Background
1200 years before the Renaissance (around 100 A.D.), portraits of the rulers of ancient Rome were sculpted on metal coins and spread throughout the countryside. Coins were easy to carry and easy to distribute, reaching citizens far and wide to announce and identify images of the leaders of Rome. Once ancient Rome stopped producing these images, portraiture in Europe disappeared until Italians first began to represent images of real people in the 1300s. They modeled the portraits on the coins recovered from ancient Rome. In Florence artists like Giovanni del Biondo began to create likenesses of real people in their pictures, in profile, just as in the Roman coins.
Beginning in the 1430s, artists in Flanders began painting portraits of sitters turned in three-quarter view. When these paintings reached Florence, they were very much admired. Unlike the profile, which did not add much to the individuality of the portrait's subject, the three-quarter pose broke down the barriers between the subject and the viewer by allowing the subject to look out of the portrait directly at the viewer. This new communication between the subject and the viewers of the portrait opened the door to portraiture that explored the character of a person as well as the way he or she looked. A portrait of a person's face became a metaphor for the person's self, and to have your portrait painted, meant your image might live beyond you. The idea was so appealing that merchants and tradesmen, not just royalty and church leaders, began to commission portraits of themselves and their families. The role of the artist changed as well; artists needed the ability to capture a pleasing likeness of a real person rather than imagine the likeness of a saint. Galeazzo Maria Sforza, the Duke of Milan from 1466 to 1476, sent his court painter to France to make a portrait of a princess of Savoy he was thinking of marrying. The woman in the portrait was so beautiful that the Duke married her by immediately authorizing a substitute to stand in his place in France. When the new bride arrived in Milan, the Duke's court reported that she was even more beautiful than her picture, and younger looking too! The artist who was sent to France to paint a portrait of the princess knew that to disappoint the Duke with a portrait more beautiful than the real princess would risk his position as court painter.
At the beginning of the Renaissance, most patrons, like the Duke of Milan, provided detailed instructions to artists about how the art they were paying for should look. As the Renaissance continued, artists began to assert their own views about art and their own independent ideas and styles. An artist of today, valued for their original creativity and individual artistic vision, has the Renaissance to thank for his or her independence. During the Renaissance, artists began to paint portraits of themselves to advertise their skill and promote their images as talented and sensitive observers. The new Renaissance
innovations in portraiture spread all over Europe and the portraiture that developed in the Renaissance remains much the same today. While we may use new materials and
techniques like photography or video, capturing the essence of another person, both the way they look and the kind of person they are, is an idea that began in the
Renaissance. Resource Classroom Time Objectives
Pennsylvania Academic Standards
Materials
Optional Resources Writing Lesson 1. Setting the Stage The Renaissance was a time of great innovation in the art of portraiture — a drawing, painting, or other representation of someone's face. Before the Renaissance most Europeans thought that a work of art should only represent heavenly figures of the church — Christ and his holy family and saints. But during the Renaissance people began to see themselves as worthy of portraits, and artists began to learn the skills needed to create a likeness of a real person sitting in front of them. But portraits in the Renaissance represented more than just what a person looked like. Eventually Renaissance portraits began to represent a person's character, and how the artist felt about that person. In this assignment you'll examine that relationship between the subject of a Renaissance portrait and the artist who painted it by writing about the portrait from both of these points of view. 2. The Renaissance Connection Possible brainstorming questions include:
Once they have completed the brainstorming distribute the "Different Points of View Writing Assignment Sample" handout. Review the sample with students to see how their ideas can be transformed from ideas to a written essay. Next, have students choose a different portrait from the Renaissance Connection and write an essay from the point of view of both the artist and the subject of the portrait. Depending on the size of your class, more than one student will have to select the same portrait as there are a limited number of images. Have students refer to the brainstorm list generated by the class as an example of the kinds of questions they should ask themselves about the portrait they choose to write about. Allow students to read about the portraits in the Renaissance Connection and include information in their essay that is relevant. Inform students of the assessment procedures prior to starting this project. (See #4. Assessment below.) 3. Summary 4. Assessment - Scoring Rubric:
Vocabulary profile: a representation of somebody's face as seen from the side. three-quarter pose: a representation of somebody turned part way between a profile and a full frontal view of the face. Different Points of View: Writing Assignment Examples
The Artist's Point of View I chose to paint the portrait of Giacomo as a study; a still life of sorts. I wished to render a commoner, as he would have been seen in every day life. Other artists focus on the mythical, allegorical or religious subjects that are so popular now. I must admit that I also need to make a living and have done my share of that kind of work. But there are still times between major commissions, in which I practice my craft to improve my abilities. It cannot be emphasized too much, that in order to improve, novice painters must practice. In regard to this painting, I am always asked, "Who is this man?" To answer this question I invoke the viewer's creativity as well as his intellect. Note the cuisine. What is this man eating? The answer is beans and bread, pig's feet and wine. I ask you, who would willingly eat such a meal? A starving peasant, perhaps? Or an elegant connoisseur who enjoys a variety of dishes? Note the setting. Giacomo may be feasting in a royal kitchen considering the elegant robe in the background, the marvelous glass goblet and fine silver being used. His garments also indicate a person with some sense of culture. On the other hand, this dimly lit scene suggests the meal to be a secret activity. Or the place may be a simple house incapable of proper lighting. The truth is that I wish the subject to remain anonymous. Viewers should, on their own, ask themselves these questions, notice the details and arrive at an opinion as to who they think this person is. At times, life is much more interesting when the answers remain mysteries. The Subject's Point of View But now as I eat, I find that, in addition to feeling grateful, a small feeling of unease. You seem to be studying me as if I am the subject of a classroom lecture. Why do you stare at me so? Am I not using proper manners? Is there a piece of food stuck to my lips? Maybe I can strike up a conversation to ease the tension: "Tell me, good sir, what is it that you do for a living? Oh, you are an artist! A painter. I have always wished I had such an elegant talent. But it must be difficult to earn a living as a painter, no? Yes, I understand that it's difficult to earn a living in any occupation. May I be so bold as to ask to see one of your paintings? Later? Yes, of course. I should finish eating first." Oh no, not another uncomfortable silence. Once again he is studying me. I am afraid I may be put into one of his paintings. Maybe he will use my face as the face of St. John the Baptist, or St. Luke, or even an angel. Won't my father be proud to see my face in a painting! I can't wait to tell him! But first I must choke down these hooves... I really shouldn't have eaten all the beans first. |
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