![]() ![]() She has a lot of photos of herself when she was younger on Instagram. She discovered she had latent autoimmune diabetes, a type of type 1 diabetes, when she was 44 years old in 2005. She earned a Certificate in Acting from DePaul University’s Goodman School of Drama. She graduated from Northfield Mount Hermon School, a prestigious preparatory school in Northfield, Massachusetts. She grew up in the Massachusetts town of Colrain. Jo Williams, a drug treatment counselor and concert pianist, and James Perkins, a farmer, businessman, and writer, are her parents. She was born in Queens, New York City, in the United States of America. Ultimately Antonello da Messina's portraits had far-reaching influence because they addressed some of the fundamental problems and challenges of representation in the early Italian Renaissance-for the first time-in portraiture.A post shared by Elizabeth Perkins November 18, 1960, Elizabeth Perkins was born. This chapter relates how the theoretical demands of humanists translated for real patrons and collectors, and clarifies Antonello's relationship to extant portraiture in Venice at during the last decades of the fifteenth century, particularly the work of Giovanni Bellini. The fourth chapter examines the portraits in the context of Venetian patronage, looking more closely at his only known portrait sitters, Alvise Pasqualino and Michele Vianello, and the social and personal identities of Venetian citizens and nobles. It reconsiders the origin of the painted, three-quarter view portrait in Italy and explains how ancient authors presented a challenge for the painted portrait that could only be met in fifteenth-century Italy by an entirely new form and style, represented in the work of Antonello da Messina. The third chapter relates how Antonello's innovations in portraiture corresponded with a growing desire for a new kind of painted portrait in the mid-fifteenth century. The second chapter evaluates the portraits as a body of work from the standpoint of form and technique, and incorporating the most recent technical analyses, demonstrates how Antonello achieved certain effects to arrive at what may indeed be considered a wholly independent work of art. The first chapter analyzes the recent literature on the portraits and demonstrates how they have been marginalized by scholarship despite being lauded as highly influential. Antonello is among the first Italian painters to claim the face as a locus for identification, and to answer the demand that painting capture both the physical and mental aspects of the sitter. This study reintegrates Antonello's portraits in the wider context of fifteenth-century Italy and argues that his portraiture is deeply rooted in the interests of the most prominent early Renaissance theories of painting. While Antonello has been justly acknowledged as the first Italian painter to consider the portrait an independent work of art, his portraits are often characterized as imitations of Netherlandish models, and they are rarely discussed outside of the context of Venetian or Netherlandish portraiture. This dissertation presents the first full-length study of Antonello da Messina's portraits. ![]() This dissertation presents the first full-length study of Antonello da. ![]()
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