Exhibition: The Art of Portraiture in the Louvre Collections
Date: May 30 2018 – Sep 03 2018
Venue: The National Art Center, Tokyo
Since Antiquity, portraits have been commissioned to represent important people, figures, heroes and gods. Over time, this artistic genre has evolved from the embellished Greek marble sculptures to contemporary paintings, photography and abstract works. While the specific aesthetic style of the portrait often varies over time, the main purpose of portraiture, has remained consistent-to depict the personality, characteristics or essence of a person or important figure by using the face as the dominant feature of the composition.
The first known portraits can be traced back to prehistoric times (c. 30,000 B.C.E.) when men reproduced the outlines of their shadows as an attempt to preserve their memory in times of absence. Over time these depictions evolved into monochrome representations with simple lines and shapes, which now can be compared to the contemporary “portrayals” and abstract forms created by modern artists such as Pablo Picasso and Henri Matisse.
This collective work attempts to create a comprehensive outline of the history of portraiture illustrated in both painting and sculpture. In the hierarchy of art theory, the portrait was initially viewed inferior compared to history painting but superior to still life and other genre paintings. Throughout the history of art, theorists have occasionally been sceptical or critical regarding the issue of resemblance to the sitter, implying that the artist often portrays his or idealization of the subject. Despite this, the immense number of surviving portraits suggests that portraiture was nonetheless a popular request by those responsible for commissioning artworks across the artistic timeline.
Portraiture is often overshadowed by other styles and genres of art. Art that qualifies as narrative painting or sculpture is almost always more appreciated amongst the masses than the black and white portrait of a political figure or famous artist. Perhaps this occurs because people assume that a portrait does not directly appeal to the imagination or tell a particular story. The differences between a portrait and a narrative piece of art can be compared to that of a novel and a biography. The first focuses predominantly on plot and action, while the latter is more concerned with the development and analysis of a specific individual.
Therefore a biography could be considered flat in comparison to a novel that is full of dramatic scenes. However, depending on the nature of the writing itself a biography can be just as fascinating and compelling as a novel. Evidently, in the same respect, a portrait that has been painted in such an exemplary and skillful manner can be just as insightful as an illustration of a particular myth or story.
Knowing some background information regarding the identity of the sitter often impacts the accessibility of the portrait, because the spectator instantly recognises the subject and can therefore compare their understanding of the person with the particular representation.
But even the portrait of an “unknown” subject can be so charged with meaning and depth that the visitor cannot help but be intrigued. A great portrait artist can illustrate a story so effectively that sometimes a precise title is not even necessary. Therefore, Titian‘s (Tiziano Vecelli) Man with the Glove, Rembrandt’s (Harmenszoon van Rijn) Portrait of a Man located in the Metropolitan Museum of Art, and Diego Velasquez’s Lady with the Fan may appeal to us even more powerfully than many of the identified portraits by these same masters.
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