Exhibition | About Face: Human Expression on Paper

Posted in exhibitions by Editor on August 6, 2015

Press release (28 July 2015) for the exhibition:

About Face: Human Expression on Paper
The Metropolitan Museum of Art, New York, 27 July — 13 December 2015

Charles Antoine Coypel, Medea, ca. 1715. Pastel; 12 x 8 inches / 29.4 x 20.6 cm (New York: The Metropolitan Museum of Art)

Charles Antoine Coypel, Medea, ca. 1715, pastel, 12 x 8 inches / 29.4 x 20.6 cm (NY: The Metropolitan Museum of Art)

The representation of human emotion through facial expression has interested Western artists since antiquity. Drawn from The Metropolitan Museum of Art’s collection of drawings, prints, and photographs, the diverse works in About Face: Human Expression on Paper—portraits, caricatures, representations of theater and war—reveal how expression underpinned narrative and provided a window onto the character and motivations of the subjects, the artists, and even their audiences.

Using Charles Le Brun’s illustrations for Expressions of the Passions and Guillaume-Benjamin-Armand Duchenne de Boulogne and Adrien Tournachon’s photographic series as touchstones, the approximately 60 works dating from the 16th through the 19th century show how artists such as Hans Hoffmann, Francisco Goya, Jean-Baptiste Greuze, and Thomas Rowlandson explored the animated human face.

Expression was at one time thought to reveal elements of individual character and was codified through the influential publications on physiognomy by the French artist Charles Le Brun (1619–1690). In 1668 Le Brun delivered a lecture to the French Academy entitled Conférence sur l’expression générale et particulière (Lecture on General and Particular Expression). When published in 1698, the text was illustrated with engravings based on the artist’s drawings—images of facial expressions that range from calm to states of agitation. Le Brun’s rational approach and precise titles were scientific in tone and distilled the chaotic variety of nature into a coherent form that had a lasting influence on European artists. The writings, which came to be known as Expressions of the Passions, were translated into different languages and influenced art theory and practice for the next two centuries. The study of expression became a key component of artistic training in art schools and academies across Europe—so much so, in fact, that by the late 18th century it had also become a rich subject of caricature and other satirical works.

In the mid-19th century, the pioneering French neurologist and physiologist Guillaume-Benjamin-Armand Duchenne de Boulogne conducted experiments involving the application of electrical current to stimulate the animation of the face. Wishing to move beyond abstract theory and into a scientific foundation for the study of facial expression, Duchenne published a scientific grammar of human emotions to be used as study material by artists at the École des Beaux-Arts. For this purpose, Duchenne collaborated with Adrien Tournachon (brother of the famous Nadar), a photographer who specialized in portraiture, to use the evidentiary power of photography to record his experiment precisely. The resulting series of gripping photographic portraits, made between 1854 and 1856, directly follow the physiognomic tradition of Le Brun and occupy a unique place at the intersection of art, science, and sentiment. Some 30 of these portraits are presented in the installation.

About Face: Human Expression on Paper is a collaboration between the Met’s Department of Drawings and Prints, and its Department of Photographs. The exhibition is made possible by The Horace W. Goldsmith Foundation.

Call for Papers | Framing the Face: New Perspectives on Facial Hair

Posted in Calls for Papers by Editor on August 6, 2015

From the conference website:

Framing the Face: New Perspectives on the History of Facial Hair
Friend’s Meeting House, London, 28 November 2015

Proposals due by 30 September 2015

Over the past five centuries, facial hair has been central to debates about masculinity. Over time, changing views of masculinity, self-fashioning, the body, gender, sexuality and culture have all strongly influenced men’s decisions to wear, or not wear, facial hair. For British Tudor men, beards were a symbol of sexual maturity and prowess. Throughout the early modern period, debates also raged about the place of facial hair within a humoural medical framework. The eighteenth century, by contrast, saw beards as unrefined and uncouth; clean-shaven faces reflected enlightened values of neatness and elegance, and razors were linked to new technologies. Victorians conceived of facial hair in terms of the natural primacy of men, and new models of hirsute manliness. All manner of other factors from religion to celebrity culture have intervened to shape decisions about facial hair and shaving.

And yet, despite a recent growth in interest in the subject, we still know little about the significance, context and meanings of beards and moustaches through time, or of its relationship to important factors such as medicine and medical practice, technology and shifting models of masculinity. We therefore welcome papers related to, but by no means limited to the following questions:

• To what extent were beards a symbol of masculinity and what key attributes of masculinity did they symbolise?
• To what extent did the profession of the barber influence beard styles and the management of facial hair?
• To what extent were beard trends led by the elite and by metropolitan fashion?
• How far did provincial trends influence metropolitan trends through migration?
• What impact did changing shaving technologies have on beard fashions/trends?
• How were beards understood within the medical frameworks of different eras?
• How have women responded to facial hair in different eras?
• How has the display of facial hair by women been viewed as both a medical and cultural phenomena?

Please send abstracts of up to 300 words, by 30th September 2015, to framingtheface@gmail.com. For further information please contact the organisers: Dr Alun Withey, University of Exeter, A.Withey@exeter.ac.uk, and Dr Jennifer Evans, University of Hertfordshire J.evans5@herts.ac.uk.


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