Roman, Portrait of a Roman, c. 80 BCE, marble Pal Torlonia, Rome

Sheldon Nodelman makes an interesting case for a kind of layering in the signification of Roman Imperial images, arguing that they condense a "forceful, propagandistic language" through a "shifting montage of abstractions from human appearance". The reading of these images through a coded system, then, requires the admission and interpolation of a spectator, and thus marks perhaps the first Complex acknowledgement of `audience' and `reception' in western visual culture.

Works didn’t simply imitate in a slavish manner.

Artist>the sculture>you again

Works become political icons, ideologically significant traits of character: 1.sobriety/stoicism/self restraint 2.semi “divinity”gaze

Kingdom of Commagene, West terrace, Zeus, Antiochus, Fortuna, Mount Nemrud, Eastern Turkey (circa Year Zero)

Neither quite Greek nor Roman, neither Persian nor yet Christian, the now-scattered sculptural faces on the mountain-top terraces of Nemrud Dag in the kingdom of Commagene are the faces of gods, heroes and kings. This remote, high sanctuary ("hierothesion") overlooking the Euphrates Valley was a sumptuous theater for the ritual elaboration of a man-king becoming-god, and taking his place in the "common throne-room" to which he had so conspicuously elevated himself.

Christ as the Good Shepherd, mosaic from the mausoleum of Galla Placidia, c.425-450 AD (detail)

first regime of representation of the figure of Christ,

Byzantine Empress Theodora, sculpture, c. 540 AD

“Leaf Face,” Bamberg Cathedral, Germany, c. 1007

Usually referred to in works on architecture as foliate heads or foliate masks, carvings of the Green Man may take many forms, naturalistic or decorative. The simplest depict a man's face peering out of dense foliage. Some may have leaves for hair, perhaps with a leafy beard. Often leaves or leafy shoots are shown growing from his open mouth and sometimes even from the nose and eyes as well. In the most abstract examples, the carving at first glance appears to be merely stylised foliage, with the facial element only becoming apparent on closer examination. The face is almost always male; green women are rare. Green cats, lions, and demons are also found. On gravestones and other memorials, human skulls are sometimes shown sprouting grape vines or other vegetation, presumably as a symbol of resurrection (as at Shebbear, Devon, England). The Green Man appears in many forms, with the three most common types categorized as:

-       the Foliate Head - completely covered in green leaves - the Disgorging Head - spews vegetation from its mouth - the Bloodsucker Head - sprouts vegetation from all facial orifices.

Eyes are inset while mouth is protruding, leaves don’t emerge from within, man and plant locked in mutual self production.

Pantocrator, Daphne, Greece, mosaic c. 1100

typical of early mediterannean churches, chist holds new testament in left hand, while making gesture of blessing with the other. One of the first types of images developed in the early Christian church

Nimbus-halo

• used to signify holeiness, a code for a form of spiritual radiation

• head is infused with holy values,

• kind of zone of light which operates behind the head of a holy figure

• normative shape, circular,

Misericord, St. Walburga, Veurne, Flanders c. 1500

Grotesque

under belly the underside to the holy religous faces low relief, near lip of pues folding seat of ledge, this kind of figure, Miserizcord wooden carving underneath seats of church underside element made it’s way into the medievel church Goat Misericord tape hybrid figure of many different things, compounded into it’s ultimate form next bat like Misericord appearing in other dimensions of the church the expansion of grotesque in other archtectural elements of the church drip stone within gothic arch, the head orfigure might appear The long tunged grotesque, St Margrets how did these creature get into the holy presinct oxy moronic construction series of misericord alternative sites within the church two bodies share a single head, block heads

Human Monsters from Gregor Reisch, Margarita Philosophia (1517)

Gregore Reich

• 1517 Margerita Philisophia

• wood cut, series of monster types,

• unitary elements of body parts represent or suggests capacity to count

• one foot, man wiht no eyes, child two heads, figure where aysphalic figure, headless,

pushed down into the chest

Ghirlandaio, Domenico Portrait of Giovanna Tornabuoni, née Albizzi (1488), mixed media on panel

     what we see here is a portrait is acompanied by an inscritption witht he date

     the work and inscriptionindicate that conduct and the soul were the most valuable praise worhty commodieties that women could posses

     gender issues

     in this portairt , very vigorous profile view, lock the subejct in to a rigigd heirachical postion enlsaved in the representation

     this image strives to depict a kind of mode of conduct, way od deportment and being

     subject died in 1488

     this portrait immortelizing her in remembrance in noble manner

     she a figure is forever as part of the Torna heritage, displayed in this image form , in order to seen by visitors

     in the panel painting the subject is framed by closed off room

     actually framed in a cornice made of gold, put on show in splended niche sealed

     piety and propriety, internally static specticle

     everything is taught and tense in impossible uprightness

     encased and contained within her husbands palace, left to us in state of idealized form,

     profile portraits participate in langauge of visual and social conventions

     not relfection of some preformed social visual reality

     in comparison to early portraits

     different empahsis on the truth of this reality

     a physcological truth, but not a social

     correct this view by notting a certain kind position in which subjects are caught or trapped

cosmetics, deocration, prohibited most of the time by legal and mroal codes this orderly creature was made visible by a window althrough bannished herself in the view of window

when prohibited from being viewed in window, another form of social control

Leonardo da Vinci, Portrait of Ginevra de' Benci (det.) c. 1474, National Gallery, Washington DC

Leonardo da Vinci, Five caricature heads, after 1490, Pen and ink on paper, Gallerie dell'Accademia, Venice.

know for the most angelic facial representations

study for Judis for the last super

summerize what the face represented for Leonardo:

one:  literal convention of muscels and movements, scientific orientation of Leonardo, scientific diagram of the head in his analytic mode

two: head had a scheme of proportions, had tohave it’s elements held in a rigorous alignment

third: machine, among scientific machines and instruments, thought of the head as machinized object, layering of different strata of the skull

Fourth: head inderstood as a screen for the porjection of light

Fith: a sign of the soul and indication of morality and goodness, possibly of Beauty

In contrast to some of his works that exhibit and idealized beauty, da vinci was also interested in this sort of ideal ugliness. Caricature heads showcase particular deformities of features, exaggerated to the point of humor. Associated with condition of madness. Similar work: five grotesque heads, wherein

Look at this alternative tradition:

Notes about Leonardo

     key to differentiation the prof is making

     made these two bodies of facial representation

     author-, kwakkelstin

     Davinci  as Physiognomist

     whole set of arguments of leoarndo to the relationship of Physiognomy

     compares of Leo to study of science of the face,

     physiognomy

     Leonardro ambigous relationship to the study of the face

     charaictures and gortesque are not pyschological projection or even revealing doodles, not causal they participate in logical project , along the lines of a systematic study that the artist undertaken , jsut not completed

     so invested in this discourse, that thier must be a lost work regarding physiognomy

     suggesting a lost work aswell

     the gortesque heads present and important case, described with a  significant systematic vocabulary

     position relative to the viewer, collected and discussed under these key terms

     grotesue

     expressive heads, pertaining to a particular orienation towards experession

     heads are also related ot he question of the Bizar

     assocaited with the tradition of monstrousity

     assocaited with the condition of madness , with bofoons and festival dancing

group of face clustered around central face,

bay leaves associated with victory

surounded by  grimising contourted, crowded out the warrior head witht he grotesque

two side of leonardos physiognomic work

Giorgione, The Impassioned Singer c. 1510, Oil on canvas, Galleria Borghese, Rome

next phase transition between Renisance and the Baroque

also the later traidtion or embody a kind of acentric tradition is characterized through nature of ambivelance, after the high point of ecactitude, new regime,in which  ambivelence is the essence,

these values are  first emblematized In Giorgione

different to fit into the reneissance paradigms

small collection of ouvre, work

the three ages, 1508-1509 oil on panel

self consciounsly giving us one representation but three moments of the face according to the deficits or plunderings of time

youth, man in middle years, man in professional prime, older man represented with a certain air of diginity

self portrait on paper early 1500’s

of works like this one, a self portrait , not symmetiracal or clean, every detail in full clarity

not given any of that ,is very spare image-nothing fomral at all, beginings of the mythology as the artist as a bohemian

a figure not really engaged in us, showing a figure caught in inward creative throught

haze of literary romance

haze not clear, figure himself is bit hazy in terms of behavioral characteristics,

literary, in the sense that in his work we get , one the first definitve, we get the sense their is story behind the image, we want kind of understand the demenoir of the figure through narrative construct

reference to Romantic period- fundemental to the way we understand modernity

new address to subjectivity and self formation

proto-romanic

Giorgione Portrait of a young Man 1504

impassioned singer 1510

almost no ren have the eyes closed, how can you have a subject whos eyes were clsoed to the world, not a way to represent the individual, immodest,

the special permission of singing, hand gesturing emphatically , carried away in the rapture of performance, all these characterisc are signiture elements of what we will encoutner in the romanitic period

Giuseppe Arcimboldo, Water, 1566, Oil on wood

     portrait and the face, ridels and puzzles and games during high ren

     offer another history about the represnation of the face during the ren

     makes refrences to the temporal textual self protraiture to Montagne

     new account of portraiture almost anti-portraits of Arcimbaldo

     cryto physiognomic form

Annibale Carracci, The Bean Eater, 1580-90, Oil on canvas, Galleria Colonna, Rome

     important turn represntation toward real common every day subjects

     el greco , really dramatized , within continuity with relgious panting

     The butchers shop 1580’s

     figure preoccupied by thier trade, the burrden of the meat and durden that it gives

The Bean eater

     caught in everyday moment

     much more than that ,

     real point of this image, show a person in the act of eating many things about that gesture that were extremely taboo

     never show the mouth open

     the act of eating is not common

     typical form of anticipation

     all sorts of things going on in this common act

common subject common things

Johann Casper Lavater, a head interpreted (see caption)

Lavater “The nose of this face [pictured] is not that of an ordinary man; neither are the eyes ordinary, especially the right one, although it wants the character of greatness which marks the nose. Such eyes, however, and such a nose, promise great services in the cause of humanity and religion, for they announce great things; and one would be tempted to expect a great deal from them: but the rest of the face corresponds not to the expectations which these had raised. Those gatherings above the nose, that half-open mouth, the irregularity and the imbecillity of the under-lip, mark an extreme listlessness, a debility of mind, an incapacity, which is seeking to conceal itself under the cloak of knavery and cunning.”

Between 1774 and 1778 the Swiss pastor Johann Caspar Lavater (1741-1801) wrote a book called Physiognomische Fragmente zur Beforderung der Menschenkenntnis (translated as "Essays on Physiognomy: Physiological Fragments, for the Promotion of the Knowledge and Love of Mankind", 1774-78). It was an instant best-seller, and physignomy became the hottest scientific cult of the 18th century. Lavater supplied his own illustrative line drawings, and interpreted the faces of illustrative contemporaries. There have been more than 150 editions in all languages.

Honoré Daumier, "The Cranioscope-Phrénologistoscope: Yes, that's it I have the bump of ideality, of causality, of locality, it’s a remarkability" 1836, caricature

third discourse: anthesis of Pathonomy- expressions and passion int erms of facial movement,

     Phrenology: rejects the idea of expression or the face in movement

     the brain was subdivided into sectors, growth exerted stress on the shaping skull

     the bumps could be used to determine the disposition of the owner

     a bump in particular location would be assigned a signification or trait

     discourse was subject to elaborate forms of characture

     wide spread following into the 20th century

     Daumier-Characturist- non believer in Pathology

     to make obsurd the notion of reading the bumps on the head

     multiple form of commentary

     feeling his own bumps, you can’t self analysis

     figners on second bust, trying to stage a comparison on portrait bust, redicules

satirical deconstructionof the physiognomic assumption

Edward Curtis, Hopi Man, 1921-22, plate 420 (see caption)

“In this physiognomy we read the dominant traits of Hopi character. The eyes speak of wariness, if not of downright distrust. The mouth shows great possibilities of unyielding stubbornness. Yet somewhere in this face lurks an expression of masked warm-heartedness and humanity.”

Edward H. Curtis

     misguided nature of what curtis was trying to do

     in this phy we read the dominant traits of hopi character

     some where in this face lurks humanity, attempt to speak in western terms(ridiculous)

Barbara Kruger, Untitled (Charisma is the Perfume of your Gods), 1982, photograph