Emily Eastgate Brink
Biographic Data
| ID | 4585743 |
|---|---|
| NAME | Emily Eastgate Brink |
| GIVEN NAMES | Emily Eastgate |
| FAMILY NAME | Brink |
| SIGNATURE | BRINK E E |
| AFFILIATIONS | The University of Western Australia |
| ORCID | 0000-0002-3838-6899 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
The French fragment
Peer reviewed
A portrait in pieces
Invoking the notion of the fragment discussed by Linda Nochlin, Henri Zerner, and Charles Rosen, this article examines how Félix Nadar’s La main du banquier D. exploits the body fragment to comment on identity and representation in the modern period. Exploring the limitations and devices of conventional portraiture, Nadar’s photograph of a banker’s hand suggests that one’s likeness and character can be read from a single body part. Nadar presents…
Architecture and Crowd-Less Streets
Pierre Patte’s view of an idealised Parisian street, a sectional illustration in his treatise Mémoires sur les objects le plus importans de l’architecture of 1769, occupies a pivotal position in the historiography and visual representation of crowds and crowded spaces, though not a single person inhabits Patte’s imagined space. Pared down and evacuated of human presence, Patte’s section provides a visual matrix for civic order that will be invoke…
No prominent works on this page.
Architecture and Crowd-Less Streets
Pierre Patte’s view of an idealised Parisian street, a sectional illustration in his treatise Mémoires sur les objects le plus importans de l’architecture of 1769, occupies a pivotal position in the historiography and visual representation of crowds and crowded spaces, though not a single person inhabits Patte’s imagined space. Pared down and evacuated of human presence, Patte’s section provides a visual matrix for civic order that will be invoke…
The French fragment
Peer reviewed
A portrait in pieces
Invoking the notion of the fragment discussed by Linda Nochlin, Henri Zerner, and Charles Rosen, this article examines how Félix Nadar’s La main du banquier D. exploits the body fragment to comment on identity and representation in the modern period. Exploring the limitations and devices of conventional portraiture, Nadar’s photograph of a banker’s hand suggests that one’s likeness and character can be read from a single body part. Nadar presents…
Art (3 works) · Computer Science (2 works) · Historical Art and Culture Studies (2 works) · Historical Studies and Socio-cultural Analysis (2 works) · Visual arts (2 works) · Aesthetics (1 work) · Algorithm (1 work) · Architecture (1 work) · Art history (1 work) · Assertion (1 work)