000			03007cam a22003373u 4500
001			69273
003			UtSlPG
005			20260610134613.0
006			m
007			cr n
008			260607r20221911utu|||||o|||||||||||||| d
040			_aUtSlPG
041		7	_aen _2iso639-1
050		4	_aNC
100	1		_aJackson, Emily, _d1861-1947
245	1	4	_aThe history of silhouettes
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2022
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2022-10-30
505	0		_aBlack profile portraiture, its place in art, literature and social life -- The coming of the silhouette and its passing -- Processes: (1) Brushwork -- Processes: (2) Shadowgraphy and mechanical aids -- Processes: (3) Freehand scissor-work -- August Edouart and his book -- Scrap-books. A royal cutter and her work -- Silhouette decoration on porcelain and glass. The silhouette theatre -- Alphabetical list of silhouettists, makers of silhouette mounts and others connected with the craft.
508			_aMWS and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
520			_a"The History of Silhouettes" by E. Nevill Jackson is a historical account written in the early 20th century. The book explores the art of silhouette portraiture, tracing its development and significance across various periods, showcasing how it reflects social life and artistic trends of its time. The topic likely encompasses the origins, techniques, and notable figures associated with silhouette artistry, revealing its charm and cultural relevance. The opening of the text presents a foreword that highlights the author's personal fondness for silhouettes, reminiscing about the silhouettes collected in his family and mentions well-known silhouettes by various artists. It sets the stage for a detailed exploration of black profile portraiture, discussing its place in art and life, and emphasizing the need for a historian dedicated to this craft. The foreword hints at the book's thorough research, gathered across various collections, while suggesting that silhouettes were more than just a creative pursuit; they were also intimate representations of social and familial connections. Subsequently, the first chapter begins to delve into the historical context of silhouette art, tracing its lineage back to ancient civilizations and illustrating its enduring presence in different cultural narratives. (This is an automatically generated summary.)
534			_pOriginally published: _cUnited Kingdom: The Connoisseur, 1911
653			_aSilhouettes
700	1		_aNevill, Dorothy, Lady, _d1826-1913
856	4		_uhttps://archive.org/details/historyofsilhoue00jack
856	4	0	_uhttps://www.gutenberg.org/ebooks/69273
999			_c110068 _d110068