List of Illustrations  vii

Acknowledgments  ix

Introduction: The Subject in Art   1

1. A Genealogy of the Subject in the Portrait  5

2. The Birth of the Social History of Art  25

3. The Subject at Risk: Jewish Assimilation and Viennese Portraiture  57

4. Art Photography, Portraiture, and Modern Subjectivity  83

5. Regarding the Subject in Art History: An Epilogue  115

Notes  123

Bibliography  149

Illustration Credits  163

Index  167

“The Subject in Art is a challenging book, and sometimes while reading it, it seems easy to get lost in the details, but the main points are rewarding, and they present in total an important addition to the modern theory of the subject. The book is a valuable read. . . .”—Brian E. Butler, Consciousness, Literature, and the Arts

“It is immensely satisfying to read a book about portraits which attempts to treat them with the gravity warranted by the sheer volume and intensity of their production in European art practice. Soussloff’s exploration of portraits in various media—her examples are drawn from painting, caricature and photography—does help to illuminate her field and argument.”—Lara Perry, The ArtBook

“Soussloff's theoretical approach is genealogical, and the scholarly task she sets for herself is both important and demanding.”—Katerina Reed-Tsocha, British Journal of Aesthetics

“[B]y tracing the genealogy of a way of seeing and a means of comprehending art, this is a valuable contribution to both art history and the history of Judaism. For writers on art, this book re-emphasises the importance of portraiture. For those who work on Jewish life and thought, it stresses the ways in which paintings were used to express identity. Resting on real research and deep thought, The Subject in Art forces us to look again at some familiar images and to think again about the ways in which we approach them. For that, it is sincerely to be welcomed.”—William Whyte, Journal of Modern Jewish Studies

“The Subject in Art is a challenging book, and sometimes while reading it, it seems easy to get lost in the details, but the main points are rewarding, and they present in total an important addition to the modern theory of the subject. The book is a valuable read. . . .”—Brian E. Butler, Consciousness, Literature, and the Arts

“It is immensely satisfying to read a book about portraits which attempts to treat them with the gravity warranted by the sheer volume and intensity of their production in European art practice. Soussloff’s exploration of portraits in various media—her examples are drawn from painting, caricature and photography—does help to illuminate her field and argument.”—Lara Perry, The ArtBook

“Soussloff's theoretical approach is genealogical, and the scholarly task she sets for herself is both important and demanding.”—Katerina Reed-Tsocha, British Journal of Aesthetics

“[B]y tracing the genealogy of a way of seeing and a means of comprehending art, this is a valuable contribution to both art history and the history of Judaism. For writers on art, this book re-emphasises the importance of portraiture. For those who work on Jewish life and thought, it stresses the ways in which paintings were used to express identity. Resting on real research and deep thought, The Subject in Art forces us to look again at some familiar images and to think again about the ways in which we approach them. For that, it is sincerely to be welcomed.”—William Whyte, Journal of Modern Jewish Studies

“Catherine M. Soussloff has managed, in her philosophical and art historical reflections on the portrait in modernity, to bring important insights to our understanding of the relation between the individual and history. The ‘individual’ is the great enigma of modernist history. In focusing on the ‘subject’ in the individual as revealed and hidden in modern portraiture, Soussloff exposes many of the open secrets of modernist historical consciousness as well.”—Hayden White, Presidential Professor of Historical Studies, Emeritus, University of California and Professor of Comparative Literature, Stanford University

Permission to Photocopy (coursepacks)

If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright.com;

If the Copyright Clearance Center cannot grant permission, you may request permission from our Copyrights & Permissions Manager (use Contact Information listed below).

Permission to Reprint

If you are requesting permission to reprint DUP material (journal or book selection) in another book or in any other format, contact our Copyrights & Permissions Manager (use Contact Information listed below).

Images/Art

Many images/art used in material copyrighted by Duke University Press are controlled, not by the Press, but by the owner of the image. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits. You must obtain permission directly from the owner of the image. Occasionally, Duke University Press controls the rights to maps or other drawings. Please direct permission requests for these images to permissions@dukeupress.edu.
For book covers to accompany reviews, please contact the publicity department.

Subsidiary Rights/Foreign Translations

If you're interested in a Duke University Press book for subsidiary rights/translations, please contact permissions@dukeupress.edu. Include the book title/author, rights sought, and estimated print run.

Disability Requests

Instructions for requesting an electronic text on behalf of a student with disabilities are available here.

Rights & Permissions Contact Information

Email: permissions@dukeupress.edu

Email contact for coursepacks: asstpermissions@dukeupress.edu

Fax: 919-688-4574

Mail:
Duke University Press
Rights and Permissions
905 W. Main Street
Suite 18B
Durham, NC 27701

For all requests please include:

1. Author's name. If book has an editor that is different from the article author, include editor's name also.

2. Title of the journal article or book chapter and title of journal or title of book

3. Page numbers (if excerpting, provide specifics)

For coursepacks, please also note: The number of copies requested, the school and professor requesting

For reprints and subsidiary rights, please also note: Your volume title, publication date, publisher, print run, page count, rights sought