Portrait in the context of "self" and "otherness" in painting

Portrait in the context of "self" and "otherness" in painting is examined in this thesis through a multidisciplinary approach, starting with the basic definitions and terminology with art historical examples with help from other disciplines such as psychology, aesthetics, and linguistics to help understand the concept. Theoretical and practical research methods are incorporated to explore how those concepts have shaped portrait painting and our perception of self and otherness through different mediums of visual arts. Considering the researcher's body of work, a slit emphasis on works by women artists or works involved with women's issues is notable in this research. The research shows that selected case studies and artists do not limit their effect on minorities or a part of society with a specific gender but on all members of the community and contemporary ways of representing portraits. The study contextualizes the "portraiture" within the broader art historical canon and considers how socio-political and cultural factors have impacted the genre. The general changes in the works of contemporary artists are analyzed through case studies. Through this analysis, the thesis explores how contemporary artists navigate the complex tensions between "self" and "otherness," representation, and power in their portraits. This thesis contributes to the ongoing conversation in art about representation, identity, and cultural studies by investigating the issue of "self" and "otherness" in contemporary portraits.