BiblioVault - Books about Portraits

Leavin' a Testimony: Portraits from Rural Texas
By Patsy Cravens
University of Texas Press, 2006
Library of Congress F392.C58C73 2006 | Dewey Decimal 976.4253

First settled by Stephen F. Austin's colonists in the early nineteenth century, Colorado County has deep roots in Texas history. Mainly rural and agrarian until late in the twentieth century, Colorado County was a cotton-growing region whose population was about evenly divided between blacks and whites. These life-long neighbors led separate and unequal lives, memories of which still linger today. To preserve those memories, Patsy Cravens began interviewing and photographing the older residents of Colorado County in the 1980s. In this book, she presents photographs and recollections of the last generation, black and white, who grew up in the era of Jim Crow segregation.

The folks in Colorado County have engrossing stories to tell. They recall grinding poverty and rollicking fun in the Great Depression, losing crops and livestock to floods, working for the WPA, romances gone wrong and love gone right, dirty dancing, church and faith, sharecropping, quilting, raising children, racism and bigotry, and even the horrific lynching of two African American teenagers in 1935. The Colorado County residents' stories reveal an amazing resiliency and generosity of spirit, despite the hardships that have filled most of their lives. They also capture a rural way of life that was once common across the South, but is now gone forever.

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The Life of Lambert Lombard (1565); and Effigies of Several Famous Painters from the Low Countries (1572)
Dominicus Lampsonius
J. Paul Getty Trust, The, 2022
Library of Congress ND635.L3495 2021 | Dewey Decimal 759.9492

Among the earliest written texts on the history and theory of Netherlandish art, these two key writings are now available together in an English translation.

Dominicus Lampsonius’s The Life of Lambert Lombard (1565) is the earliest published biography of a Netherlandish artist. This neo-Latin account of the life of the painter, architect, and draftsman Lambert Lombard of Liège offers a theoretical exposition on the nature and ideal practice of Netherlandish art, emphasizing Lombard’s intellectual curiosity, interest in antiquity, attentive study of the human body, and exemplary generosity as a teacher.

This volume offers the first English edition of The Life of Lambert Lombard, complemented by a new translation of the inscriptions Lampsonius composed to accompany the Effigies of Several Famous Painters from the Low Countries (1572), a cycle of twenty-three engraved portraits of Netherlandish artists developed in collaboration with the print publisher Hieronymus Cock.

Together, The Life of Lambert Lombard and the Effigies established frameworks for a distinctly Netherlandish history of art. Responding to a growing sense of Netherlandish cultural and political identity on the eve of the Dutch Revolt, these texts proposed a critical alternative to Giorgio Vasari’s Lives of the Artists and its Italian model of art historical development, celebrating local ingenuity and skill. They remain the starting point for any history of the northern Renaissance.

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The Lincoln Family Album
Mark E. Neely Jr. and Harold Holzer
Southern Illinois University Press, 2006
Library of Congress E457.25.L55N45 2006 | Dewey Decimal 973.70922

Chronicling the private lives of the Lincolns through their personal photographic collection

The Lincoln Family Album offers a rare and revealing glimpse into the private life of Abraham Lincoln and the first family. Showcasing original and previously unpublished photographs collected and preserved by Mary Todd Lincoln and four generations of descendants, the volume includes pictures displayed in a family album when the Lincolns lived in the White House. Chronicled are the lives of the Lincolns’ three sons, including the tragic death of Willie in 1862, the rapid change of Tad during the war, and Robert’s marriage, children, and political career. Soldiers and statesmen of the Civil War, period figures such as Tom Thumb and Henry Ward Beecher, and even the family dog also graced the album that became the nucleus of the Lincolns’ personal collection.

This updated edition, which provides both additional pictures and new introductory materials by renowned Lincoln scholars Mark E. Neely Jr. and Harold Holzer, paints a portrait of the Lincolns’ rise to prominence and the exclusion of poorer relations after the family moved to the nation’s capital. With 150 illustrations and detailed captions, this authoritative and enlightening nineteenth-century history also includes capsule biographies of the Lincolns’ friends and relatives.

In such images as the First Lady in mourning or the assassin John Wilkes Booth, the pictures cannot disguise the painful truth about a family that suffered as many tragedies as triumphs. Willie’s death at the age of eleven abruptly ended Mary and Abraham’s personal collecting, but Lincoln descendants continued the tradition. The last pages of The Lincoln Family Album conclude with the death of Robert Lincoln’s last grandchild, Robert Todd Lincoln Beckwith, in 1985, ending the direct line of Abraham and Mary Lincoln.

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Listening to Images
Tina M. Campt
Duke University Press, 2017
Library of Congress TR183.C366 2017

In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.

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Look at me: Photographs from Mexico City by Jed Fielding
Jed Fielding
University of Chicago Press, 2009
Library of Congress TR681.B54F54 2009 | Dewey Decimal 779.2097253

Sight is central to the medium of photography. But what happens when the subjects of photographic portraits cannot look back at the photographer or even see their own image? An in-depth pictorial study of blind schoolchildren in Mexico, Look at me draws attention to (and distinctions between) the activity of sight and the consciousness of form.

Combining aspects of his earlier, acclaimed street work with an innovative approach to portraiture, Chicago-based photographer Jed Fielding has concentrated closely on these children’s features and gestures, probing the enigmatic boundaries between surface and interior, innocence and knowing, beauty and grotesque. Design, composition, and the play of light and shadow are central elements in these photographs, but the images are much more than formal experiments; they confront disability in a way that affirms life. Fielding’s sightless subjects project a vitality that seems to extend beyond the limits of self-consciousness. In collaborative, joyful participation with the children, he has made pictures that reveal essential gestures of absorption and the basic expressions of our creatureliness.

Fielding’s work achieves what only great art, and particularly great portraiture can: it launches and then complicates a process of identification across the barriers that separate us from each other. Look at me contains more than sixty arresting images from which we often want to look away, but into which we are nevertheless drawn by their deep humanity and palpable tenderness. This is a monograph of uncommon significance by an important American photographer.

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