Portraits of Prominence
For my virtual exhibit I will be focusing on portraits throughout different time periods and geographic locations that we have studied in class. I have separated my exhibit into four walls -- one room -- containing three portraits under each specific sub-theme. Six of this portraits or statues were first cited in my Virtual Exhibit, while four of the portraits I used were discussed in class. Finally, I used two outside portraits. To begin chronologically, I will focus on statues and sculptures, all of which date pre-1400. As you continue through the room, the next wall will be solely self-portraits. Next you will enter the Renaissance and see how Italian artists mastered portraiture. Finally, the last wall you will observe is specifically portraits of monarchs outside of Italy during the late Renaissance.
For my virtual exhibit I will be focusing on portraits throughout different time periods and geographic locations that we have studied in class. I have separated my exhibit into four walls -- one room -- containing three portraits under each specific sub-theme. Six of this portraits or statues were first cited in my Virtual Exhibit, while four of the portraits I used were discussed in class. Finally, I used two outside portraits. To begin chronologically, I will focus on statues and sculptures, all of which date pre-1400. As you continue through the room, the next wall will be solely self-portraits. Next you will enter the Renaissance and see how Italian artists mastered portraiture. Finally, the last wall you will observe is specifically portraits of monarchs outside of Italy during the late Renaissance.
Statues and Sculptures
Unknown Artist
Bust of a Man
First Century
This is an example of a Roman portraiture that is specifically used as a funerary relief, which is often considered a marble sculpture that goes on the side of a tomb. This is often called simply the "Bust of a Man" from the first century B.C. Staying complimentary to its name, this sculpture is simple and traditional. Prestige comes as a result of wisdom, experience, and age. These are the values depicted here in this grim-faced, middle-aged man. The Romans considered facial features to be the best conveyors of personality, as we see here, this man's age and wisdom are gained through long, hard years of life experience, showing in the wrinkles and sternness on his face.
Bust of a Man
First Century
This is an example of a Roman portraiture that is specifically used as a funerary relief, which is often considered a marble sculpture that goes on the side of a tomb. This is often called simply the "Bust of a Man" from the first century B.C. Staying complimentary to its name, this sculpture is simple and traditional. Prestige comes as a result of wisdom, experience, and age. These are the values depicted here in this grim-faced, middle-aged man. The Romans considered facial features to be the best conveyors of personality, as we see here, this man's age and wisdom are gained through long, hard years of life experience, showing in the wrinkles and sternness on his face.
Unknown Artist
Bust of Herodes Atticus
Second Century A.D.
This is a marble portrait bust of Herodes Atticus, found at Kiphisia, Attica. It dates to the middle of the second century A.D. This portrait of Herodes Atticus is made of Pentelic marble, and exhibits a high degree of realism. The man’s face looks tired but wise, as if expressing weariness at the end of a long, powerful, and influential life. The figure maintains a dignified aura, but his eyes clearly express emotional pain, his hair is tousled, and his clothing is hanging listlessly from his neck. Herodes was extremely wealthy, which means that he could afford to sponsor a portrait of himself that was not just a beautiful, ideal template for a portrait bust, but an accurate, emotional portrait with conceptual depth. As was mentioned in class, one of the reasons for portraits that are so detailed is the Roman’s reverence for their ancestors.
Bust of Herodes Atticus
Second Century A.D.
This is a marble portrait bust of Herodes Atticus, found at Kiphisia, Attica. It dates to the middle of the second century A.D. This portrait of Herodes Atticus is made of Pentelic marble, and exhibits a high degree of realism. The man’s face looks tired but wise, as if expressing weariness at the end of a long, powerful, and influential life. The figure maintains a dignified aura, but his eyes clearly express emotional pain, his hair is tousled, and his clothing is hanging listlessly from his neck. Herodes was extremely wealthy, which means that he could afford to sponsor a portrait of himself that was not just a beautiful, ideal template for a portrait bust, but an accurate, emotional portrait with conceptual depth. As was mentioned in class, one of the reasons for portraits that are so detailed is the Roman’s reverence for their ancestors.
Unknown Artist
Funerary Kouros
530- 540 B.C.
This is a marble funerary kouros from Merenda, Attica, which dates to about 540-530 BC. It is an example of verism, because the sculptor wanted to use this funerary sculpture to express that the deceased was an example of the ideal man. His anatomy is extremely rigid, symmetrical, and far too smooth and perfect to reflect the body of an actual living person. This statue relates to the kouros and kore statues we studied earlier this semester because they also strove to depict that the deceased had been ideal when they were alive.
Funerary Kouros
530- 540 B.C.
This is a marble funerary kouros from Merenda, Attica, which dates to about 540-530 BC. It is an example of verism, because the sculptor wanted to use this funerary sculpture to express that the deceased was an example of the ideal man. His anatomy is extremely rigid, symmetrical, and far too smooth and perfect to reflect the body of an actual living person. This statue relates to the kouros and kore statues we studied earlier this semester because they also strove to depict that the deceased had been ideal when they were alive.
Self-Portraits
Jan van Eyck
Self-Portrait
c. 1433
One of Jan van Eyck’s greatest achievements is being able to master the detail and specificity in portraiture. We are not absolutely certain that it is in fact van Eyck in this portrait, but most art historians suggest that it very well may be. This portrait is an apt example of what is characteristic for van Eyck and proposes a strong model to understand his work. This portrait is very precise and specific. We can see van Eyck’s attention to detail here, noticeable in the veins in the mans eyes and the stubble on his chin. He was an expert at oil panting, specifically by using unique chemicals for his oils and building up layers, one on top of the other, to create richer, deeper colors. After he finished the actual act of painting, he would add a glaze on top of the oil, and then return back to layering oils one on top of the other. Repeating this process allowed for a specific reflection of light, analogous to the way those objects would reflect light in reality. By utilizing this technique, van Eyck’s portraits would build up an illusion of building up a life-like and realistic depiction.
Self-Portrait
c. 1433
One of Jan van Eyck’s greatest achievements is being able to master the detail and specificity in portraiture. We are not absolutely certain that it is in fact van Eyck in this portrait, but most art historians suggest that it very well may be. This portrait is an apt example of what is characteristic for van Eyck and proposes a strong model to understand his work. This portrait is very precise and specific. We can see van Eyck’s attention to detail here, noticeable in the veins in the mans eyes and the stubble on his chin. He was an expert at oil panting, specifically by using unique chemicals for his oils and building up layers, one on top of the other, to create richer, deeper colors. After he finished the actual act of painting, he would add a glaze on top of the oil, and then return back to layering oils one on top of the other. Repeating this process allowed for a specific reflection of light, analogous to the way those objects would reflect light in reality. By utilizing this technique, van Eyck’s portraits would build up an illusion of building up a life-like and realistic depiction.
Titian
Self-Portrait
1560
This oil on canvas painting shows the Italian genius himself when he was about 60 years old. This is one of two of Titian’s self-portraits still existing today. A realistic and unflattering depiction of the physical effects of old age, this portrait shows none of the self-confidence seen in his earlier portrayal. This portrait shows a seemingly-emotionless man, yet still dignified by his statue with his paintbrush in his hand. The portrait is very monochromatic, with flesh-tone colors, in addition to black, white, and brown. The viewers eye is drawn to the sharp, defined features within Titian’s face, given that the rest of the picture is flat and seemingly dull. Similar to the monochromatic color palette highlighting his old age and wisdom, this side-profile portrait, which was reserved only for the most noble, calls attention to his status.
Self-Portrait
1560
This oil on canvas painting shows the Italian genius himself when he was about 60 years old. This is one of two of Titian’s self-portraits still existing today. A realistic and unflattering depiction of the physical effects of old age, this portrait shows none of the self-confidence seen in his earlier portrayal. This portrait shows a seemingly-emotionless man, yet still dignified by his statue with his paintbrush in his hand. The portrait is very monochromatic, with flesh-tone colors, in addition to black, white, and brown. The viewers eye is drawn to the sharp, defined features within Titian’s face, given that the rest of the picture is flat and seemingly dull. Similar to the monochromatic color palette highlighting his old age and wisdom, this side-profile portrait, which was reserved only for the most noble, calls attention to his status.
Rembrandt Harmenszoon van Rijn
Self-Portrait
1640
Rembrandt completed nearly one hundred self-portraits throughout his life, as he did at least one or maybe two every year, creating a diary of self portraits for his legacy. In this particular self-portrait, Rembrandt is roughly around thirty five years old and at the peak of his artistic career. He is comparable to the stature of Leonardo da Vinci’s Mona Lisa, depicting himself as successful, statured, and analogous to some of the older artistic masters, such as da Vinci. His pose and his clothes substantiate that he is a dignified, respected, and productive artist.
Self-Portrait
1640
Rembrandt completed nearly one hundred self-portraits throughout his life, as he did at least one or maybe two every year, creating a diary of self portraits for his legacy. In this particular self-portrait, Rembrandt is roughly around thirty five years old and at the peak of his artistic career. He is comparable to the stature of Leonardo da Vinci’s Mona Lisa, depicting himself as successful, statured, and analogous to some of the older artistic masters, such as da Vinci. His pose and his clothes substantiate that he is a dignified, respected, and productive artist.
Renaissance Portraits
Andrea del Castagno
Portrait of Dante Allighieri
c. 1450
This portrait depicts Dante Allighieri, a man of influence and prestige. He’s shown with books under his arm, which expresses that he is well educated, most likely in language, law, and rhetoric. He is wearing a metal hat with a red tassel, which insinuates that he was involved in war. The painting gets interesting when you take into account the fact that he’s stepping out of the frame. Conventionally, paintings serve as a framed window into another place and time. In this case, the subject of the painting is meant to be in the same time and place as the viewer, interacting as if the subject of the painting himself is present. Breaking convention is a big deal, and doing so in this way sends a huge statement about the subject of the painting. The artist, and likely the subject who commissioned the work, wanted him to feel alive.
Portrait of Dante Allighieri
c. 1450
This portrait depicts Dante Allighieri, a man of influence and prestige. He’s shown with books under his arm, which expresses that he is well educated, most likely in language, law, and rhetoric. He is wearing a metal hat with a red tassel, which insinuates that he was involved in war. The painting gets interesting when you take into account the fact that he’s stepping out of the frame. Conventionally, paintings serve as a framed window into another place and time. In this case, the subject of the painting is meant to be in the same time and place as the viewer, interacting as if the subject of the painting himself is present. Breaking convention is a big deal, and doing so in this way sends a huge statement about the subject of the painting. The artist, and likely the subject who commissioned the work, wanted him to feel alive.
Andrea Previtali
Portrait of a Man (recto)
c. 1502
The man depicted here is not nobility, he’s just an average man. The realistic portraiture of the man’s face is breathtaking. His skin glows with vivacity, his eyes are so realistic it’s almost uncomfortable to look directly into his gaze, and you can even see a hint of sweat or natural skin oils glistening on his skin. Depicting a human face in this way takes immense talent, and the fact that a portrait of this quality was done of a common man makes a statement about the talent level of Italian artists. The livelihood of this mans face -- from sweat dripping down his face to the wrinkles on his neck -- shows the mastery of Italian Renaissance artists in the 16th century.
Portrait of a Man (recto)
c. 1502
The man depicted here is not nobility, he’s just an average man. The realistic portraiture of the man’s face is breathtaking. His skin glows with vivacity, his eyes are so realistic it’s almost uncomfortable to look directly into his gaze, and you can even see a hint of sweat or natural skin oils glistening on his skin. Depicting a human face in this way takes immense talent, and the fact that a portrait of this quality was done of a common man makes a statement about the talent level of Italian artists. The livelihood of this mans face -- from sweat dripping down his face to the wrinkles on his neck -- shows the mastery of Italian Renaissance artists in the 16th century.
Jacopo Pontormo
Cosimo il Vecchio
c. 1518
Pontormo was a disciple of Michelangelo who spent his life in Florence. Cosimo de' Medici is often seen as the oldest Medici who had earned his money through banking. Cosimo's fiscal generosity built the reputation of Medici reign as beloved people in Florence. In this posthumous portrait Cosimo is nearly 60 years old and, as an introspective Renaissance man, is seen meditating on his history, his life, and his reign. He has a surprisingly unfearsome and timid presence in this painting commissioned by his inheritors. Profile portraiture in Renaissance Italy was an immitaiton of heroic profiles of ancient Rome. Rather than suggesting a strong, military or historical might, this portrait suggests sensitivity.
Cosimo il Vecchio
c. 1518
Pontormo was a disciple of Michelangelo who spent his life in Florence. Cosimo de' Medici is often seen as the oldest Medici who had earned his money through banking. Cosimo's fiscal generosity built the reputation of Medici reign as beloved people in Florence. In this posthumous portrait Cosimo is nearly 60 years old and, as an introspective Renaissance man, is seen meditating on his history, his life, and his reign. He has a surprisingly unfearsome and timid presence in this painting commissioned by his inheritors. Profile portraiture in Renaissance Italy was an immitaiton of heroic profiles of ancient Rome. Rather than suggesting a strong, military or historical might, this portrait suggests sensitivity.
Portraits of Monarchs
Unknown Artist, English
Portrait of Catherine Parr
c. 1545
The English painting depicts Catherine Parr, who was the Queen of England at the time the portrait was painted. She is depicted in an extremely idealized style. It was favorable for English nobility to have pale skin, and her skin is painted in a vibrant, porcelain white. Her small pursed lips, wide set eyes, and carefully crafted features look more like an idealized blueprint for what a noble woman should look like than an actual portrait of a human being. Even her clothes are idealized; each thread is perfectly clean and unwrinkled.
Portrait of Catherine Parr
c. 1545
The English painting depicts Catherine Parr, who was the Queen of England at the time the portrait was painted. She is depicted in an extremely idealized style. It was favorable for English nobility to have pale skin, and her skin is painted in a vibrant, porcelain white. Her small pursed lips, wide set eyes, and carefully crafted features look more like an idealized blueprint for what a noble woman should look like than an actual portrait of a human being. Even her clothes are idealized; each thread is perfectly clean and unwrinkled.
Peter Paul Rubens
Marie de’ Medici cycle
Presentation of Her Portrait
1621
The Rubens’s Marie de’ Medici cycle was commissioned by Marie de’ Medici, the wife of King Henry IV of France. Here, we are looking specifically at the painting titled “Presentation of Her Portrait” which highlights King Henry IV as he is looking at the portrait of his wife. The body position of the king in this painting shows the importance of courtly life in France during the 17th century. This painting is particularly interesting because, although we are discussing Catholic Europe, it is filled with ancient Greek and mythological creatures. The portrait of Marie de’ Medici is a personification of the monarchy of France, which reiterates its importance of politics and political alliances within art in France at that time. Rubens had a way of portraying France that was very versatile in gender in many of his paintings in the cycle. Here France takes on an androgynous role being both woman and man at the same time with both the portrait of Marie de’ Medici and King Henry IV as the focal figures.
Marie de’ Medici cycle
Presentation of Her Portrait
1621
The Rubens’s Marie de’ Medici cycle was commissioned by Marie de’ Medici, the wife of King Henry IV of France. Here, we are looking specifically at the painting titled “Presentation of Her Portrait” which highlights King Henry IV as he is looking at the portrait of his wife. The body position of the king in this painting shows the importance of courtly life in France during the 17th century. This painting is particularly interesting because, although we are discussing Catholic Europe, it is filled with ancient Greek and mythological creatures. The portrait of Marie de’ Medici is a personification of the monarchy of France, which reiterates its importance of politics and political alliances within art in France at that time. Rubens had a way of portraying France that was very versatile in gender in many of his paintings in the cycle. Here France takes on an androgynous role being both woman and man at the same time with both the portrait of Marie de’ Medici and King Henry IV as the focal figures.
Portrait of Elisabeth Farnese
Louis Michel van Loo
1743
Similar to the portrait above of Queen Catherine Parr of England, this portrait of the Queen of Spain is very still and stagnant, showing Queen Farnese in an idealistic, romantic way. She is wearing elegant, pompous garb and her stature is extraordinarily posed. The drapes of red strung across here show her wealth as a monarch. Her face is nearly expressionless as she struggles to emit even a smirk. Perhaps it is because of this stoic face that van Loo focuses his attention more toward her elaborate garb. Similar to monarchs in England at this time, it was preferred for wealthy women to have extremely white, porcelain skin. What we can observe in both portraits of Queen Parr of England and Queen Farnese of Spain is that the artists focused more on highlighting their wealth and pompous clothing, rather than showing them as beautiful, attractive women.
Louis Michel van Loo
1743
Similar to the portrait above of Queen Catherine Parr of England, this portrait of the Queen of Spain is very still and stagnant, showing Queen Farnese in an idealistic, romantic way. She is wearing elegant, pompous garb and her stature is extraordinarily posed. The drapes of red strung across here show her wealth as a monarch. Her face is nearly expressionless as she struggles to emit even a smirk. Perhaps it is because of this stoic face that van Loo focuses his attention more toward her elaborate garb. Similar to monarchs in England at this time, it was preferred for wealthy women to have extremely white, porcelain skin. What we can observe in both portraits of Queen Parr of England and Queen Farnese of Spain is that the artists focused more on highlighting their wealth and pompous clothing, rather than showing them as beautiful, attractive women.