![]() The miniature may have died out, but the modern use of photographs in purses and wallets, corresponds to the same desire to hok) someone's image close. The fourth strand is the 'Individual' and the Prince of Wales by Richard Cosway, in a miniature, demonstrates this. A third strand is the 'Professional' portrait, and Benjamin Jonson painted by Abraham van Blyenberch, shows someone famous for what he did rather than who he was. ![]() A second strand is the 'Family' portrait of which Thomas Howard, 2nd Earl of Arundel and Surrey by Peter Paul Rubens is an example. It is an allegorical work in which she stands on her country and sun and storm are depicted to each side of her in the sky. A first strand is the 'State' portrait of which Queen Elizabeth I by Marcus Gheeraerts the Younger of 1592 is a perfect example. They denote status, power and wealth, convey the construction of dress and fashion and give insight to personality and psychology, taking account of the codes of public and private portraiture and the conventions of male and female portrayal.Īs the practice of portraiture developed in Europe in the 16th and 17th centuries, a number of strands emerged. Portraits have a number of functions that go beyond the immediate purpose of recording a likeness. But for both of them the painted portrait speaks equally of authenticity and authority. Freud's comment was made in part to distinguish paintings from the mass circulation of photographic imagery. the Portrait was a small lighted candle by which Biographies could for the first time be read, and some human interpretation be made of them'.įreud is taking a focused view about the particular character of a painted portrait whereas Carlyle was referring to the use of painted portraits to help understand or define 'great men' and he was writing as photography was about to offer a new opportunity to record and circulate likenesses. in all my historical investigations it has been one of the most primary wants to procure a bodily likeness of the personage enquired after. Secondly, from historian and biographer, Thomas Carlyle, commenting in the 1840s,'. it is to do with the feeling of individuality, and the intensity of the regard and the focus on the specific'. 'I think a great portrait has to do with the way it is approached. First I must ask what are painted portraits for? This question can best be framed with two quotations from different points in time.
0 Comments
Leave a Reply. |