Compare And Contrast The Wars Of The Roses
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Wars of the Roses - 3 Minute History
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One should also note that the Renaissance attached the greatest importance to painting that portrayed a narrative or message. Thus artists typically included their 'portraits' within large narrative scenes. Historical Portraiture. Portrait artists also depicted revered historical human figures. For example, all the Roman Emperors eg. Julius Caesar, Augustus, Marcus Aurelius were portrayed in public art forms, like statues, busts and friezes, in order to glorify the Roman Empire. Egyptian Pharaohs were also widely portrayed in various media, such as portrait busts, tomb carvings and Mummy portraits.
Later Popes, Kings and Presidents were also commemorated in portraits, a process which flourished from the High Renaissance onwards. Another type of historical portrait - the 'political portrait' - is exemplified by Weeping Woman , Tate Modern, London , the universal symbol of female suffering. Famous people have always been a sought after subject or target of professional artists, from the Renaissance to Pop-Art. Another less formal type of portraiture is caricature , usually of politicians and celebrities, published in newspapers and other periodicals, like Time magazine, Vanity Fair and The New Yorker.
From Classical Antiquity, through the Renaissance to the 20th century, both the male and female nude have featured in portraiture, in painting, sculpture and engraving - Botticelli's Birth of Venus being one of the greatest. Portrait artists were also commissioned by lesser nobles, cultural figures and businessmen to create a flattering likeness of them, reflecting their position in society. This type of easel-art flourished during the High Italian Renaissance, and in the Northern Renaissance among the Dutch and Flemish schools, as portable art media like panel paintings and canvases began to replace mural frescoes.
Review of the Development of Portraiture. There are many portraits among the masterpieces of European painting from the fifteenth century to recent times and they are an important feature of the work of masters who excelled in other genres. Goya , the painter of Spanish life, of the bull-fight, of popular festival, of sinister omen, of the disasters of war, even of religious subjects would yet be incomplete in our view without his brilliant studies of the individual personality. For the greater part of the medieval period, in an art dedicated to religion, such studies had it been possible to make them would have seemed an intrusion on the ground belonging to faith, an impertinence if nothing more. The sculptured effigies of kings and queens were memorial abstractions of authority.
Manuscript illumination provided symbols rather than likenesses, until the later Middle Ages. The beginnings of characterization appear in royal portraits of the fourteenth century, the Wilton Diptych providing an example. Yet, beautiful work as it is in a delicate miniature style, seemingly related to that of the Franco-Flemish artist Andre Beauneveu c. There is some evidence to show that the panel was painted at a later date when Richard was bearded and prematurely aged. Whatever the reason, this would imply that likeness was not such a primary concern as attitude and devotional content. In Flemish painting of the fifteenth century the realistic portrait comes into being with a startling suddenness. The practice of including the likeness of the donor - prelate, noble or wealthy merchant - in the altarpiece destined for church or convent exercised the superb skills of Jan van Eyck , Roger van der Weyden and Hans Memling They painted purely secular portraits with the same power, foreign visitors to the Flemish cities being among their clients.
An Englishman abroad, Edward Grimston of Rishangles, Suffolk, had earlier been the subject of a purely secular painting by Petrus Christus c. The fellow-feeling between England and the southern Netherlands thus extended to art was to have a sequel in the long succession of Flemish painters settling in London in the sixteenth and seventeenth centuries. Humanism, the Renaissance and the Reformation all contributed to the development of portraiture as an independent genre. The principle of the humanist philosophy that the proper study of mankind was man - logically gave the portrait a place of importance.
The artists of the Renaissance were not only in accord with this view but by technical advance they improved the representation of character. The oil medium brought to Venice by Antonello da Messina gave a new warmth and strength of modelling to the art. Leonardo da Vinci demonstrated how light and shade could add to the suggestion of personality and psychology sfumato. The Reformation gave an impetus to portraiture of another kind. The suppression of religious imagery in the reforming lands made painters more willing to offer their services as portraitists.
The career of Hans Holbein the Younger shows the effect of the three forces. Born at Augsburg, he chose to work when young in the German-Swiss city of Basel which as well as being prosperous was a centre of scholarly humanism. It was there he made his illustrations for the Praise of Folly by Erasmus. He had the Renaissance capacity for varied undertakings, from mural decoration and altarpieces to designs for goldsmith's work and stained glass, though his bent towards portraiture was already marked.
But in the upsurge of Protestant feeling at Basel, employment of a Catholic nature came to an end. Like other artists he was 'without bread', as Erasmus observed in commending him to Thomas More in London. The interest of these friends which he repaid by superb portraits of them enabled Holbein to meet and portray in paintings and drawings a considerable sector of Tudor society in the two years of his first stay in England, His second stay of eleven years from to his death in brought him more definitely into the court sphere. No face in history is better known than the formidable visage with suspicious eyes and small cruel mouth painted by Holbein in the one picture Thyssen Collection - among a number of versions - that is certainly from his own hand.
In this century of shifting relations and alliances between despotic rulers, the portrait had its diplomatic function. Besides providing a reminder at home to officials and courtiers of the governing power, the ruler-image was a symbol of international exchange, the artist himself an international figure. Before photography was invented - or personal acquaintance considered a necessary preliminary even to a royal marriage - the painted portrait served to convey the physical suitability of the prospective bride.
Holbein was despatched to the continent to bring pack his pictorial report on the young but widowed Duchess of Milan and Anne, daughter of the Duke of Cleves, to assist Henry in making his choice. More than a description, his painting of the Duchess London, National Gallery became a masterpiece adding to the attraction of feature a splendid simplicity of design. Another purpose of the court portrait was to indicate power and rank by the splendour of costume and profusion of jewellery. This was strongly characteristic of the Elizabethan period, and perhaps a requirement of the patron that features should have a stiff and ceremonially expressionless aspect while the wealth of accessories gave evidence of status. The queen herself seems to have thought along these lines in her injunctions against shadow conveyed to Nicholas Hilliard, against, that is, the facial modelling shadow would produce.
The almost Byzantine formal richness of such a work as the Ditchley Portrait by Marcus Gheeraerts the Younger was sought by court ladies in their lesser degree. The Flemish painters who came to England to escape religious persecution in the Netherlands and formed a Flemish colony in London were craftsmen supplying a requirement which limited their independence as artists. The genre of miniature portrait painting by its intimate scale avoided the heaviness of restriction, the art of Nicholas Hilliard in its clarity of colour, vivacity of delineation and emblematic poetry coming to the eye as melodiously as the Elizabethan sonnet to the ear.
The seventeenth century was a great age of portraiture in Europe. The status of the painter was altered, he could claim a greater degree of independence in method and conception. The respect in which Titian had been held by the most powerful of rulers had left an abiding impression. The artist moved in court circles not as a hired workman but as one who added to their lustre. Where no court existed - in the United Provinces of the northern Netherlands - newly gained wealth and national freedom called for portraits in plenty.
It has been said that every Flemish artist was a born portrait painter and to survey the course of Flemish painting from Van Eyck to Rubens and Van Dyck is to realize how much truth there is in this observation. Even so, the portraiture of Renaissance Italy had set a standard by which the seventeenth century profited. The Portrait of Baldassare Castiglione by Raphael which Rembrandt saw at Amsterdam, suggested the style of composition he adopted in the self-portrait of London, National Gallery. The eight years spent by Rubens in Italy in the service of the Duke of Mantua, when he copied the great Venetians for the Duke and also for his own satisfaction, were years in which his originality was fostered by Italian example.
During the six years spent by Anthony Van Dyck in Italy, painting portraits and studying the Venetians, he derived much from the dignity of pose and rich colour of Titian. Van Dyck can be viewed in two distinct aspects. There is the Baroque painter of emotional religious compositions that vie with those of Rubens in the churches of Antwerp, and there is the portrait painter more sensitive to psychological atmospheres than his master, Rubens.
The coolness and restraint of England exerted their influence. The elegance and refinement of Van Dyck's art dominated the century in England, though William Dobson arrived independently at a vigorous style based on study of the Venetians, and Samuel Cooper stands out as one who could exquisitely reduce the effect of a large oil portrait to miniature scale. A race of aristocratic Parliamentarians and country gentlemen were the patrons in the period of England's greatest excellence in the portraits, the 18th century.
The 18th century produced an informality and intimacy that Europe had not known before. The 'conversation pieces' practised by a number of artists - William Hogarth foremost among them - give an example. Consisting of a family group or group of friends, they differed from such groups in Dutch or French art by showing the subjects informally engaged in some customary occupation or diversion in their usual surroundings. The pleasures of owning a country property are suggested by the portraits in open-air setting painted by Thomas Gainsborough The freshness of English beauty made its wholesome contrast with the elaborate make-up of the court ladies of old, while children were no longer portrayed as small effigies encased in ceremonial dress but in natural movement and expression.
Instead of courtiers, a wide range of types and character appears. Hogarth for preference paints the middle-class philanthropist Captain Coram or a group of his own servants. Sir Joshua Reynolds paints the actor, the actress, the man of letters - Garrick, Mrs. Siddons, Dr. Johnson - as well as lords and ladies. George Stubbs and others paint the sporting squires out hunting or shooting. There were still strong links with the past in the eighteenth century. Gainsborough came to the point when he rediscovered Van Dyck and re-fashioned the Flemish master's elegance in an English style, as the Scottish master Allan Ramsay had done before him.
Reynolds gave his learned pictorial commentary on Rembrandt and Titian. The nineteenth century, less secure of its moorings, was more fitful and varied in style in the portraits that can be considered as works of art - leaving aside the large accumulation of works of an undistinguished and quasi-photographic character, product of growing population and middle-class wealth.
The eighteenth-century tradition disappears in the temperamentally romantic brilliance of Sir Thomas Lawrence The Victorian Age presents such variations as the early portraits of Sir John Millais with their astonishing Pre-Raphaelite minuteness; the portraits of George Frederick Watts which with some idealization well represent the intense earnestness of the Great Victorians; and the aesthetic conception of James McNeill Whistler who viewed the portrait as an 'arrangement' of colours and shapes, rather than as a revelation of character.
The 20th century has witnessed the rapid decline of the painted portrait and the accompanying rise of the photographic portrait. Despite its technological background, the artistic value and aesthetics of this type of portraiture are in no way inferior. For a selected list of the greatest photographers involved in photograhic portraits, please see the following:. Her works are highly sought after by art collectors.
Includes his famous portrait of Sir Winston Churchill. The next article covers Renaissance Portraits. All rights reserved. About Portrait Art In fine art , a portrait can be a sculpture , a painting , a form of photography or any other representation of a person, in which the face is the main theme. A Young Girl Reading c. A masterpiece of 18th century French painting by one of the great exponents of Rococo art. The History of Portraiture Ancient Portraiture Portrait painting can be considered as public or private art.
Roman Portraiture Roman Art was based on practical political necessity. Post Renaissance Period c. Dutch Realism School - A Unique Period of Portraiture Coinciding with the upsurge in Catholic painting, there emerged a mini-Renaissance in protestant Holland, fuelled by a new, highly materialistic type of customer - the rich middle-class merchant, or professional - who wanted to buy paintings that made him and his family look good. Characteristics of Portrait Art Like any genre of painting, portrait art reflected the prevailing style of painting. Available to download to use as a revision tool for you or your students. All examination boards available. Free to download. Use in conjunction with the School History resources subscription.
Practice Your Knowledge with Past Papers. Click here to read more Expand. Know what you know Firstly, they help you establish what you already know through listening in class and doing your assessment activities and homework assignments. Where do I find past papers? View Past Papers. A-Level History Past Papers:. Edexcel A-Level Past Papers.
