her appearance at Rochester, having seen her pictures and heard advertisements of her beauty—so much that his face fell. Holbein had deftly survived the downfall of his first two great patrons, Thomas More and Anne Boleyn , but Cromwell's sudden arrest and execution on trumped-up charges of heresy and treason in undoubtedly damaged his career.

    It was, ironically, Holbein's portrait of Anne of Cleves which largely led to Cromwell's downfall: furious at being saddled with a wife he found entirely unattractive, the King directed all his anger at Cromwell.