- View Portrait for more on general portrait topics.
Portrait painting is a genre in painting, where the intention is to describe a human subject. The term 'portrait' can also describe a portrait that is actually painted. Portraitis can make their work with commissions, public and private, or they may be inspired by admiration or affection for the subject. Portraits often become an important record of the country and family, as well as memories.
Historically, portraits have primarily monopolized the rich and powerful. However, over time, it becomes more common for middle-class customers to assign family portraits and their colleagues. Currently, portraits are still commissioned by governments, companies, groups, clubs, and individuals. In addition to painting, portraits can also be made in other media such as etching, lithography, photography, video and digital media.
Video Portrait painting
Techniques and practices
A well executed portrait is expected to show the essence of the subject (from an artist's point of view) or a flattering representation, not just a literal similarity. As Aristotle says, "The purpose of Art is to present not the outward appearance of something, but their inner meaning, for this, not external ways and details, is a true reality." Artists may attempt to photographic realism or impressionistic similarities in describing their subject, but this is different from caricatures that try to express characters through excessive physical features. Artists generally try representative depictions, such as Edward Burne-Jones states, "The only expression allowed in large portraits is the expression of character and moral quality, not instantaneous, fleeting, or unintentional."
In many cases, this results in a serious, closed-for-the-mouth gaze, with anything that goes beyond a slightly rare smile historically. Or as Charles Dickens says, "there are only two portrait styles: serious and sneaky." Even in light of these limitations, subtle emotions may occur from quiet threats to gentle satisfaction. However, with a relatively neutral mouth, many facial expressions need to be created through the eyes and eyebrows. As writer and artist Gordon C. Aymar states, "the eye is the sought place for the most complete, reliable, and relevant information" of the subject. And the eyebrows can register, "almost alone, wondering, pity, fear, pain, cynicism, concentration, wistfulness, displeasure, and hope, in unlimited variations and combinations."
Portrait painting can illustrate the subject "full-length " (whole body), " half length " (from head to waist or hip), " head and shoulders " (bust), or just head. Subject header may change from full face "(front view) to profile (side view); " three-quarter view " ("two-thirds view") is somewhere, from almost frontal to almost profile (fraction is the number of [one half face] profile added "quarter face" of the other party, or each side is considered one-third). Sometimes, artists create composites with views from various directions, just like the three portraits of Anthony van Dyck's work on Charles I in Three Positions . There are even some portraits where the front of the subject is not visible at all. Andrew Wyeth Christina's World (1948) is a well-known example, where the poster girl's pose - with her back turned to the viewer - is integrated with the arrangement in which it is placed to convey the artist's interpretation.
Among other possible variables, the subject may be clothed or naked; inside or outside; standing, sitting, lying down; even the horses. Portrait paintings can be individuals, spouses, parents and children, family, or collegial groups. They can be made in various media including oil, watercolor, pen and ink, pencil, charcoal, pastel, and mixed media. Artists can use a wide color palette, like Pierre-Auguste Renoir Mme. Charpentier and his children, 1878 or restricted to mostly white or black, as with Gilbert Stuart Portrait of George Washington (1796).
Sometimes, the overall size of a portrait is an important consideration. The large portrait of Chuck Close made for museum displays is very different from most portraits designed to fit at home or to travel easily with clients. Often, an artist takes into account where the last portrait will hang and the color and style of its surroundings.
Making a portrait can take a lot of time, usually requiring multiple sittings. CÃÆ'Â © zanne, at one extreme, insists on more than 100 sittings of his subject. Goya on the other hand, would rather sit all day. Average about four. Portraitists sometimes show their caregivers with a portfolio of images or photos from which the nanny will choose the preferred pose, as Sir Joshua Reynolds did. Some, like Young Hans Holbein make facial images, then finish the rest of the paintings without a nanny. In the 18th century, it usually took about a year to deliver a complete portrait to the client.
Managing the expectations and nanny atmosphere is a serious concern for the portrait artist. Regarding the loyalty of portraits to the appearance of caregivers, the painters are generally consistent in their approach. Clients searching for Sir Joshua Reynolds know that they will receive satisfactory results, while caregiver Thomas Eakins knows to expect realistic and unobtrusive portraits. Some subjects voiced strong preferences, others let the artist decide completely. Oliver Cromwell famously demands that his portrait shows "all the rudeness, pimples, warts, and everything as you see, otherwise I will never pay more for it."
After putting the nanny comfortably and encouraging a natural pose, the artist studies the subject, searching for a facial expression, of many possibilities, that fulfill his concept of the caregiver's core. The subject posture is also carefully considered to reveal the emotional and physical state of the caregiver, as do the costumes. To keep caregivers engaged and motivated, skilled artists will often retain pleasant attitudes and conversations. ÃÆ' â € ° lisabeth Vigà ©  © e-Lebrun advised artists to praise women and praise their performances for their cooperation on the seats.
The center of successful execution of portraits is the mastery of human anatomy. The human face is an asymmetrical and skillful portrait artist reproduces this with a fine left-right difference. The artist must have knowledge of the underlying bone and tissue structure to make a convincing portrait.
For complex compositions, artists can first create a complete pencil, ink, charcoal, or oil sketch which is very useful if the available time of the caregiver is limited. Otherwise, the general form then roughness is described on canvas with pencil, charcoal, or thin oil. In many cases, the face finishes first, and the rest afterwards. In the studios of many great portrait artists, the master will only do head and hand, while the clothes and background will be completed by the main students. There are even outside specialists who handle certain items such as clothing and clothing, such as Joseph van Aken. Some artists in the past used dolls or dolls to help build and execute poses and clothing. The use of symbolic elements placed around caregivers (including signs, household objects, animals, and plants) is often used to encode paintings with the moral or religious character of a subject, or with symbols representing occupation, interest, or social status. Backgrounds can be completely black and without any content or full scenes that put nannies in their social or recreational environments.
Self-portraits are usually produced with the help of a mirror, and the end result is a mirror-image portrait, a reversal of what happens in normal portraits when caregivers and artists face each other. In self-portraits, the artist given the right hand will appear to hold the brush in the left hand, unless the artist deliberately corrects the image or uses a second inverting mirror while painting.
Occasionally, clients or client families are dissatisfied with the resulting portrait and the artist is obliged to touch it again or do it or withdraw from unpaid commissions, suffering contempt for failure. Jacques-Louis David celebrates portraits of Madame RÃ © camier, very popular in exhibitions, rejected by caregivers, such as John Singer Sargent's famous Portrait of Madame X. The full portrait of John Trumbull, General George Washington in Trenton , was rejected by the committee that commissioned him. The famous spiny Gilbert Stuart once answered the client's dissatisfaction with his wife's portrait by replying, "You bring me potatoes, and you expect peaches!"
A successful portrait, however, can earn the lifelong gratitude of a client. Calculate Balthazar is very pleased with Raphael's portrait he has made from his wife that he told the artist, "Your image... alone can ease my concern, it is my joy, I direct my smile to it, it is my happiness."
Maps Portrait painting
History
Ancient world
The roots of the portrait may be found in prehistoric times, although some of these works still exist today. In the art of the ancient civilizations of the Fertile Crescent, especially in Egypt, the depiction of rulers and gods abounded. However, most are done in a very stylish manner, and mostly in profiles, usually on rocks, metal, clay, plaster, or crystals. Egyptian portraiture places relatively little emphasis on similarity, at least until the Akhenaten period in the 14th century BC. Paintings of portraits of Chinese characters may return to over 1000 BC, although no one survives that age. The existing Chinese portraits returned to about 1000 AD
From literary evidence we know that ancient Greek paintings include portraits, often very accurately if the writers' praise should be believed, but no example is painted. The heads of carved rulers and prominent figures like Socrates survive a certain amount, and like the statues of individual Hellenistic rulers on coins, suggest that the Greek portrait can achieve a good likeness, and the subject is portrayed with relatively little compliments - Socrates' portrait shows why he has a bad reputation. The successors of Alexander the Great began practicing adding their heads (as deified figures) to their coins, and immediately using their own coins.
Roman portraits adopted the tradition of portraits of both Etruscans and Greeks, and developed a very strong tradition, related to their religious usage of ancestral portraits, as well as Roman politics. Again, some painted survivors, in the portraits of Fayum, Tomb of Aline and Severan Tondo, all of Egypt under Roman rule, are clearly provincial productions that reflect Greek style rather than Roman, but we have many sculptured heads, including many individual portraits from middle class graves, and thousands of different types of coin portraits.
Many of the largest portrait painting groups are the burial paintings that survive in the dry climate of the Egyptian Fayum district (see illustration, below), dating from the 2nd century to the 4th century. These paintings are almost the only surviving Roman period paintings, next to the frescoes, though it is known from Pliny the Elder that portraits were established in the Greek age, and practiced by male and female artists. In his day, Pliny complained about the declining condition of Roman portrait, "The portrait paintings used to transmit throughout the age of accurate persons are completely lost... Indolence has destroyed the art." These facial portraits of Roman Egypt are a lucky exception. They present a rather realistic sense of proportion and individual detail (although the eyes are generally large and artistic skills vary from artist to artist). Fayum portraits are painted on wood or ivory in the color of wax and resin (encaustic) or by tempera, and inserted into a mummy wrap, to remain with the body through immortality.
While portraits of freestanding portraits were reduced in Rome, the art of portraiture grew in Roman carvings, where carers demanded realism, even if uninteresting. During the 4th century, sculptured portraits dominate, with retreats supporting the idealized symbol of what that person looks like. (Compare the portraits of Roman Emperor Konstantin I and Theodosius I) In the Late Antique period, interest in individual resemblances plummeted, and most portraits in ancient Roman coins and consular diptych were hardly individual at all, although at the same time Christian Early art developed fairly standard drawings for the depictions of Jesus and other great figures in Christian art, such as John the Baptist, and St. Peter.
Medieval
Most of the early medieval portraits were portraits of donors, originally mostly whales in Roman mosaics, and illuminated manuscripts, a self-portrait example by writer, mystic, scientist, illuminator, and musician Hildegard of Bingen (1152). Like contemporary coins, there is little effort to resemble. Monuments of stone monuments spread in the Roman period. Between the years 1350-1400, secular figures began to reappear in frescoes and panels, as in Theodoric's Mr. Charles IV received loyalty, and the portraiture once again became a clear resemblance. Around the end of this century, the first oil portraits of contemporary people, painted on small wooden panels, appeared in Burgundy and France, first as profiles, then in another view. The Wilton Diptych from ca. 1400 is one of two surviving portraits of Richard II's British panel, the earliest British King for whom we have contemporary examples. Leading early Netherlandish masters from portraits included Jan van Eyck, Robert Campin and Rogier van der Weyden. Portraits of donors begin to appear as gifts, or participate in the major sacred scenes shown, and in more private courtroom subjects even appear as important figures such as the Virgin Mary.
Renaissance
The Renaissance marks a turning point in portrait history. Part of the interest in the natural world and partly interested in the classical culture of ancient Greece and Rome, portraits - both painted and carved - were given important roles in Renaissance society and were valued as objects, and as worldly depictions. success and status. Painting generally achieves a new level of balance, harmony, and insight, and the greatest artists (Leonardo, Michelangelo, and Raphael) are considered "geniuses", rising well above the merchant status for respected court and church ministers.
Many innovations in various forms of portraiture develop during this fertile period. The miniature tradition of portraiture begins, which remains popular until the age of photography, evolved from the skill of miniature painters in illuminated manuscripts. Portrait profiles, inspired by ancient medals, were very popular in Italy between 1450 and 1500. Medals, with two-sided images, also inspired the short lifestyle for two-sided painting at the beginning of the Renaissance. Classic sculptures, such as Apollo Belvedere , also influence the choice of poses used by Renaissance painters, a pose that has continued to be used for centuries.
North European artists lead the way in realistic portraits of secular subjects. The greater realism and detail of Northern artists during the 15th century was due to the smoother brushstrokes and possible effects with the color of the oil, while Italian and Spanish painters still used the tempera. Among the earliest painters to develop oil engineering is Jan van Eyck. The color of the oil can produce more texture and thickness, and can be coated more effectively, with the addition of a layer thicker one on top of another (known by the painter as 'fat on the lean'). Also, dry oil colors are slower, allowing the artist to make changes easily, such as changing face details. Antonello da Messina was one of the first Italians to use oil. Trained in Belgium, he settled in Venice around 1475, and was a major influence on Giovanni Bellini and the school of Northern Italy. During the 16th century, oil as a medium spread throughout Europe, allowing rendering of more luxurious clothing and jewelry. Also affecting the image quality, is the switch from wood to canvas, beginning in Italy at the beginning of the 16th century and spreading to northern Europe during the next century. The crack-resistant canvas is better than wood, holds the pigment better, and requires less preparation-but initially much rarer than wood.
Initially, northern Europeans abandoned the profile, and began producing portraits of volumes and realistic perspectives. In the Netherlands, Jan van Eyck is a prominent painter. Arnolfini's marriage (1434, National Gallery, London) is a landmark of Western art, a prime example of a long-term pair of portraits, painted amazingly in rich colors and exquisite detail. But equally importantly, it featured a newly developed oil painting technique pioneered by van Eyck, which revolutionized art, and spread throughout Europe.
Leading German portrait artists include Lucas Cranach, Albrecht DÃÆ'¼rer, and Hans Holbein the Younger who all mastered the technique of painting oil paint. Cranach was one of the first artists to paint a long commission, a popular tradition since then. At the time, Britain did not have a first-ranked portrait painter, and artists like Holbein were in demand by British customers. His painting of Sir Thomas More (1527), his first important patron in England, has almost the realism of a photograph. Holbein made his success painting the royal family, including Henry VIII. DÃÆ'¼rer is an outstanding draftsman and one of the first great artists to create self-portrait sequences, including full face paintings. He also places his self-portrait figure (as a spectator) in some of his religious paintings. DÃÆ'¼rer started making self portraits at the age of thirteen. Later, Rembrandt will strengthen that tradition.
In Italy, Masaccio leads in the modernization of the fresco by adopting a more realistic perspective. Filippo Lippi paved the way for developing sharper contours and tortuous lines and his pupils, Raphael extending realism in Italy to a much higher level in subsequent decades with his monumental frescoes. During this time, engagement portraits became popular, specialties Lorenzo Lotto special. During the early Renaissance, portraits were generally small and sometimes covered with protective cover, hinged or glided.
During the Renaissance, Florentine and Florentine nobles, in particular, wanted a more realistic representation of themselves. The challenge of creating full view and convincing three-quarters encourages experimentation and innovation. Sandro Botticelli, Piero della Francesca, Domenico Ghirlandaio, Lorenzo di Credi, and Leonardo da Vinci and other artists expanded their techniques, adding portraits to traditional religious and classical subjects. Leonardo and Pisanello were one of the first Italian artists to add allegorical symbols to their secular portraits.
One of the most famous portraits in the Western world is Leonardo da Vinci's Mona Lisa, named after Lisa del Giocondo, a member of the Gherardini family of Florence and Tuscany and the wife of Florentine rich silk merchant Francesco del Giocondo. The famous "Mona Lisa smile" is an excellent example to apply fine asymmetry to the face. In his notebook, Leonardo suggested the quality of light in portraits:
A very high level of grace in light and shadow is added to the faces of the people sitting on the doorstep of the darkened rooms, where the observer's eyes see the dark part of the face obscured by the shadows of the room, and see the brightest faces with the greater brilliance that air gives. Through an increase in the shadows and lights, the face becomes more relieved.
Leonardo is a disciple of Verrocchio. After becoming a member of the Guild of Painters, he began receiving an independent commission. Due to his broad interests and in keeping with his scientific thoughts, his drawing output and preliminary studies are enormous despite his relatively small artistic ends. Other impressive portraits include the noble women Ginevra de 'Benci and Cecilia Gallerani .
The portrait of Raphael's living commission is much more than Leonardo's paintings, and they feature a greater variety of poses, lighting, and techniques. Rather than generating revolutionary innovation, Raphael's great achievement is strengthening and perfecting the flourishing flow of Renaissance art. He is very skilled in portrait groups. The school's the School of Athens is one of the group's leading frescoes, which resembles Leonardo, Michelangelo, Bramante, and Raphael himself, in the guise of ancient philosophers. That's not the first group portrait of an artist. The previous decade, Paolo Uccello has painted group portraits including Giotto, Donatello, Antonio Manetti, and Brunelleschi. When he became famous, Raphael became the favorite painter of the popes. While many Renaissance artists eagerly received portrait commissions, some artists rejected them, especially rival Raphael, Michelangelo, who commissioned the great Sistine Chapel.
In Venice around 1500, Gentile Bellini and Giovanni Bellini dominated portraits. They receive the highest commissions from top state officials. Bellini's image of Doge Loredan is regarded as one of the best portraits of the Renaissance and with the ability to show the mastery of the newly arrived oil painting artist. Bellini was also one of the first artists in Europe to sign their work, although he rarely dated them. Then in the 16th century, Titian took on the same role, especially by expanding the various poses and paraphernalia of his subjects. Titian was probably the first great boy painter. After Titian succumbed to the plague, Tintoretto and Veronese became prominent Venetian artists, helping the transition to Italian Mannerism. The Mannerists contribute many extraordinary portraits emphasizing elaborately elaborate material and elaborate poses, such as in the works of Agnolo Bronzino and Jacopo da Pontormo. Bronzino made his fame portray the Medici family. His brave portrait of Cosimo I de Medici shows the mighty ruler with a vigilant armor staring at the extreme right, in sharp contrast to most of the royal paintings that show their caregivers as good rulers. El Greco, trained in Venice for twelve years, went in a more extreme direction after his arrival in Spain, emphasizing the carer's "inner vision" to the point of diminishing the reality of physical appearance. One of the best 16th century Italian painters is Sofonisba Anguissola of Cremona, which incorporates portraits of individuals and groups with new levels of complexity.
The portrait of the court in France began when Flemish artist Jean Clouet painted his fancy picture of Francis I from France around 1525. King Francis was a great patron of the artist and a spooky art collector who invited Leonardo da Vinci to live in France during his final years. The Mona Lisa lived in France after Leonardo died there.
Baroque and Rococo
During the Baroque and Rococo periods (17th and 18th centuries), portraits became a more important status and position record. In a society dominated by secular leaders in powerful courts, images of fancy characters are a means of affirming the authority of important individuals. Flemish painter Sir Anthony van Dyck and Peter Paul Rubens excel in this type of portrait, while Jan Vermeer produces mostly middle-class portraits, at work and indoor play. Rubens portraits himself and his first wife (1609) in their wedding attire are examples of experts from portrait pairs. Rubens' fame goes beyond art - he is a courtier, diplomat, art collector, and successful entrepreneur. His studio was one of the most knowledgeable at the time, employing specialists in quiet life scenes, landscapes, animals and genres, in addition to portraits. Van Dyck trained there for two years. Charles I of England first employed Rubens, then imported van Dyck as a court painter, mastered it and conferred his propriety status. Van Dyck not only adapted Rubens' production methods and business skills, but also his etiquette and elegant looks. As he noted, "He always dressed elegantly, possessed a large and handsome gear, and kept such a glorious table in his apartment, that some princes were not visited, or better servants." In France, Hyacinthe Rigaud dominates in almost the same way, as an extraordinary royal chronicler, painting portraits of five French kings.
One of the innovations of Renaissance art is the improvement of facial expressions to accompany different emotions. In particular, Dutch painter Rembrandt explores many facial expressions of humans, especially as one of the main self portraits (which he painted over 60 years in his life). This interest in the human face also encouraged the creation of the first caricature, credited to the Carracci Academy, run by the Carracci family painters at the end of the 16th century in Bologna, Italy (see Annibale Carracci).
The group portraits were produced in large numbers during the Baroque period, especially in the Netherlands. Unlike throughout Europe, Dutch artists do not receive commissions from the Calvinistic Church that prohibit such images or from aristocracies that do not exist. Instead, commissions come from community and business associations. The Dutch painter Frans Hals used a brush of bright fluid brushes to enliven his group portrait, including photographs of the civilian guard who belonged to him. Rembrandt greatly benefited from such commissions and from the general appreciation of art by bourgeois clients, who supported portraits and paintings of life and landscape. In addition, the arts market and important dealers first flourished in the Netherlands at that time.
With many requests, Rembrandt was able to experiment with unconventional compositions and techniques, such as chiaroscuro. He demonstrates these innovations, spearheaded by Italian masters such as Caravaggio, especially at the famous Night Watch (1642). Anatomy Lesson Dr. Tulp (1632) is another good example of Rembrandt's mastery of group painting, where he bathed corpses in bright light to draw attention to the center of the painting while clothing and backgrounds merged into black, making the faces of surgeons and students stand out. This is also the first painting signed by Rembrandt with his full name.
In Spain, Diego Velázquez painted Las Meninas (1656), one of the most famous and enigmatic group portraits of all time. It memorializes the artist and children of the royal family of Spain, and it seems the nanny is a royal couple who are seen only as a reflection in the mirror. Starting as a prestigious painter, VelÃzzquez quickly became famous as the painter of the palace of Philip IV, who was proficient in portraiture, especially in expanding the complexity of group portraits.
Artist Rococo, who is especially interested in rich and elaborate ornaments, is the master of fine painting. Their attention to clothing and texture detail enhances the efficacy of portraits as proof of worldly riches, as evidenced by the famous portrait of François Boucher about Madame de Pompadour wearing a steaming silk dress.
The first original portrait painter of a British school was the British painter Thomas Gainsborough and Sir Joshua Reynolds, who also specializes in their subject's clothes in an interesting way. Gainsborough Blue Boy is one of the most famous and recognized portraits of all time, painted with a very long brush and a thin oil color to achieve the sparkling effect of a blue costume. Gainsborough is also known for its intricate background settings for its subjects.
Both British artists have different opinions about the use of assistants. Reynolds employs them regularly (sometimes only doing 20 percent of the painting itself) while Gainsborough rarely does it. Sometimes a client will issue a pledge from the artist, as did Sir Richard Newdegate from painter Peter Lely (van Dyck's successor in England), who promised that the portrait would be "from Beginning to the end you were taken with my own hands." In contrast to the accuracy used by Flemish experts, Reynolds concludes his approach to portraiture by stating that, "grace, and, we can add, resemblance, more in taking public air, than observing the exact similarities of each feature." prominent in England is William Hogarth, who dared to persuade conventional methods by introducing a touch of humor in his portrait. His "self-portrait with Pug" is definitely a funny picture of his pet rather than a self-indulgent painting.
In the 18th century, female painters got new things, especially in the field of portraiture. Famous female artists include French painters ÃÆ' â € ° lisabeth Vigà ©  © e-Lebrun, Italian pastel artist Rosalba Carriera, and Swiss artist Angelica Kauffman. Also during that century, before the invention of photography, miniature portraits-painted with extraordinary precision and often wrapped in gold or enamel counters-were greatly appreciated.
In the United States, John Singleton Copley, educated in refined English style, became the main painter of full-size and miniature portraits, with hyper-realistic images of Samuel Adams and Paul Revere highly respected. Copley is also renowned for his efforts to combine portraits with more academically respected historical art, which he attempted with his group portrait of famous military men. Also famous is Gilbert Stuart who painted more than 1,000 portraits and is mainly known for his presidential portrait. Stuart painted more than 100 replicas of George Washington himself. Stuart worked fast and used a softer and less detailed brush strokes than Copley to capture the essence of his subject. Sometimes he will create multiple versions for clients, allowing caregivers to choose their favorites. Noted because of the reddish tinge of his cheeks, Stuart writes, "the flesh is not like any other substance under the sky, it has all the longing of a silk-mercer shop without gloss tangles, and all the old mahogany tenderness, without its sadness." Other prominent American portraits of the colonial era are John Smibert, Thomas Sully, Ralph Earl, John Trumbull, Benjamin West, Robert Feke, James Peale, Charles Willson Peale, and Rembrandt Peale.
19th century
In the late 18th and early 19th centuries, neoclassical artists continued the tradition of describing the subject in the latest fashion, which for women at the time meant beautiful dresses derived from ancient Greek and Roman clothing styles. The artists use light directed to determine the texture and roundness of a simple face and foot. French painter Jacques-Louis David and Jean-Auguste-Dominique Ingres demonstrate expertise in this draftsman technique and a keen eye for character. Ingres, a disciple of David, is famous for his portraits in which mirrors are painted behind the subject to simulate the rear view of the subject. The portrait of Napoleon on the throne of the empire is a de force tour of the great portrait. (see Gallery below)
Romantic artists working in the first half of the 19th century painted inspiring leader portraits, beautiful women and restless subjects, using live and dramatic brushstrokes, sometimes grim, lighting. French artist EugÃÆ'¨ne Delacroix and ThÃÆ' Â © odore GÃÆ' Â © ricault paints excellent portraits of this type, especially the horseback riders. An example of a famous artist from a romantic period in Poland, who practiced a portrait of a horseman is Piotr Micha? Owski (1800-1855). Also worth noting is the series of portraits of patients with mental disorders Gorge (1822-1824). The Spanish painter Francisco de Goya painted some of the most sought-after and provocative images of the period, including La maja desnuda (c 1797-1800), as well as portraits of the famous court of Charles IV.
Realist artists of the 19th century, such as Gustave Courbet, created an objective portrait depicting the middle-class people down. By showing his romanticism, Courbet painted several self-portraits that showed him in various moods and expressions. Other French realists include HonorÃÆ' Daumier who produced many caricatures from his contemporaries. Henri de Toulouse-Lautrec noted several famous performers from the theater, including Jane Avril, capturing them in motion. The French painter ÃÆ' â € ° douard Manet, is an important transitional artist whose work floats between realism and impressionism. He is a painter with extraordinary insights and techniques, with his painting of StÃÆ'  © phane Mallarmà ©  © being a good example of his transitional style. His contemporary Edgar Degas is primarily a realist and his portrait of the Bellelli Family is a deep depiction of an unhappy family and one of his finest portraits.
In America, Thomas Eakins reigns as a portrait painter, bringing realism to a new level of honesty, especially with two portraits of surgeons at work, as well as athletes and musicians in action. In many portraits, such as "Portrait of Mrs. Edith Mahon," Eakins boldly conveyed the emotions of unhappy sadness and sadness.
The Realists mostly gave way to the Impressionists in the 1870s. Partly because of their small income, many Impressionists rely on family and friends to model them, and they paint intimate groups and single figures outside or inside light-filled interiors. Noted because of its glittery surface and rich paint leaks, impressionist portraits are often very intimate and interesting. French painter Claude Monet and Pierre-Auguste Renoir created some of the most popular images of caregivers and groups. American artist Mary Cassatt, who trained and worked in France, is popular even today for his mother's paintings and interesting children, such as Renoir. Paul Gauguin and Vincent van Gogh, both Post-Impressionists, depict the disclosure of portraits of people they know, spinning in color but not necessarily flattering. They are equal, if not more, celebrated for their strong self portraits.
John Singer Sargent also spanned the turn of the century, but he rejected Impressionism and Post-Impressionism openly. He was the most successful portrait painter of his time, using the most realistic techniques often used with the use of brilliant colors. She is also very suitable for individual and group portraits, especially from upper class families. Sargent was born in Florence, Italy to American parents. He studied in Italy and Germany, and in Paris. Sargent is considered the last major exponent of the British portrait tradition that began with van Dyck. Another prominent American painter who trained abroad is William Merritt Chase. American society painter Cecilia Beaux, called "Sargent women," was born to a French father, studying abroad and gaining success back home, persisting with traditional methods. Another painter compared to Sargent because his fertile technique was Italian-born Parisian artist Giovanni Boldini, a friend of Degas and Whistler.
American-born Internationalist James Abbott McNeill Whistler is well connected with European artists and also paints some remarkable portraits, most notably the "Arrangements in Gray and Black, Mother of Artists" (1871), also known as "Whistler's Mother". Even with his portrait, like the tonal landscape, Whistler wants viewers to focus on the harmonious arrangement of shapes and colors in his paintings. Whistler uses a weak palette to create the desired effect, emphasizing the balance of color and soft tones. As he stated, "because music is a sound poem, so are paintings of vision poetry, and the subject has nothing to do with the harmony of sound or color." The shapes and colors also became the centerpiece portrait of CÃÆ'Â © zanne, while the more extreme colors and brushstrokes dominated the portrait by AndrÃÆ' © Derain, and Henri Matisse.
The development of photography in the 19th century had a significant effect on portraits, replacing previous camera obscura which had also previously been used as a help in painting. Many modernists flocked to photographic studios to make their portraits, including the Baudelaire who, although he proclaimed photography as an "enemy of art," found himself drawn to the honesty and power of photography. By providing a cheap alternative, photography replaces many of the lowest-level portrait paintings. Some realist artists, such as Thomas Eakins and Edgar Degas, are very enthusiastic about camera photography and consider it a useful aid for composition. From advanced Impressionists, portrait painters find many ways to reinterpret portraits to compete effectively with photography. Sargent and Whistler are among those stimulated to extend their technique to create effects that the camera can not capture.
20th century
Other early 20th century artists also expanded the repertoire of portraiture in new directions. Fauvist artist Henri Matisse produces powerful portraits using non-naturalistic, even tacky, colors for skin color. CÃÆ'Â © zanne relies on highly simplified forms in his portrait, avoiding detail while emphasizing color jukstaposisi. Austria's unique style Gustav Klimt applies Byzantine motifs and gold paint to his impressive portraits. His pupil Oskar Kokoschka was an important painter from the upper class of Vienna. The Prolific Spanish artist Pablo Picasso painted many portraits, including some cubist depictions of his mistresses, in which the subject's similarity was deeply distorted to attain an emotional statement that transcended normal caricature borders. An extraordinary female portrait painter from the turn of the 20th century, associated with French impressionism, is Olga Bozna? Ska (1865-1940). The expressionist painter provides some of the most haunting and interesting psychological studies ever produced. German artists such as Otto Dix and Max Beckmann produce well-known examples of expressionist portraits. Beckmann is a productive self-artist, producing at least twenty-seven. Amedeo Modigliani painted many portraits in her elongated style that made the depth "insiders" favor the study of rigorous shapes and colors. To help achieve this, he does not emphasize typically expressive eyes and eyebrows to the point of a blackened gap and simple arch.
British art is represented by Vorticists, who painted several important portraits in the early part of the 20th century. Painter Francis Picabia executes many portraits with his unique style. In addition, the portrait of Tamara de Lempicka captured the Art Deco era with its sleek curves, rich colors, and sharp corners. In America, Robert Henri and George Bellows are portrait painters of the 1920s and 1930s from American realist schools. Max Ernst produced an example of a modern collegial portrait with his 1922 "All Friends Together" painting.
Significant contributions to the development of 1930-2000 portrait paintings made by Russian artists, especially working in the traditions of realist and figurative paintings. Among them should be called Isaak Brodsky, Nikolai Fechin, Abram Arkhipov and others.
Production of portraits in Europe (excluding Russia) and America generally declined in the 1940s and 1950s, a result of increased interest in abstract and nonfigurative art. One exception, however, is Andrew Wyeth who developed into a leading American realist portrait painter. With Wyeth, realism, though overtly, is secondary to the quality of the tone and atmosphere of the painting. This is precisely demonstrated by a series of famous paintings known as the "Helga", the largest group of one man's portraits by the great artist (247 studies of his neighbor Helga Testorf, dressed and naked, in various environments, painted during the period 1971-1985).
In the 1960s and 1970s, there was a revival of portraits. British artists such as Lucian Freud (grandson of Sigmund Freud) and Francis Bacon have produced powerful paintings. Bacon portraits are famous for their nightmare quality. In May 2008, Freud's 1995 portrait Benefit Sleeping Supervisor was sold by Christie's auction in New York City for $ 33.6 million, setting a world record for the sale value of a painting by a living artist.
Many contemporary American artists, such as Andy Warhol, Alex Katz and Chuck Close, have made human faces a focal point of their work.
Warhol was one of the most prolific portrait painters of the 20th century. The Warhol painting of Orange Shot Marilyn from Marilyn Monroe is an iconic early example of his work from the 1960s, and Prince Orange (1984) of the Prince pop singer is an example later on, both showing the unique graphic style of Warhol's portrait painting.
Close Specialization is a large and hyper-realistic "head" portrait based on photographic images. Jamie Wyeth continues his father's realistic tradition, Andrew, producing famous portraits whose subject ranges from President to pig.
Gallery
See also
- Hierarchy of genres
- Portrait Now
References and notes
- References
- Notes The New Age "Art Records" column February 28, 1918 is a reasonable analysis of the mind and aesthetic portrait by B.H. Dias (pseudonym Ezra Pound), a broad-minded reference frame for seeing any portrait, ancient or modern.
- Woodall, Joanna. Portrait: Facing Subject . Manchester University Press, Manchester, 1997.
- Joanna Woodall gave a lecture on Trade Identity, merchant image at Gresham College.
Further reading
External links
Source of the article : Wikipedia
0 Comments