Physiognomy Summary

Campbell, Josephine. "Physiognomy." Salem Press Encyclopedia, 2016. EBSCOhost, ezproxy.ecuad.ca:2048/login?url=http://search.ebscohost.com/login.aspx?direct=true&db =ers&AN=87321008&site=eds-live.
This article explains the definition and background of the study of physiognomy. Physiognomy is the study of the face and body and the belief that physical features indicate human characteristics and is a pseudoscience. It goes on to summarize its history within different contexts and how it evolved. The text gives the reader a better understanding of physiognomy, and a summary of the philosophers who have written on the topic like Aristotle, Homer, and Hippocrates. It also discusses its use in literature using Geoffrey Chaucer's pilgrims in

The exhibit discusses the theme of how the status of artist has changed over the centuries and the way this is conveyed, both in the works presented and in the relationships between artist and patron.
The topics discussed in the exhibition’s overarching themes helps explore the possibilities within the topic of the phenomenon that is the self-portrait of the artist (which increased from the fifteenth century and onwards). The introduction breaks down a summary of certain reasons why this change in the view of the artist may have occurred (like the resurgence of humanism). What I wish to explore further is how these ideas affected narcissism within society and art and the rise of false

“Thomas Patch (1725–1782) and Early Italian Art.” The British Art Journal, vol. 14, no. 1, 2013, pp. 50–58. JSTOR, JSTOR, www.jstor.org/stable/43492019. This article summarizes the life and career of Thomas Patch (March 13, 1725 – April 30, 1782) who was an English painter, engraver, caricaturist, and physiognomist. The article not only delves into Patch’s life but influence in early Italian art, and his evolution from enthusiastic amateur to scholar. The article discusses a series from Patch’s printing/etching work, ‘The life of Masaccio’. Smiles references a quote on Patch’s etching techniques being careless and argues how Patch had used etching to create prints that highlight lines over colour and composition. While the article is useful in understanding Thomas Patch’s life and temperament, it’s argument in defending Patch’s etchings does not take into account the subjectivity of art. Although the points Smiles makes about why Patch’s etchings are not so careless and are a decisive contribution to art history are not untrue, there is also no way to say it is fact because art is too subjective, and each person will bring in their own taste to influence what they enjoy or do not enjoy about art. Smiles does manage to be stay objective and point out the reasonable criticisms Patch has received and that is always a good trait in an