RESUMEN
This Arts and Medicine feature reviews the history of pellagra and recounts the role of artist and illustrator John Carroll who, in 1919, painted portraits of people with the vitamin deficiency to document in color the appearance of pellagra skin plaques.
Asunto(s)
Medicina en las Artes , Pinturas , Pelagra , Humanos , Pelagra/complicaciones , Pelagra/diagnóstico , Pelagra/historia , Medicina en las Artes/historia , Retratos como Asunto/historia , Historia del Siglo XX , Pinturas/historiaAsunto(s)
Museos , Retratos como Asunto/historia , Embarazo , Femenino , Historia del Siglo XVI , Humanos , LondresRESUMEN
In Graeco-Roman times in the Lower-Egyptian Fayoum region, a painted portrait was traditionally placed over the face of a deceased individual. These mummy portraits show considerable inter-individual diversity. This suggests that those portraits were created separately for each individual. In the present study, we investigated a completely wrapped young infant mummy with a typical mummy portrait by whole body CT analysis. This was used to obtain physical information on the infant and provided the basis for a virtual face reconstruction in order to compare it to the mummy portrait. We identified the mummy as a 3-4 years old male infant that had been prepared according to the typical ancient Egyptian mummification rites. It most probably suffered from a right-sided pulmonary infection which may also be the cause of death. The reconstructed face showed considerable similarities to the portrait, confirming the portrait's specificity to this individual. However, there are some differences between portrait and face. The portrait seems to show a slightly older individual which may be due to artistic conventions of that period.
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Cara/diagnóstico por imagen , Momias/diagnóstico por imagen , Retratos como Asunto/historia , Arte , Preescolar , Egipto , Cara/anatomía & histología , Historia Antigua , Humanos , Imagenología Tridimensional , Lactante , Masculino , Momias/historia , Interpretación de Imagen Radiográfica Asistida por Computador , Tomografía Computarizada por Rayos X , Imagen de Cuerpo EnteroAsunto(s)
Bocio/patología , Medicina en las Artes , Pinturas , Retratos como Asunto , Creatividad , Femenino , Bocio/historia , Historia del Siglo XIX , Historia del Siglo XX , Humanos , Yodo/deficiencia , Italia , Masculino , Medicina en las Artes/historia , Pinturas/historia , Retratos como Asunto/historia , EspososAsunto(s)
Medicina en las Artes , Pinturas , Santos , Nódulo Tiroideo/patología , Femenino , Historia del Siglo XVII , Humanos , Yodo/deficiencia , Italia , Masculino , Medicina en las Artes/historia , Pinturas/historia , Retratos como Asunto/historia , Religión/historia , Religión y Medicina , Santos/historia , Nódulo Tiroideo/historiaAsunto(s)
Dermatosis Facial/historia , Neoplasias Faciales/historia , Personajes , Queratoacantoma/historia , Nevo/historia , Retratos como Asunto/historia , Dermatosis Facial/patología , Neoplasias Faciales/patología , Historia del Siglo XVI , Historia del Siglo XVII , Queratoacantoma/patología , Nevo/patologíaAsunto(s)
Carcinoma de Células Escamosas/historia , Neoplasias Faciales/historia , Ilustración Médica/historia , Pinturas/historia , Retratos como Asunto/historia , Neoplasias Cutáneas/historia , Carcinoma de Células Escamosas/diagnóstico , Carcinoma de Células Escamosas/cirugía , Carcinoma de Células Escamosas/terapia , China , Terapia Combinada , Diagnóstico Tardío , Neoplasias Faciales/diagnóstico , Neoplasias Faciales/cirugía , Neoplasias Faciales/terapia , Femenino , Frente/cirugía , Historia del Siglo XIX , Humanos , Mala Praxis/historia , Neoplasias Inducidas por Radiación/etiología , Neoplasias Cutáneas/epidemiología , Neoplasias Cutáneas/cirugía , Neoplasias Cutáneas/terapia , Pigmentación de la Piel , Úlcera Cutánea/etiología , Luz Solar/efectos adversosRESUMEN
The author discusses several of Albrecht Dürer's selfportraits. In some portraits his eyes are straight and in some others a divergent squint is present. Did Dürer do this on purpose or whas the squint indeed intermittently present? Analysis of the portrait of his mother gave the explanation.
Asunto(s)
Personajes , Medicina en las Artes , Pinturas/historia , Retratos como Asunto/historia , Estrabismo/historia , Austria , Historia del Siglo XV , Historia del Siglo XVI , HumanosRESUMEN
The discovery was recently announced in the scientific literature of a self-caricature of the great Renaissance artist and genius of human anatomy, Michelangelo Buonarroti (1475-1564), concealed in a drawing from 1525. This drawing is held in the collection of the British Museum in London, England. In it, the artist portrayed the Marchesa di Pescara, Vittoria Colonna (1490-1547). The present article considers evidence that Michelangelo may have depicted himself in another portrait of Vittoria Colonna, dated to approximately 1522, which is currently in the collection of the Ashmolean Museum in Oxford, England. This concealed silhouetted figure displays physical features strikingly similar to those depicted in portraits of Michelangelo by his contemporaries, and in the description of the artist by Michelangelo's biographer, Giorgio Vasari (1511-1574): the large body, the shape of the face, the beard and the flattened nose. In this context, the present article could serve to facilitate analyses of the physical form and even of the state of health (from 1522) of one of the foremost anatomists of the Renaissance. Clin. Anat., 2018. © 2018 Wiley Periodicals, Inc.
Asunto(s)
Personajes , Retratos como Asunto/historia , Historia del Siglo XVI , Humanos , MasculinoRESUMEN
There is evidence for a tendency for European portrait paintings to have the head oriented so that the left side of the face is visible more than the right side. This is particularly the case for female sitters. There is evidence that the left side of the face shows emotion more than the right side does, so it has been proposed that there is a tendency for artists or sitters to want to show more of the emotionality of the sitter. It is shown here that the left-side tendency varies by date. In two studies, large samples were drawn from European gallery collections (study 1) and the National Portrait Gallery in London (study 2). The studies showed a strong left side tendency before 1600, absence of the tendency in the seventeenth and eighteenth centuries, and some recurrence of it in the nineteenth and twentieth centuries, modulated by changing gender differences. These findings show that cultural, historical, or art-historical factors are likely to be involved in determining tendencies in head orientation as well as psychological ones.
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Cabeza , Orientación Espacial , Pinturas/historia , Retratos como Asunto/historia , Femenino , Historia del Siglo XV , Historia del Siglo XVI , Historia del Siglo XVII , Historia del Siglo XVIII , Historia del Siglo XIX , Historia del Siglo XX , Humanos , Masculino , Factores Sexuales , Factores de TiempoRESUMEN
The story of how William Withering's portrait painted in Birmingham in 1792 ended up in the Swedish Nationalmuseum 139 years later.
Asunto(s)
Personajes , Retratos como Asunto/historia , Historia del Siglo XVIII , Historia del Siglo XIX , Historia del Siglo XX , HumanosRESUMEN
To the visitor to Windsor Castle, the Thomas Lawrence portraits in the Waterloo Chamber represent the most important contributors to the military defeat of Napoleon Bonaparte, by British, Prussian, Russian and Austrian forces at the Battle of Waterloo. Nevertheless, only few individuals realise that a Greek physician, Count Ioannis Capodistrias, a native of the island of Corfu, stands among these leading personalities as a diplomat, the Russian Minister of Foreign Affairs, who contributed remarkably to European unity in the early nineteenth century and as a statesman ('Governor' of Greece) with a tragic end to his life, after establishing a Greek State practically from ruins.
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Internacionalidad/historia , Médicos/historia , Política , Retratos como Asunto/historia , Conflictos Armados/historia , Inglaterra , Grecia , Historia del Siglo XIXRESUMEN
Sir Alexander Morison's The Physiognomy of Mental Diseases and the original art work that formed the basis of the book have not had the scholarly attention they deserve. The published book and the commissioned portraits have not been studied in any detail. Historians have tended to offer cursory assessments that have reflected their own preconceived ideas rather than properly engaging with the material. This is a pity because Morison's work is a rich source that tells us much about the history of psychiatry. The pictures and text give us a glimpse into the world of the asylum and that of the patient. Although we see the patient through the eyes of the artist and Dr Morison, they do emerge as individuals. The accompanying texts reflect the psychiatric approach of the time and reveal contemporary notions of diagnosis, aetiology and treatment. Morison's work can also be located in the history of ideas about physiognomy. He himself was particularly influenced by Jean-Étienne-Dominique Esquirol, and Morison's work, in turn, influenced WAF Browne. These papers will outline Morison's career and consider in detail his book on The Physiognomy of Mental Diseases.