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Qualitative research in psychology: Expanding perspectives in methodology and design (2nd ed.).

Portraiture in art is a process of representation through which the artist recreates the subject of the image, interpreting nuances of physicality and personality through artistic elements such as line, color, and composition. This artistic process results in a tangible imprint of the artist’s understanding of and relationship with the subject of the portrait. Similarly, the research portrait, a written narrative, is imprinted with the researcher’s understanding of and relationship with the individual or site that is represented in the text. Like the artist, the research portraitist works to balance elements of context, thematic structure, relationship, and voice into an aesthetic whole that is so carefully constructed that every part seems an essential ingredient in the clarity of cohesive interpretation (Lawrence-Lightfoot & Davis, 1997). As a qualitative research methodology, portraiture is distinguished in part by this preoccupation with artistic coherence. The quest for coherence, for balancing a whole, plays a constant role in the researcher’s efforts to construct a narrative that authentically portrays the central story of the subject or site. Portraiture is based on a belief in narratives or stories as primary and valid structures through which personal and professional identities are framed, sustained, and shared (see, e.g., Bruner, 1996). The narrative in portraiture is respected as an essential vehicle for meaning making in the life of the individual or group (Bateson, 1989; Lawrence-Lightfoot, 1994) and in the work of the attendant researcher. Narratives taken from literature are frequently used as foils for individual experience and as fodder for the interpretive process (see, e.g., Gilligan, 1982). In portraiture, however, the interpretive product (the research portrait) itself embodies artistic and literary elements. Simultaneously holding to empirical rigor and to artistic mandates, portraiture participates in a tradition of forging bridges across social science and art (LawrenceLightfoot & Davis, 1997). Portraiture may be regarded as embracing ethnographic objectives and techniques even as it rewrites both the form and function of traditional case