3326:, was the founder of the Tang dynasty, Emperor Taizong's selection of the previous emperors in the similar position of himself served as a political allusion. His succession was under doubt and criticism since he murdered two of his brothers and forced his father to pass the throne to him. Through commissioning the collective portraits of the previous emperors, he aimed at legitimize the transmission of the reign. In addition, the difference in the costumes of the portrayed emperors implied Emperor Taizong's opinion on them. The emperors portrayed in informal costumes were regarded as the bad examples of a ruler such as being weak or violent, while the ones in formal dresses were thought to accomplish either civil or military achievements. The commission was an indirect method by Emperor Taizong to proclaim his achievements had surpassed the precedent emperors. Emperor Taizong also commissioned a series of portrait paintings of famous scholars and intellectuals before he became the emperor. He attempted to befriend with the intellectuals by putting the portraits on the wall of Pingyan Pavilion as a signal of respect. The portraits also served as evidence that he had gained political support from the portrayed famous scholars to frighten his opponents. During his reign, Emperor Taizong commissioned portraits of himself receiving offerings from the ambassadors of the conquered foreign countries to celebrate and advertise his military achievements.
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3439:, commissioned a number of masquerade portrait paintings with various political implications. In most of the Yongzheng Emperor's masquerade portrait, he wears exotic costumes such as the suit of the European gentleman. The lack of inscription on the portrait painting leaves his intention unclear, but some scholars believe the exotic costume reflects his interest in foreign culture and desire to rule the world. Compared with the Yongzheng Emperor's ambiguous attitude, the Qianlong Emperor wrote inscriptions on his masquerade portraits to announce his philosophy of the "Way of Ruling" which was to conceal and to deceive so that his subordinates and enemies cannot trace his strategies. Compared with the Yongzheng Emperor's enthusiasm in exotic costume, the Qianlong Emperor showed more interest in Chinese traditional costume such as dressing as a Confucian scholar, Taoist priest, and Buddhist monk, which manifests his desire in conquer the traditional Chinese heritage.
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technique such as outlining the shape with ink and reinforcing the shape with color, whereas the highlights on Chabi's jewelry with the same hue but lighter value proved to be a continuation of the
Himalayan style. The full frontal orientation of the sitters and their centered pupil add a confrontational impact to the viewer, which reflect the Nepali aesthetics and style. The highly symmetrical composition and the rigid depiction of hair and clothes differed from the previous Song dynasty painting style. There is little implication on the moral merit of the sitters or their personality, indicating a detachment of the painter from the sitter, which contradicts with the Song dynasty's emphasis on the capture of the spirit.
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throne by emphasizing the physical similarity between him and his father such as facial structure, identical costume and hairstyle. The bamboo forest in the background indicate their moral righteousness proposed by traditional
Confucianism. The portrait depicts the Yongzheng Emperor, who is in a larger scale, handing a flowering branch to the Qianlong Emperor as a political metaphor of the imperial authority to reign. The Qianlong Emperor also advertised his filial piety proposed by Confucianism by posing in a modest gesture.
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3506:) performing daily chores or entertainment became a popular subject. The feminine beauty and charm of the palace ladies were valued, but the subject remained nonspecific under the painting name "Palace Ladies". Characteristics encouraged by the Confucianism including submissive and agreeable were encompassed as standards of beauty and emphasized in the portrait. Painters pursued correctness and likeness of the sitter and aimed to reveal the purity of the soul.
2257:. Even with his portraits, as with his tonal landscapes, Whistler wanted his viewers to focus on the harmonic arrangement of form and color in his paintings. Whistler used a subdued palette to create his intended effects, stressing color balance and soft tones. As he stated, "as music is the poetry of sound, so is painting the poetry of sight, and the subject-matter has nothing to do with the harmony of sound or of color." Form and color were also central to
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1757:(van Dyck's successor in England), who promised that the portrait would be "from the Beginning to ye end drawne with my owne hands." Unlike the exactitude employed by the Flemish masters, Reynolds summed up his approach to portraiture by stating that, "the grace, and, we may add, the likeness, consists more in taking the general air, than in observing the exact similitude of every feature." Also prominent in England was
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3221:. The relief is 96 inches in length and 35 inches in width, with more than 300 bricks. It is one of the most well-preserved thread-relief paintings from the Jin dynasty which reflect high-quality craftsmanship. There are two parts of the relief and each contains four figure portraits. According to the names inscribed next to the figures, from the top to the bottom, and from the left to the right, the eight figures are
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3169:. The combined interests in human psychological and physical features caused a growth in biography and portraiture. Portrait paintings created during the Han dynasty were considered prototypes of the earliest Chinese portrait paintings, most of which were found on the walls of palace halls, tomb chambers, and offering shrines. For instance, the engraved figure of a man found in a tomb tile from western
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out…Indolence has destroyed the arts." These full-face portraits from Roman Egypt are fortunate exceptions. They present a somewhat realistic sense of proportion and individual detail (though the eyes are generally oversized and the artistic skill varies considerably from artist to artist). The Fayum portraits were painted on wood or ivory in wax and resin colors (encaustic) or with
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the eyes and eyebrows. As author and artist Gordon C. Aymar states, "the eyes are the place one looks for the most complete, reliable, and pertinent information" about the subject. And the eyebrows can register, "almost single-handedly, wonder, pity, fright, pain, cynicism, concentration, wistfulness, displeasure, and expectation, in infinite variations and combinations."
68:, where the intent is to represent a specific human subject. The term 'portrait painting' can also describe the actual painted portrait. Portraitists may create their work by commission, for public and private persons, or they may be inspired by admiration or affection for the subject. Portraits often serve as important state and family records, as well as remembrances.
2289:, were enthusiastic about camera photography and found it to be a useful aid to composition. From the Impressionists forward, portrait painters found a myriad number of ways to reinterpret the portrait to compete effectively with photography. Sargent and Whistler were among those stimulated to expand their technique to create effects that the camera could not capture.
1212:. After becoming a member of the Guild of Painters, he began to accept independent commissions. Owing to his wide-ranging interests and in accordance with his scientific mind, his output of drawings and preliminary studies is immense though his finished artistic output is relatively small. His other memorable portraits included those of noblewomen
1680:(1656), one of the most famous and enigmatic group portraits of all time. It memorializes the artist and the children of the Spanish royal family, and apparently the sitters are the royal couple who are seen only as reflections in a mirror. Starting out as primarily a genre painter, Velázquez quickly rose to prominence as the court painter of
1105:. Dürer was an outstanding draftsman and one of the first major artists to make a sequence of self-portraits, including a full-face painting. He also placed his self-portrait figure (as an onlooker) in several of his religious paintings. Dürer began making self-portraits at the age of thirteen. Later, Rembrandt would amplify that tradition.
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the face is completed first, and the rest afterwards. In the studios of many of the great portrait artists, the master would do only the head and hands, while the clothing and background would be completed by the principal apprentices. There were even outside specialists who handled specific items such as drapery and clothing, such as
3257:". They were eminent intelligentsias accomplished at literature, music, or philosophy. The relief depicts a narrative scene of the eight cultivated gentlemen sitting on the ground in the grove performing various activities. The figures were portrayed in a relaxed and self-absorbed posture wearing loose garments with bare feet.
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in the domestic chores while their husbands stayed outside and pursued their careers. Common settings include empty garden path and empty platform couch which hint the absence of male figures. Common background include flowering trees which were associated with beauty and banana trees which symbolized vulnerability of women.
1013:. Oil colors can produce more texture and grades of thickness, and can be layered more effectively, with the addition of increasingly thick layers one over another (known by painters as ‘fat over lean’). Also, oil colors dry more slowly, allowing the artist to make changes readily, such as altering facial details.
3521:) which combined painting, calligraphy, and poetry became a popular trend among the elites. Most women in the literati painting were abstract figures serving as visual metaphor and remained nonentity. In the Qing dynasty (1644–1912), the literati painting gained more variety of brushstroke and use of bright color.
1047:, London) is a landmark of Western art, an early example of a full-length couple portrait, superbly painted in rich colors and exquisite detail. But equally important, it showcases the newly developed technique of oil painting pioneered by van Eyck, which revolutionized art, and spread throughout Europe.
582:, especially in Egypt, depictions of rulers and rulers as gods abound. However, most of these were done in a highly stylized fashion, and most in profile, usually on stone, metal, clay, plaster, or crystal. Egyptian portraiture placed relatively little emphasis on likeness, at least until the period of
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who developed into the leading
American realist portrait painter. With Wyeth, realism, though overt, is secondary to the tonal qualities and mood of his paintings. This is aptly demonstrated by his landmark series of paintings known as the "Helga" pictures, the largest group of portraits of a single
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of upper-class families. Sargent was born in
Florence, Italy to American parents. He studied in Italy and Germany, and in Paris. Sargent is considered to be the last major exponent of the British portrait tradition beginning with van Dyck. Another prominent American portraitist who trained abroad was
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also spanned the change of century, but he rejected overt
Impressionism and Post-Impressionism. He was the most successful portrait painter of his era, using a mostly realistic technique often effused with the brilliant use of color. He was equally apt at individual and group portraits, particularly
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reigned as the premier portrait painter, taking realism to a new level of frankness, especially with his two portraits of surgeons at work, as well as those of athletes and musicians in action. In many portraits, such as "Portrait of Mrs. Edith Mahon", Eakins boldly conveys the unflattering emotions
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that portrait painting was well established in Greek times, and practiced by both men and women artists. In his times, Pliny complained of the declining state of Roman portrait art, "The painting of portraits which used to transmit through the ages the accurate likenesses of people, has entirely gone
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put it, "there are only two styles of portrait painting: the serious and the smirk." Even given these limitations, a full range of subtle emotions is possible from quiet menace to gentle contentment. However, with the mouth relatively neutral, much of the facial expression needs to be created through
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in 1294 reflect the fusion of the traditional
Chinese imperial portrait techniques and the Himalayan-Mongol aesthetic value. Kublai Khan was portrayed as an elder man while Empress Chabi was depicted in youth, both wearing traditional Mongolian imperial costumes. Araniko adopted the Chinese portrait
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linked the presence in an image with the presence in reality. Portrait was regarded as the visual embodiment and substitute of a real person. Thus, the true likeness was highly valued in the paintings and statues of the monks. The Tang dynasty mural portrait painting values the spiritual quality—the
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by the 1870s. Partly due to their meager incomes, many of the
Impressionists relied on family and friends to model for them, and they painted intimate groups and single figures in either outdoors or in light-filled interiors. Noted for their shimmering surfaces and rich dabs of paint, Impressionist
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demonstrated virtuosity in this draftsman-like technique as well as a keen eye for character. Ingres, a student of David, is notable for his portraits in which a mirror is painted behind the subject to simulate a rear view of the subject. His portrait of
Napoleon on his imperial throne is a tour de
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Self-portraits are usually produced with the help of a mirror, and the finished result is a mirror-image portrait, a reversal of what occurs in a normal portrait when sitter and artist are opposite each other. In a self-portrait, a righted handed artist would appear to be holding a brush in the left
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stated, "The aim of Art is to present not the outward appearance of things, but their inner significance; for this, not the external manner and detail, constitutes true reality." Artists may strive for photographic realism or an impressionistic similarity in depicting their subject, but this differs
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In the Song dynasty (960–1279), portrait paintings of women were created based on love poems written by court poets. Although depicted as living in luxurious fashion and comfortable housing, women in the painting were usually portrayed as lonely and melancholic because they feel deserted or trapped
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The historically recorded name inscriptions next to the figures cause the relief painting functions as "portraiture represents specific people". In addition, the iconographic details of each figure based on biography renders an extent of individualization. For instance, the biography of Liu Ling in
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Chinese portrait painting was slow to desire or achieve an actual likeness. Many "portraits" were of famous figures from the past, and showed an idea of what that person should look like. Buddhist clergy, especially in sculpture, were something of an exception to this. Portraits of the emperor were
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in India, things rapidly changed. Unlike their
Persian predecessors, Mughal patrons placed great emphasis on detailed naturalistic likenesses of all the unfamiliar natural forms of their new empire, such as animals, birds and plants. They had the same attitude to human portraiture, and individual
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Group portraits were produced in great numbers during the
Baroque period, particularly in the Netherlands. Unlike in the rest of Europe, Dutch artists received no commissions from the Calvinist Church which had forbidden such images or from the aristocracy which was virtually non-existent. Instead,
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first employed Rubens, then imported van Dyck as his court painter, knighting him and bestowing on him courtly status. Van Dyck not only adapted Rubens’ production methods and business skills, but also his elegant manners and appearance. As was recorded, "He always went magnificently dress’d, had a
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periods (17th and 18th centuries, respectively), portraits became even more important records of status and position. In a society dominated increasingly by secular leaders in powerful courts, images of opulently attired figures were a means to affirm the authority of important individuals. Flemish
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For complex compositions, the artist may first do a complete pencil, ink, charcoal, or oil sketch which is particularly useful if the sitter's available time is limited. Otherwise, the general form then a rough likeness is sketched out on the canvas in pencil, charcoal, or thin oil. In many cases,
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alone. Stuart worked quickly and employed softer, less detailed brush strokes than Copley to capture the essence of his subjects. Sometimes he would make several versions for a client, allowing the sitter to pick their favorite. Noted for his rosy cheek tones, Stuart wrote, "flesh is like no other
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who all mastered oil painting technique. Cranach was one of the first artists to paint life-sized full-length commissions, a tradition popular from then on. At that time, England had no portrait painters of the first rank, and artists like Holbein were in demand by English patrons. His painting of
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While free-standing portrait painting diminished in Rome, the art of the portrait flourished in Roman sculptures, where sitters demanded realism, even if unflattering. During the 4th century, the sculpted portrait dominated, with a retreat in favor of an idealized symbol of what that person looked
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or dolls to help establish and execute the pose and the clothing. The use of symbolic elements placed around the sitter (including signs, household objects, animals, and plants) was often used to encode the painting with the moral or religious character of the subject, or with symbols representing
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After putting the sitter at ease and encouraging a natural pose, the artist studies his subject, looking for the one facial expression, out of many possibilities, that satisfies his concept of the sitter's essence. The posture of the subject is also carefully considered to reveal the emotional and
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with his handwritten inscription. The figures were portrayed in vivid lines, animated gestures, and the facial expressions were rendered a narrative quality. The portrait of the saints and his disciples was found on a stone tablet on the wall of Imperial University as a moral code to educate the
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effort in the way that it did in the West. Even where it is clear that a scene shows the court of the prince commissioning the work, the features of the chief figure have the same rather Chinese-looking features as all the rest. This long-lasting convention seems to derive from the start of the
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A very high degree of grace in the light and shadow is added to the faces of those who sit in the doorways of rooms that are dark, where the eyes of the observer see the shadowed part of the face obscured by the shadows of the room, and see the lighted part of the face with the greater brilliance
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Partly out of interest in the natural world and partly out of interest in the classical cultures of ancient Greece and Rome, portraits—both painted and sculpted—were given an important role in Renaissance society and valued as objects, and as depictions of earthly success and status. Painting in
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after he inherited the throne from his father, which is a double portrait painting of him and his father dressed in Confucian scholar garments instead of traditional Manchu robes standing side by side next to bamboos. Scholars believe that the commission aimed to legitimize his succession of the
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is another fine example of Rembrandt's mastery of the group painting, in which he bathes the corpse in bright light to draw attention to the center of the painting while the clothing and background merge into black, making the faces of the surgeon and the students standout. It is also the first
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Rubens' fame extended beyond his art—he was a courtier, diplomat, art collector, and successful businessman. His studio was one of the most extensive of that time, employing specialists in still-life, landscape, animal and genre scenes, in addition to portraiture. Van Dyck trained there for two
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The two British artists had opposite opinions on using assistants. Reynolds employing them regularly (sometimes doing only 20 percent of the painting himself) while Gainsborough rarely did. Sometimes a client would extract a pledge from the artist, as did Sir Richard Newdegate from portraitist
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Historically, portrait paintings have primarily memorialized the rich and powerful. Over time, however, it became more common for middle-class patrons to commission portraits of their families and colleagues. Today, portrait paintings are still commissioned by governments, corporations, groups,
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dating back to the third century B.C. indicates the painter's observation and desire to create lively figures. However, the subjects of most wall portraits are anonymous figures engaging in conversation. Despite the vivid depiction of physical features and facial expression, due to the lack of
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Creating a portrait can take considerable time, usually requiring several sittings. Cézanne, on one extreme, insisted on over 100 sittings from his subject. Goya on the other hand, preferred one long day's sitting. The average is about four. Portraitists sometimes present their sitters with a
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It may seem obvious today that a painted portrait is intended to achieve a likeness of the sitter that is recognisable to those who have seen them, and ideally is a very good record of their appearance. In fact this concept has been slow to grow, and it took centuries for artists in different
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dominated portrait painting. They received the highest commissions from the leading officials of the state. Bellini's portrait of Doge Loredan is considered to be one of the finest portraits of the Renaissance and ably demonstrates the artist's mastery of the newly arrived techniques of oil
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Raphael's surviving commission portraits are far more numerous than those of Leonardo, and they display a greater variety of poses, lighting, and technique. Rather than producing revolutionary innovations, Raphael's great accomplishment was strengthening and refining the evolving currents of
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artists continued the tradition of depicting subjects in the latest fashions, which for women by then, meant diaphanous gowns derived from ancient Greek and Roman clothing styles. The artists used directed light to define texture and the simple roundness of faces and limbs. French painters
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Among the other possible variables, the subject can be clothed or nude; indoors or out; standing, seated, reclining; even horse-mounted. Portrait paintings can be of individuals, couples, parents and children, families, or collegial groups. They can be created in various media including
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also included individualized portraits, usually of the commissioner. In religious paintings, portraits of donors began to be shown as present, or participate in the main sacred scenes shown, and in more private court images subjects even appeared as significant figures such as the
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333:'s enormous portraits created for museum display differ greatly from most portraits designed to fit in the home or to travel easily with the client. Frequently, an artist takes into account where the final portrait will hang and the colors and style of the surrounding décor.
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benefitted greatly from such commissions and from the general appreciation of art by bourgeois clients, who supported portraiture as well as still-life and landscapes painting. In addition, the first significant art and dealer markets flourished in Holland at that time.
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1307:, who trained in Venice for twelve years, went in a more extreme direction after his arrival in Spain, emphasizing his "inner vision" of the sitter to the point of diminishing the reality of physical appearance. One of the best portraitists of 16th-century Italy was
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Profile portraits, inspired by ancient medallions, were particularly popular in Italy between 1450 and 1500. Medals, with their two–sided images, also inspired a short-lived vogue for two-sided paintings early in the Renaissance. Classical sculpture, such as the
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conquered the Chinese mainland and ended the Song dynasty, the traditional Chinese intelligentsia were left in a dilemma situation of choosing between reclusion from the foreign government or pursuing new political careers. Portrait paintings of "men of culture"
633:, all from Egypt under Roman rule, are clearly provincial productions that reflect Greek rather than Roman styles, but we have a wealth of sculpted heads, including many individualized portraits from middle-class tombs, and thousands of types of coin portraits.
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painted many portraits in his elongated style which depreciated the "inner person" in favor of strict studies of form and color. To help achieve this, he de-emphasized the normally expressive eyes and eyebrows to the point of blackened slits and simple arches.
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renderings of his mistresses, in which the likeness of the subject is grossly distorted to achieve an emotional statement well beyond the bounds of normal caricature. An outstanding female portrait painter of the turn of the 20th century, associated with the
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Rococo artists, who were particularly interested in rich and intricate ornamentation, were masters of the refined portrait. Their attention to the details of dress and texture increased the efficacy of portraits as testaments to worldly wealth, as evidenced by
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in the 14th century BC. Portrait painting of notables in China probably goes back to over 1000 BC, though none survive from that age. Existing Chinese portraits go back to about 1000 AD, but did not place much emphasis on likeness until some time after that.
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Portrait painting of women in ancient China from the Han dynasty to the Qing dynasty (206 BC – 1912) developed under great impact of the Confucian patriarchal cosmology, however, the subject and the style varied according to the culture of each dynasty.
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who, though he proclaimed photography an "enemy of art", found himself attracted to photography's frankness and power. By providing a cheap alternative, photography supplanted much of the lowest level of portrait painting. Some realist artists, such as
3271:, a vessel for alcohol, while dipping the other hand into the cup to have a taste of the drink. The portrait reflects the essence of Liu Ling's characteristics and temperament. The figure of Ruan Xian who was famous for musical talents according to the
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is one of the most famous and recognized portraits of all time, painted with very long brushes and thin oil color to achieve the shimmering effect of the blue costume. Gainsborough was also noted for his elaborate background settings for his subjects.
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rulers on coins, show that Greek portraiture could achieve a good likeness, and subjects, at least of literary figures, were depicted with relatively little flattery – Socrates' portraits show why he had a reputation for being ugly. The successors of
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and the wife of wealthy Florentine silk merchant Francesco del Giocondo. The famous "Mona Lisa smile" is an excellent example of applying subtle asymmetry to a face. In his notebooks, Leonardo advises on the qualities of light in portrait painting:
1030:, starting in Italy in the early part of the 16th century and spreading to Northern Europe over the next century. Canvas resists cracking better than wood, holds pigments better, and needs less preparation―but it was initially much scarcer than wood.
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explored the many expressions of the human face, especially as one of the premier self-portraitists (of which he painted over 60 in his lifetime). This interest in the human face also fostered the creation of the first caricatures, credited to the
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generally had figures with faces even less individualized than its Persian equivalents, but a genre of small portraits of males from the Imperial family developed. These had highly individual, and rather exaggerated, features, some verging on
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During the Renaissance, the Florentine and Milanese nobility, in particular, wanted more realistic representations of themselves. The challenge of creating convincing full and three-quarter views stimulated experimentation and innovation.
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and the Northern Italian school. During the 16th century, oil as a medium spread in popularity throughout Europe, allowing for more sumptuous renderings of clothing and jewelry. Also affecting the quality of the images, was the switch from
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depicted him standing in a bamboo forest. While the bamboo symbolizes his moral rightness, the half-enclosed and half-opened space in the background alludes to his potential of choosing between reclusion and serve in the Mongol government.
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general reached a new level of balance, harmony, and insight, and the greatest artists (Leonardo, Michelangelo, and Raphael) were considered "geniuses", rising far above the tradesman status to valued servants of the court and the church.
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Managing the sitter's expectations and mood is a serious concern for the portrait artist. As to the faithfulness of the portrait to the sitter's appearance, portraitists are generally consistent in their approach. Clients who sought out
2208:, called the "female Sargent", was born of a French father, studied abroad and gained success back home, sticking with traditional methods. Another portraitist compared to Sargent for his lush technique was Italian-born Parisian artist
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Occasionally, the client or the client's family is unhappy with the resulting portrait and the artist is obliged to re-touch it or do it over or withdraw from the commission without being paid, suffering the humiliation of failure.
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spent 50 years at the imperial court before his death in 1766, and was a court painter to three emperors. In his portraits, as with other genres, he combined aspects of Chinese traditional style with contemporary Western painting.
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which contains the portraits of 13 emperors in the previous dynasties in chronological order. The commonness among the selected emperors was that they were the sons of the founders of the dynasties. Since Emperor Taizong's father,
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Northern European artists led the way in realistic portraits of secular subjects. The greater realism and detail of the Northern artists during the 15th century was due in part to the finer brush strokes and effects possible with
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long never seen in public, partly for fear that mistreatment of them might dishonour the emperor or even cause bad luck. The most senior ministers were allowed once a year to pay homage to the images in the imperial gallery of
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substance under heaven. It has all the gaiety of the silk-mercer's shop without its gaudiness of gloss, and all the softness of old mahogany, without its sadness." Other prominent American portraitists of the colonial era were
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376:. Human faces are asymmetrical and skillful portrait artists reproduce this with subtle left-right differences. Artists need to be knowledgeable about the underlying bone and tissue structure to make a convincing portrait.
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artists who worked during the first half of the 19th century painted portraits of inspiring leaders, beautiful women, and agitated subjects, using lively brush strokes and dramatic, sometimes moody, lighting. French artists
2106:, created objective portraits depicting lower and middle-class people. Demonstrating his romanticism, Courbet painted several self-portraits showing himself in varying moods and expressions. Other French realists include
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is one of the foremost group frescoes, containing likenesses of Leonardo, Michelangelo, Bramante, and Raphael himself, in the guise of ancient philosophers. It was not the first group portrait of artists. Decades earlier,
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1251:. As he rose in prominence, Raphael became a favorite portraitist of the popes. While many Renaissance artists eagerly accepted portrait commissions, a few artists refused them, most notably Raphael's rival
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students. However, scholars argued that Emperor Gaozong's true purpose of the commission was to announce that his policies were supported by Confucianism as well as his control over the Confucian heritage.
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A significant contribution to the development of portrait painting of 1930–2000 was made by Russian artists, mainly working in the traditions of realist and figurative painting. Among them should be called
233:" ("two-thirds view") is somewhere in between, ranging from almost frontal to almost profile (the fraction is the sum of the profile plus the other side's "quarter-face"; alternatively, it is quantified
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produced portraits mostly of the middle class, at work and play indoors. Rubens’ portrait of himself and his first wife (1609) in their wedding attire is a virtuoso example of the couple portrait.
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identity and the close bound to narrative context, many scholars categorize these Han dynasty wall paintings as "character figures in action" instead of actual likenesses of specific individuals.
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263:(1948) is a famous example, where the pose of the disabled woman – with her back turned to the viewer – integrates with the setting in which she is placed to convey the artist's interpretation.
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extended realism in Italy to a much higher level in the following decades with his monumental wall paintings. During this time, the betrothal portrait became popular, a particular specialty of
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make a drawing of the face, then complete the rest of the painting without the sitter. In the 18th century, it would typically take about one year to deliver a completed portrait to a client.
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Around the end of the century, the first oil portraits of contemporary individuals, painted on small wood panels, emerged in Burgundy and France, first as profiles, then in other views. The
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the sitter's occupation, interests, or social status. The background can be totally black and without content or a full scene which places the sitter in their social or recreational milieu.
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1776:. Also during that century, before the invention of photography, miniature portraits―painted with incredible precision and often encased in gold or enameled lockets―were highly valued.
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portraits, less than half life-size, were commissioned, not only of figures from the court, but what appear from their relatively plain dress to be wealthy townspeople. Miniatures in
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2193:, painted revealing portraits of people they knew, swirling in color but not necessarily flattering. They are equally, if not more so, celebrated for their powerful self-portraits.
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assumed much the same role, particularly by expanding the variety of poses and sittings of his royal subjects. Titian was perhaps the first great child portraitist. After Titian,
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eventually founded the Western Jin dynasty in 266 AD. The unstable socio-political environment and the declining imperial authority resulted in a transition from Confucianism to
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included portraiture, often highly accurate if the praises of writers are to be believed, but no painted examples remain. Sculpted heads of rulers and famous personalities like
4601:
3431:, the eighteenth century European masquerade court portraiture which portrayed the aristocrats engaging in various activities in different costumes was imported to China. The
2820:
621:
and Greeks, and developed a very strong tradition, linked to their religious use of ancestor portraits, as well as Roman politics. Again, the few painted survivals, in the
3483:
In the Han dynasty (206 BC – 220 AD), women in the portrait painting were mainly a type rather than specific individual. The major subject was idealized exemplary women (
2295:
1846:
4255:- Frauke K. Laarmann, Families in beeld: De ontwikkeling van het Noord-Nederlandse familieportret in de eerste helft van de zeventiende eeuw. Hilversum, 2002, Verloren,
365:
physical state of the sitter, as is the costume. To keep the sitter engaged and motivated, the skillful artist will often maintain a pleasant demeanor and conversation.
3301:, the painting portrait adopted a more realistic likeness, especially for the portraits of the monks. The belief in "temporal incorruptibility" of the immortal body in
1303:, shows the austere ruler in armor with a wary eye gazed to his extreme right, in sharp contrast to most royal paintings which show their sitters as benign sovereigns.
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3034:
larger than those given to any religious figures. Such images spread the idea of the portrait of the ruler to smaller courts, so that by the 18th century many small
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117:
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around 1525. King Francis was a great patron of artists and an avaricious art collector who invited Leonardo da Vinci to live in France during his later years. The
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district (see illustration, below), dating from the 2nd to 4th century AD. These are almost the only paintings of the Roman period that have survived, aside from
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2867:
174:
stated, "The only expression allowable in great portraiture is the expression of character and moral quality, not anything temporary, fleeting, or accidental."
1418:
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1962:
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famously demanded that his portrait show "all these roughnesses, pimples, warts, and everything as you see me, otherwise I will never pay a farthing for it."
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455:
had created of his wife that he told the artist, "Your image…alone can lighten my cares. That image is my delight; I direct my smiles to it, it is my joy."
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1514:
1101:(1527), his first important patron in England, has nearly the realism of a photograph. Holbein made his great success painting the royal family, including
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1595:
One of the innovations of Renaissance art was the improved rendering of facial expressions to accompany different emotions. In particular, Dutch painter
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3030:, made great use of idealized miniature portraits of themselves as a form of propaganda, distributing them to significant allies. These often featured
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person by any major artist (247 studies of his neighbor Helga Testorf, clothed and nude, in varying surroundings, painted during the period 1971–1985).
161:
is expected to show the inner essence of the subject (from the artist's point of view) or a flattering representation, not just a literal likeness. As
2353:
243:, also meaning this partial view is more than half a face). Occasionally, artists have created composites with views from multiple directions, as with
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which had also been previously used as an aid in painting. Many modernists flocked to the photography studios to have their portraits made, including
3019:) made with portraits of all the leading members of his huge court, and used this when considering appointments around the empire with his advisors.
2669:
Portrait production in Europe (excluding Russia) and the Americas generally declined in the 1940s and 1950s, a result of the increasing interest in
578:
Portraiture's roots are likely found in prehistoric times, although few of these works survive today. In the art of the ancient civilizations of the
2514:
2081:
1947:
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In the 18th century, female painters gained new importance, particularly in the field of portraiture. Notable female artists include French painter
3210:. As the attitude of breaking social hierarchy and decorum flourished, self-expression and individualism started to grow among the intelligentsia.
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1924:
1867:
1588:
numerous and gallant equipage, and kept so noble a table in his apartment, that few princes were not more visited, or better serv’d." In France,
1033:
Early on, the Northern Europeans abandoned the profile, and started producing portraits of realistic volume and perspective. In the Netherlands,
5018:
Murray, Julia K. (March 1992). "The Hangzhou Portraits of Confucius and Seventy-two Disciples (Sheng xian tu): Art in the Service of Politics".
3038:
maintained court artists to portray them enjoying princely activities in rather stylized images that combine senses of informality and majesty.
1783:, schooled in the refined British manner, became the leading painter of full-size and miniature portraits, with his hyper-realistic pictures of
5193:"Art Notes" column of 28 February 1918 is a closely reasoned analysis of the rationale and aesthetic of portraiture by B.H. Dias (pseudonym of
3267:
records his obsession with alcohol. In the relief painting, the figure of Liu Ling sits in a casual posture with a curving knee and holds an
898:
2392:
1359:
1287:. The Mannerists contributed many exceptional portraits that emphasized material richness and elegantly complex poses, as in the works of
1017:
was one of the first Italians to take advantage of oil. Trained in Belgium, he settled in Venice around 1475, and was a major influence on
170:
which attempts to reveal character through exaggeration of physical features. The artist generally attempts a representative portrayal, as
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in oils, as well as miniatures and textile hangings. These tend to be dominated by the magnificent costumes and long beards of the shahs.
1887:
1271:
painting. Bellini is also one of the first artists in Europe to sign their work, though he rarely dated them. Later in the 16th century,
1148:
and other artists expanded their technique accordingly, adding portraiture to traditional religious and classical subjects. Leonardo and
1124:. During the early Renaissance, portrait paintings were generally small and sometimes covered with protective lids, hinged or sliding.
177:
In most cases, this results in a serious, closed lip stare, with anything beyond a slight smile being rather rare historically. Or as
4983:
Qiang, Ning (2008). "Imperial Portraiture as Symbol of Political Legitimacy: A New Study of the "Portraits of Successive Emperors"".
2909:
448:
once replied to a client's dissatisfaction with his wife's portrait by retorting, "You brought me a potato, and you expect a peach!"
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tradition avoided giving figures individualized facial features for a long time, partly for religious reasons, to avoid any hint of
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4120:
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produced notable examples of expressionist portraiture. Beckmann was a prolific self-portraitist, producing at least twenty-seven.
3110:
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continues in the realist tradition of his father Andrew, producing famous portraits whose subjects range from presidents to pigs.
2693:
have produced powerful paintings. Bacon's portraits are notable for their nightmarish quality. In May 2008, Freud's 1995 portrait
1637:
used fluid brush strokes of vivid color to enliven his group portraits, including those of the civil guards to which he belonged.
831:
3007:
portraits, normally in profile, became an important feature of the tradition. This received a particular emphasis under Emperor
2056:
painted particularly fine portraits of this type, especially dashing horsemen. A notable example of artist of romantic period in
1791:
especially well-regarded. Copley is also notable for his efforts to merge portraiture with the academically more revered art of
1660:
997:, also influenced the choice of poses used by Renaissance portraitists, poses that have continued in use through the centuries.
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2931:
1799:
who painted over 1,000 portraits and was especially known for his presidential portraiture. Stuart painted over 100 replicas of
1520:
538:
357:
knew to expect a realistic, unsparing portrait. Some subjects voice strong preferences, others let the artist decide entirely.
510:
451:
A successful portrait, however, can gain the lifelong gratitude of a client. Count Balthazar was so pleased with the portrait
4684:
4260:
3656:
3455:
2181:, who trained and worked in France, is popular even today for her engaging paintings of mothers and children, as is Renoir.
1505:
1059:
1982:
3317:, the second emperor of the Tang dynasty, used portraits to legitimize succession and reinforce power. He commissioned the
440:
3161:, which regarded human as the center of the universe and society, led to a focus on psychological study. In the meantime,
3135:
5088:
Jing, Anning (1994). "The Portraits of Khubilai Khan and Chabi by Anige (1245–1306), a Nepali Artist at the Yuan Court".
3253:. Other than Rong Qiqi, the other seven people were famous Neo-Daoist scholars of the Jin dynasty and were known as the "
888:
517:
2569:'s relied on highly simplified forms in his portraits, avoiding detail while emphasizing color juxtapositions. Austrian
2114:
chronicled some of the famous performers of the theater, including Jane Avril, capturing them in motion. French painter
3577:
2598:
painters provided some of the most haunting and compelling psychological studies ever produced. German artists such as
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969:
491:
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1412:
557:
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The development of photography in the 19th century had a significant effect on portraiture, supplanting the earlier
1592:
dominated in much the same way, as a remarkable chronicler of royalty, painting the portraits of five French kings.
1550:
1477:
1431:
1050:
524:
37:
17:
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636:
Much the largest group of painted portraits are the funeral paintings that survived in the dry climate of Egypt's
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advised fellow artists to flatter women and compliment their appearance to gain their cooperation at the sitting.
136:
4745:
3254:
2831:
2799:
2132:
2064:(1800–1855). Also noteworthy is Géricault's series of portraits of mental patients (1822–1824). Spanish painter
1438:
669:
period the interest in an individual likeness declined considerably, and most portraits in late Roman coins and
4852:
2553:, New York City. When someone commented that Stein did not look like her portrait, Picasso replied, "She will".
1645:
With plenty of demand, Rembrandt was able to experiment with unconventional composition and technique, such as
495:
5053:
Sensabaugh, David Ake (2009). "Fashioning Identities in Yuan-Dynasty Painting: Images of the Men of Culture".
4367:
2012:
1611:
1204:
which the air gives it. Through this increase in the shadows and the lights, the face is given greater relief.
964:
Many innovations in the various forms of portraiture evolved during this fertile period. The tradition of the
506:
420:
2703:
in New York City for $ 33.6 million, setting a world record for sale value of a painting by a living artist.
2322:
2240:
2223:
2213:
2037:
1853:
4067:"Mona Lisa – Heidelberger Fund klärt Identität (English: Mona Lisa – Heidelberger find clarifies identity)"
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3031:
2859:
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776:
249:
145:
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hand, unless the artist deliberately corrects the image or uses a second reversing mirror while painting.
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5215:
1973:
1765:
1601:
366:
1524:
1155:
968:
began, which remained popular until the age of photography, developing out of the skills of painters of
3297:, there was an increase of humanization and personalization in portrait painting. Due to the influx of
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2550:
2544:
1938:
821:
274:
4383:
2742:
Close's specialty was huge, hyper-realistic wall-sized "head" portraits based on photographic images.
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4363:
3183:
2791:
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2500:
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2111:
1044:
266:
121:
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1684:, excelling in the art of portraiture, particularly in extending the complexity of group portraits.
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1093:
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clubs, and individuals. In addition to painting, portraits can also be made in other media such as
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1076:
5296:
5226:
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3472:
3355:
3314:
3250:
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2261:'s portraits, while even more extreme color and brush stroke technique dominate the portraits by
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1403:
1085:
658:
599:
484:
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Other early 20th-century artists also expanded the repertoire of portraiture in new directions.
4391:
2690:
2573:'s unique style applied Byzantine motifs and gold paint to his memorable portraits. His pupil
2479:
2123:
1713:
1655:
1625:
1501:
1458:
1300:
1039:
864:
796:
733:, an example being a self-portrait by the writer, mystic, scientist, illuminator, and musician
730:
591:
531:
3646:
2007:
5276:
4375:
3323:
2721:
Warhol was one of the most prolific portrait painters of the 20th century. Warhol's painting
2398:
2201:
2174:
1988:
1833:
1780:
1742:, who also specialized in clothing their subjects in an eye-catching manner. Gainsborough's
1133:
1102:
983:
883:
868:
788:
765:
706:
311:
1311:
from Cremona, who infused her individual and group portraits with new levels of complexity.
1152:
were among the first Italian artists to add allegorical symbols to their secular portraits.
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2587:
2327:
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1584:
1308:
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1226:
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portfolio of drawings or photos from which a sitter would select a preferred pose, as did
259:
46:
4948:
Fong, Mary H. (1984). "Tang Tomb Murals Reviewed in the Light of Tang Texts on Painting".
2177:
created some of the most popular images of individual sitters and groups. American artist
2061:
8:
3567:
2473:
2348:
2196:
2075:
2033:
2021:
1934:
1898:
1795:, which he attempted with his group portraits of famous military men. Equally famous was
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1735:
1723:
1699:
1481:
1319:
734:
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604:
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383:
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61:
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produced powerful portraits using non-naturalistic, even garish, colors for skin tones.
2049:
1689:
253:. There are even a few portraits where the front of the subject is not visible at all.
5291:
5247:, The Metropolitan Museum of Art, New York, Distributed by Yale University Press, 2011.
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5000:
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4897:
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3285:. He also stressed the capture of the sitter's spirit through vivid depiction of eyes.
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never put their images on their coins, and their appearance did not form part of their
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2428:
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2190:
1893:
1709:
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42:
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5128:"Emperor's Masquerade – 'Costume Portraits' of Yongzheng and Qianlong | Orientations"
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1800:
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1734:
The first major native portrait painters of the British school were English painters
1572:
1363:
1344:
1187:
1177:
1159:
1145:
1129:
825:(paired with her husband), 1430–1435. Van der Weyden's style was founded on Campin's.
614:
4823:
3467:
2781:
2681:
By the 1960s and 1970s, there was a revival of portraiture. English artists such as
2591:
2107:
1089:
1071:
737:(1152). As with contemporary coins, there was little attempt at a likeness. Stone
5160:
5097:
5027:
4957:
4889:
3605:
3572:
3436:
3217:
is a thread-relief painting on tile found in a Jin dynasty brick-chambered tomb in
3003:
2988:
2946:
2805:
2577:
was an important portraitist of the Viennese upper class. Prolific Spanish artist
2520:
2505:
2362:
2209:
2186:
2151:
2090:
2068:
painted some of the most searching and provocative images of the period, including
1878:
1792:
1769:
1589:
1568:
1387:
1267:
1224:
Renaissance art. He was particularly expert in the group portrait. His masterpiece
1141:
1018:
993:
750:
682:
670:
579:
244:
140:
3462:
3334:
2898:
2420:
2122:. He was a portraitist of outstanding insight and technique, with his painting of
2115:
745:
period. Between 1350 and 1400, secular figures began to reappear in frescos and
653:, and inserted into the mummy wrapping, to remain with the body through eternity.
99:
4863:
4379:
4172:
3230:
3101:
3008:
2937:
2915:
2623:
2574:
2376:
2136:
is an insightful rendering of an unhappy family and one of his finest portraits.
2103:
2070:
1915:
1837:
1758:
1620:
1497:
1422:
1288:
1263:
1244:
645:
608:
398:
358:
178:
50:
5197:), an insightful frame of reference for viewing any portrait, ancient or modern.
3487:) with virtues prompted by Confucianism such as chastity, three-fold obedience (
2739:
is later example, both exhibiting Warhol's unique graphic style of portraiture.
2618:, who painted some notable portraits in the early part of the 20th century. The
2262:
5207:
3187:
2965:
2728:
2663:
2659:
2642:
were fine portraitists of the 1920s and 1930s of the American realist school.
2639:
2273:
2099:
1796:
1280:
1256:
1023:
792:
761:
746:
742:
722:
702:
622:
445:
319:
112:
4766:
1465:, prior to c.1532, considered the first family portrait, in Dutch portraiture.
1112:
led the way in modernizing the fresco by adopting more realistic perspective.
5270:
5066:
4996:
4934:
3384:
3343:
3117:
3053:
2984:
2942:
2847:
2810:
2786:
2758:
2723:
2700:
2686:
2655:
2595:
2578:
2562:
2404:
2282:
2266:
2244:
2205:
2165:
2156:
2147:
2140:
2119:
2118:, was an important transitional artist whose work hovers between realism and
2085:
2028:
2017:
1954:
1821:
1817:
1232:
1121:
1116:
paved the way in developing sharper contours and sinuous lines and his pupil
1113:
1067:
905:
816:
784:
779:
was key to the development of the individualized portrait. Masters included
738:
630:
626:
435:
373:
354:
212:
93:
3186:
was one of the most turbulent periods in ancient Chinese history. After the
2436:
2219:
1692:'s famous portraits of Madame de Pompadour attired in billowing silk gowns.
1027:
975:
329:
Sometimes, the overall size of the portrait is an important consideration.
3534:
3514:
3428:
3380:
3367:
3351:
3294:
3158:
3121:
2826:
2764:
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era with her streamlined curves, rich colors and sharp angles. In America,
2603:
2570:
2495:
2456:
2182:
2178:
2170:
1874:
1809:
1805:
1784:
1744:
1704:
1605:
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1002:
909:
843:
780:
666:
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618:
444:, was rejected by the committee that commissioned it. The famously prickly
283:
254:
107:
2646:
produced an example of a modern collegial portrait with his 1922 painting
1649:. He demonstrated these innovations, pioneered by Italian masters such as
149:, 1635–1636, shows profile, full face and three-quarter views, to send to
5189:
5151:
Fong, Mary H. (1996). "Images of Women in Traditional Chinese Painting".
3403:
3263:
3166:
3154:
2743:
2715:
2707:
2450:
2286:
2127:
2044:
1993:
1829:
1825:
1788:
1727:
1676:
1646:
1576:
1315:
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957:) is one of the first known three-quarter-view portraits in Italian art.
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330:
307:
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85:
81:
73:
27:
Genre in painting, where the intent is to depict a specific human subject
5074:
5004:
4816:"The Andy Warhol Foundation for the Visual Arts – Andy Warhol Biography"
2169:
portraits are often disarmingly intimate and appealing. French painters
860:
Jean Wauquelin presenting his 'Chroniques de Hainaut' to Philip the Good
128:
traditions to acquire the distinct skills for painting a good likeness.
5194:
5172:
5109:
5039:
4969:
4901:
3499:
which was created shortly after the Han dynasty represents this genre.
3207:
3199:
3046:
3027:
2615:
2277:
1813:
1754:
1650:
1634:
1633:
commissions came from civic and businesses associations. Dutch painter
1390:
style and format were enormously influential for later grand portraits.
1276:
1209:
498: in this section. Unsourced material may be challenged and removed.
402:
287:
167:
103:
2971:
often had himself depicted with a halo of unprecedented size. ca. 1620
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3278:
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1638:
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1324:
1284:
1240:
1182:
1164:
1149:
583:
162:
5164:
5101:
5031:
4961:
4893:
768:, the earliest English king for whom we have contemporary examples.
473:
424:, wildly popular in exhibitions, was rejected by the sitter, as was
372:
Central to the successful execution of the portrait is a mastery of
4880:
Seckel, Dietrich (1993). "The Rise of Portraiture in Chinese Art".
3298:
3089:
3073:
3023:
3012:
2980:
2968:
2631:
2599:
1528:
1304:
1283:
became leading Venetian artists, helping the transition to Italian
1191:
1109:
595:
353:
knew that they would receive a flattering result, while sitters of
299:
158:
65:
31:
2626:
executed numerous portraits in his unique fashion. Additionally,
2126:
being a good example of his transitional style. His contemporary
5123:
3553:
3415:
3242:
3238:
3218:
3195:
3191:
3097:
3016:
3015:, and could barely read or write himself. He had a large album (
2558:
1719:
1559:
1379:
1195:
1117:
1006:
697:
650:
452:
150:
77:
2539:
318:, 1878 or restrict themselves to mostly white or black, as with
310:. Artists may employ a wide-ranging palette of colors, as with
3463:
Portrait painting of women from the Han dynasty to Qing dynasty
3451:
3162:
3093:
2993:
2582:
2247:
and also painted some exceptional portraits, most famously his
2057:
1930:
1695:
1563:
1443:
1296:
1272:
1236:
726:
641:
598:
survive in some quantity, and like the individualized busts of
303:
295:
3136:
Chinese painting § Sui,_Tang_and_Five_dynasties_(581–979)
5257:
4239:
4237:
3410:
3170:
3035:
1726:
and his family portrayed as Roman gods in a 1670 painting by
637:
198:
89:
4843:
Smart, Ellen S., "Akbar, Illiterate Geniu", pp. 103–104, in
4034:
4032:
4030:
3049:; they were probably seen only by a very restricted circle.
1009:. Among the earliest painters to develop oil technique was
673:
are hardly individualized at all, although at the same time
2731:
is an iconic early example of his work from the 1960s, and
2619:
570:
4671:
Saint Petersburg, Russia: NP-Print Edition, 2007. 448 pp.
4234:
3392:) at that period reflects this dilemma. For instance, the
1005:, while the Italian and Spanish painters were still using
4099:
4027:
3339:
202:
2718:, have made the human face a focal point of their work.
3471:
Court portrait of Empress Renhuai (1016–1079) (wife of
764:
of ca. 1400 is one of two surviving panel portraits of
611:
figure) to their coins, and were soon using their own.
215:), or just the head. The subject's head may turn from "
4738:"Andy Warhol Portraits That Changed The World Forever"
4177:
Portraits of the Artist: The Self-Portrait in Painting
2110:
who produced many caricatures of his contemporaries.
1314:
Court portraiture in France began when Flemish artist
980:
Diptych of Bassista Sforza and Federico de Montefeltro
681:
and the other major figures in Christian art, such as
3865:
XXXV:2 trans H. Rackham 1952. Loeb Classical Library
3383:
was a watershed moment in Chinese history. After the
2074:(c. 1797–1800), as well as famous court portraits of
4699:, Boston, 1987. Little Brown & Company, p. 123,
3908:"Leonardo da Vinci, Ginevra de' Benci, c. 1474/1478"
2673:
and nonfigurative art. One exception, however, was
1255:, who instead undertook the huge commissions of the
1176:
One of best-known portraits in the Western world is
986:(1465) - early Renaissance Italian profile portraits
757:, and portraits once again became clear likenesses.
5245:
The Renaissance Portrait: From Donatello to Bellini
3824:, Ashgate Publishing, Hants (England), 2000, p. 7,
1667:painting that Rembrandt signed with his full name.
925:
If the poet says that he can inflame men with love…
4697:An American Vision: Three Generations of Wyeth Art
4002:
4000:
3540:, late 16th century to early 17th century, Chinese
2354:The Emperor Napoleon in His Study at the Tuileries
2249:Arrangement in Grey and Black, The Artist's Mother
2228:Arrangement in Grey and Black: The Artist's Mother
153:in Rome, who was to sculpt a bust from this model.
4845:Kalādarśana: American Studies in the Art of India
2027:In the late 18th century and early 19th century,
5268:
4669:Unknown Socialist Realism: The Leningrad School.
4542:
4540:
3753:
3751:
3360:Portraits of Confucius and Seventy-two Disciples
2041:force of regal portraiture. (see Gallery below)
677:was evolving fairly standardized images for the
617:adopted traditions of portraiture from both the
4919:. Oxford: Oxford University Press. p. 17.
4847:, Joanna Gottfried Williams (ed), 1981, BRILL,
3997:
2955:
657:like. (Compare the portraits of Roman Emperors
4914:
3720:, G. K. Hall & Co., Boston, 1987, p. 131,
3148:
2431:in the opening of the General Assembly, 1872,
34:for more about the general topic of portraits.
5260:Trading Identities, the image of the merchant
4537:
3748:
3502:In the Tang dynasty (618–906), palace women (
3215:Seven Sages of the Bamboo Grove and Rong Qiqi
4096:"German experts crack the ID of 'Mona Lisa'"
3902:
3900:
3129:
3002:When the Persian tradition developed as the
2706:Many contemporary American artists, such as
1608:in the late 16th century in Bologna, Italy.
1575:excelled at this type of portraiture, while
1366:, c. 1483. An early Italian full-face pose.
1328:stayed in France after Leonardo died there.
607:began the practice of adding his head (as a
3422:
3374:
3177:
5243:Christiansen, K. and Weppelmann, S., eds.
5052:
4875:
4873:
4871:
4767:"Andy Warhol. Marilyn Monroe. 1967 | MoMA"
4121:"Researchers Identify Model for Mona Lisa"
3887:, Portland House, New York, 1986, p. 297,
3329:
2581:painted many portraits, including several
2060:, who practised a horserider portrait was
1084:Leading German portrait artists including
929:in that he can place in front of the lover
644:, though it is known from the writings of
574:Roman-Egyptian funeral portrait of a woman
185:Portrait painting can depict the subject "
3897:
3288:
2130:was primarily a realist and his painting
970:the miniatures in illuminated manuscripts
927:the painter has the power to do the same…
558:Learn how and when to remove this message
131:
4179:, Skira/Rizzoli, New York, 1985, p. 31,
3466:
3333:
2959:
2538:
2218:
2146:
2080:
2006:
1718:
1694:
1610:
1540:
1295:. Bronzino made his fame portraying the
1154:
1066:
1049:
974:
931:the true likeness of one who is beloved,
696:
569:
378:
265:
135:
98:
36:
5234:Portraiture (Essays in Art and Culture)
4868:
4789:
4059:
3644:
3583:
3306:"animation through spirit consonance" (
2630:'s portraits successfully captured the
1235:had painted a group portrait including
1190:, a member of the Gherardini family of
933:often making him kiss and speak to it.
14:
5269:
5017:
4879:
3648:Drawing on the Right Side of the Brain
3442:The Qianlong Emperor commissioned the
116:. 1637. Oil on canvas, 209 × 429 cm.
4982:
3552:Three Beauties of the Present Day by
2102:artists of the 19th century, such as
1536:
1506:portraiture of Elizabeth I of England
725:, initially mostly of popes in Roman
5150:
5087:
4947:
2164:The Realists mostly gave way to the
590:From literary evidence we know that
496:adding citations to reliable sources
467:
441:General George Washington at Trenton
5223:Portraiture (Oxford History of Art)
3718:The Portrait in Britain and America
3400:In terms of imperial portrait, the
3313:In terms of the imperial portrait,
2614:British art was represented by the
2239:The American-born internationalist
721:Most early medieval portraits were
24:
5201:
4717:"Freud work sets new world record"
3578:Royal Society of Portrait Painters
2307:Charles IV of Spain and His Family
25:
5308:
5251:
316:Mme. Charpentier and her children
271:Mme. Charpentier and her children
5144:
5116:
5081:
5046:
5011:
4976:
4941:
4908:
4837:
3822:Self-Portraits by Women Painters
3545:
3533:Portrait of Ho Bun (何斌), a late
3526:
3517:(1368–1644), literati painting (
3319:Portrait of Succession Emperors,
3109:
3081:
3065:
2930:
2908:
2885:
2866:
2840:
2819:
2798:
2774:
2751:
2513:
2488:
2466:
2443:
2413:
2391:
2369:
2341:
2315:
2294:
1981:
1961:
1946:
1923:
1907:
1886:
1866:
1845:
1513:
1489:
1470:
1451:
1430:
1411:
1395:
1371:
1352:
1333:
1318:painted his opulent likeness of
904:One of the earliest stand-alone
897:
876:
851:
830:
809:
472:
463:
401:Some artists in past times used
5212:Portraiture: Facing the Subject
4808:
4783:
4759:
4730:
4709:
4690:
4661:
4652:
4643:
4634:
4625:
4616:
4594:
4585:
4576:
4567:
4558:
4549:
4528:
4519:
4510:
4501:
4492:
4483:
4474:
4465:
4456:
4447:
4438:
4429:
4420:
4411:
4402:
4356:
4347:
4338:
4329:
4320:
4311:
4302:
4293:
4284:
4275:
4266:
4246:
4225:
4216:
4207:
4198:
4189:
4166:
4157:
4148:
4139:
4113:
4088:
4050:
4041:
4018:
4015:John Pope-Hennessy, pp. 124–126
4009:
3988:
3979:
3970:
3961:
3952:
3943:
3934:
3925:
3877:
3874:Cheney, Faxon, and Russo, p. 20
3868:
3854:
3845:The Portrait in the Renaissance
3834:
3814:
3805:
3796:
3787:
3778:
3769:
3760:
3739:
3730:
3710:
3701:
3275:plays a flute in the portrait.
3255:Seven Sages of the Bamboo Grove
3092:, a court painter in the small
2832:Portrait of Adele Bloch-Bauer I
2534:
2133:Portrait of the Bellelli Family
2002:
1953:Thomas Kerrich (1748-1828), by
1439:Pope Paul III and His Grandsons
1299:family. His daring portrait of
483:needs additional citations for
5122:
4719:. BBC News Online. 14 May 2008
3885:The Illustrated Library of Art
3692:
3683:
3674:
3665:
3638:
3629:
3620:
3611:
3594:
3165:scholars started the study of
2992:miniature tradition under the
1662:The Anatomy Lesson of Dr. Tulp
917:
791:, among others. Rather small
692:
13:
1:
4145:John Pope-Hennessy, pp. 103–4
3958:John Pope-Hennessy, p. 54, 63
2323:Jean Auguste Dominique Ingres
2241:James Abbott McNeill Whistler
2224:James Abbott McNeill Whistler
2038:Jean-Auguste-Dominique Ingres
1854:Philip IV in Brown and Silver
1653:, most notably in his famous
1551:Syndics of the Drapers' Guild
951:
324:Portrait of George Washington
5258:Joanna Woodall lecturing on
4602:"Portrait of Gertrude Stein"
3608:, Philadelphia, 1967, p. 119
3602:The Art of Portrait Painting
3190:between the three states of
2956:Islamic world and South Asia
2860:The Art Institute of Chicago
2767:, Portrait of Madame Matisse
2696:Benefits Supervisor Sleeping
2204:. American society painter
2144:of sorrow and melancholy.
1463:Family of Pieter Jan Foppesz
777:Early Netherlandish painting
250:Charles I in Three Positions
146:Charles I in Three Positions
7:
5216:Manchester University Press
4263:Retrieved December 25, 2010
3851:, New York, 1966, pp. 71–72
3561:
3497:Exemplary Women (lie nü tu)
3491:) to father, husband, son.
3414:by Mongol imperial painter
3149:Han dynasty (206 BC–220 AD)
3022:Later emperors, especially
1974:New-York Historical Society
1602:Accademia degli Incamminati
1060:Portrait of Sir Thomas More
1037:was a leading portraitist.
755:Charles IV receiving fealty
421:Portrait of Madame Récamier
10:
5313:
4667:Sergei Vasil'evic Ivanov.
4243:John Pope-Hennessy, p. 187
4231:John Pope-Hennessy, p. 154
4222:John Pope-Hennessy, p. 182
4213:John Pope-Hennessy, p. 279
4056:John Pope-Hennessy, p. 212
4047:John Pope-Hennessy, p. 227
3940:John Pope-Hennessy, p. 209
3820:Cheney, Faxon, and Russo,
3133:
2999:, but long outlived them.
2551:Metropolitan Museum of Art
2545:Portrait of Gertrude Stein
2230:(1871) popularly known as
1939:Maurice Quentin de La Tour
1402:Christiane von Eulenau by
1208:Leonardo was a student of
458:
275:Metropolitan Museum of Art
29:
4386:; Louis XIV; the Dauphin
4195:John Pope-Hennessy, p. 52
4038:John Pope-Hennessy, p. 20
3444:Spring's Peaceful Message
3130:Chinese portrait painting
3011:, who seems to have been
2878:Portrait of Pablo Picasso
2792:National Museum in Warsaw
2526:Portrait of Doctor Gachet
2501:The Painter of Sunflowers
2433:Imperial Museum of Brazil
2112:Henri de Toulouse-Lautrec
2016:(1800), in the height of
1604:, run by painters of the
822:Portrait of a Young Woman
438:'s full-length portrait,
392:on their estate, c. 1750.
122:Dutch Golden Age painting
5238:Harvard University Press
4771:The Museum of Modern Art
4071:University of Heidelberg
3651:. Penguin. p. 292.
3423:Qing dynasty (1636–1912)
3375:Yuan dynasty (1271–1368)
3178:Jin dynasty (265–410 AD)
2459:, Seated, Holding Cards
2243:was well-connected with
2212:, a friend of Degas and
1768:, Italian pastel artist
1525:Fernando Niño de Guevara
1504:, c. 1588. The stylised
1094:Hans Holbein the Younger
1055:Hans Holbein the Younger
709:, c. 1400, with stamped
343:Hans Holbein the Younger
5227:Oxford University Press
5132:www.orientations.com.hk
4915:West, Shearer. (2004).
4370:; the Duke's daughter,
4368:Philippe, duc d'Orléans
3912:National Gallery of Art
3784:Aymar, p. 268, 271, 278
3645:Edwards, Betty (2012).
3330:Song dynasty (960–1279)
3145:, as a special honour.
2854:Daniel-Henry Kahnweiler
2699:was sold by auction by
2529:, (first version), 1890
2359:National Gallery of Art
1404:Lucas Cranach the Elder
1262:In Venice around 1500,
819:(c. 1375 – 1444),
797:illuminated manuscripts
731:illuminated manuscripts
45:painting a portrait of
4790:AnOther (2011-06-15).
4397:la Grande Mademoiselle
4372:Marie Louise d'Orléans
3476:
3347:
3289:Tang dynasty (618–907)
2972:
2554:
2480:Robert Louis Stevenson
2330:on his Imperial Throne
2251:(1871), also known as
2236:
2161:
2095:
2024:
1914:Gerrit Sichterman, by
1779:In the United States,
1766:Élisabeth Vigée-Lebrun
1731:
1716:
1714:San Marino, California
1629:
1626:Doria Pamphilj Gallery
1555:
1548:group portrait of the
1521:Portrait of a cardinal
1502:Elizabeth I of England
1459:Maarten van Heemskerck
1206:
1173:
1081:
1064:
1040:The Arnolfini Marriage
987:
936:
865:presentation miniature
718:
592:ancient Greek painting
575:
393:
367:Élisabeth Vigée-Lebrun
278:
247:'s triple portrait of
154:
132:Technique and practice
124:
54:
4792:"Warhol and the Diva"
4604:. Metropolitan Museum
4382:; three daughters of
4376:Henriette-Anne Stuart
4362:L to R: Louis' aunt,
3470:
3394:Portrait of Yang Qian
3337:
3134:Further information:
3058:large royal portraits
3056:, from 1781, took to
2963:
2542:
2399:Pierre-Auguste Renoir
2222:
2202:William Merritt Chase
2175:Pierre-Auguste Renoir
2150:
2084:
2010:
1989:John Singleton Copley
1834:Charles Willson Peale
1781:John Singleton Copley
1722:
1698:
1614:
1544:
1508:was unique in Europe.
1201:
1180:'s painting entitled
1158:
1134:Piero della Francesca
1070:
1053:
984:Piero della Francesca
978:
922:
884:Rogier van der Weyden
869:Rogier van der Weyden
789:Rogier van der Weyden
775:in the 15th century,
766:Richard II of England
707:Richard II of England
700:
573:
382:
312:Pierre-Auguste Renoir
269:
191:" (the whole body), "
139:
102:
40:
4820:warholfoundation.org
4378:; the Queen-mother,
3849:Bollingen Foundation
3584:References and notes
3456:Giuseppe Castiglione
3202:from 184 to 280 AD,
2733:Orange Prince (1984)
2648:All Friends Together
2588:French impressionism
1970:The Rapalje Children
1585:Charles I of England
1419:Lucrezia Panciatichi
1309:Sofonisba Anguissola
1227:the School of Athens
1138:Domenico Ghirlandaio
1015:Antonello da Messina
492:improve this article
431:Portrait of Madame X
106:, later finished by
47:Vincenzo Giustiniani
5262:at Gresham College.
5218:, Manchester, 1997.
5153:Woman's Art Journal
3568:Hierarchy of genres
2724:Orange Shot Marilyn
2474:John Singer Sargent
2349:Jacques-Louis David
2197:John Singer Sargent
2191:Post-Impressionists
2034:Jacques-Louis David
2022:Jacques-Louis David
1935:Madame de Pompadour
1899:Portrait of Jan Six
1772:, and Swiss artist
1740:Sir Joshua Reynolds
1736:Thomas Gainsborough
1724:Louis XIV of France
1700:Thomas Gainsborough
1482:equestrian portrait
1478:Charles V by Titian
1384:Isabel de Requesens
1320:Francis I of France
1301:Cosimo I de' Medici
735:Hildegard of Bingen
675:Early Christian art
605:Alexander the Great
507:"Portrait painting"
426:John Singer Sargent
416:Jacques-Louis David
384:Thomas Gainsborough
351:Sir Joshua Reynolds
339:Sir Joshua Reynolds
113:De Magere Compagnie
5287:Visual arts genres
4862:2022-11-19 at the
4281:Piper, pp. 408–410
4126:The New York Times
3841:John Pope-Hennessy
3538:Scholar-bureaucrat
3477:
3348:
3143:ancestor portraits
3042:Ottoman miniatures
2973:
2922:Vsevolod Meyerhold
2735:of the pop singer
2628:Tamara de Lempicka
2555:
2429:Pedro II of Brazil
2383:Charles Baudelaire
2237:
2162:
2096:
2054:Théodore Géricault
2025:
1941:, mid-18th century
1894:Rembrandt van Rijn
1732:
1717:
1710:Huntington Library
1630:
1556:
1537:Baroque and Rococo
1480:, 1548, a seminal
1293:Jacopo da Pontormo
1174:
1082:
1065:
988:
966:portrait miniature
939:–Leonardo da Vinci
889:Portrait of a Lady
839:Arnolfini Portrait
771:At the end of the
719:
701:The small private
679:depiction of Jesus
576:
394:
389:Mr and Mrs Andrews
279:
230:three-quarter view
221:" (front view) to
208:head and shoulders
172:Edward Burne-Jones
155:
125:
120:were important in
55:
4855:, 9789004064980,
4685:978-5-901724-21-7
4261:978-90-6550-186-8
4253:Families in beeld
3658:978-1-101-56180-5
3600:Gordon C. Aymar,
3435:and his son, the
3433:Yongzheng Emperor
3303:Mahayana Buddhism
2983:. Rulers in the
2977:Persian miniature
2893:Amedeo Modigliani
2608:Amedeo Modigliani
2425:The Throne Speech
2302:Francisco de Goya
2254:Whistler's Mother
2233:Whistler's Mother
2124:Stéphane Mallarmé
2066:Francisco de Goya
2062:Piotr Michałowski
1801:George Washington
1774:Angelica Kauffman
1573:Peter Paul Rubens
1364:Sandro Botticelli
1218:Cecilia Gallerani
1214:Ginevra de’ Benci
1188:Lisa del Giocondo
1178:Leonardo da Vinci
1160:Leonardo da Vinci
1146:Leonardo da Vinci
1130:Sandro Botticelli
947:Ginevra de' Benci
671:consular diptychs
615:Roman portraiture
568:
567:
560:
542:
260:Christina's World
58:Portrait painting
41:Self-portrait of
16:(Redirected from
5304:
5177:
5176:
5148:
5142:
5141:
5139:
5138:
5120:
5114:
5113:
5085:
5079:
5078:
5050:
5044:
5043:
5020:The Art Bulletin
5015:
5009:
5008:
4980:
4974:
4973:
4945:
4939:
4938:
4912:
4906:
4905:
4877:
4866:
4841:
4835:
4834:
4832:
4831:
4822:. Archived from
4812:
4806:
4805:
4803:
4802:
4787:
4781:
4780:
4778:
4777:
4763:
4757:
4756:
4754:
4753:
4744:. Archived from
4734:
4728:
4727:
4725:
4724:
4713:
4707:
4694:
4688:
4665:
4659:
4656:
4650:
4647:
4641:
4638:
4632:
4629:
4623:
4620:
4614:
4613:
4611:
4609:
4598:
4592:
4589:
4583:
4580:
4574:
4571:
4565:
4562:
4556:
4553:
4547:
4544:
4535:
4532:
4526:
4523:
4517:
4514:
4508:
4507:Bonafoux, p. 111
4505:
4499:
4496:
4490:
4487:
4481:
4478:
4472:
4469:
4463:
4460:
4454:
4451:
4445:
4442:
4436:
4433:
4427:
4424:
4418:
4417:Simon, p. 13, 97
4415:
4409:
4406:
4400:
4384:Gaston d'Orléans
4360:
4354:
4351:
4345:
4342:
4336:
4333:
4327:
4324:
4318:
4315:
4309:
4306:
4300:
4297:
4291:
4288:
4282:
4279:
4273:
4270:
4264:
4250:
4244:
4241:
4232:
4229:
4223:
4220:
4214:
4211:
4205:
4202:
4196:
4193:
4187:
4170:
4164:
4161:
4155:
4152:
4146:
4143:
4137:
4136:
4134:
4133:
4117:
4111:
4110:
4108:
4107:
4092:
4086:
4085:
4083:
4082:
4073:. Archived from
4063:
4057:
4054:
4048:
4045:
4039:
4036:
4025:
4022:
4016:
4013:
4007:
4004:
3995:
3992:
3986:
3983:
3977:
3974:
3968:
3965:
3959:
3956:
3950:
3947:
3941:
3938:
3932:
3929:
3923:
3922:
3920:
3918:
3904:
3895:
3881:
3875:
3872:
3866:
3858:
3852:
3838:
3832:
3818:
3812:
3809:
3803:
3800:
3794:
3791:
3785:
3782:
3776:
3773:
3767:
3764:
3758:
3755:
3746:
3743:
3737:
3734:
3728:
3714:
3708:
3705:
3699:
3696:
3690:
3687:
3681:
3678:
3672:
3669:
3663:
3662:
3642:
3636:
3633:
3627:
3624:
3618:
3615:
3609:
3606:Chilton Book Co.
3598:
3573:The Portrait Now
3549:
3530:
3437:Qianlong Emperor
3338:Portrait of the
3308:qi yun shen tong
3113:
3085:
3069:
3004:Mughal miniature
2989:public relations
2934:
2912:
2889:
2870:
2844:
2823:
2806:Umberto Boccioni
2802:
2778:
2755:
2521:Vincent van Gogh
2517:
2506:Vincent van Gogh
2492:
2470:
2447:
2417:
2395:
2373:
2363:Washington, D.C.
2345:
2334:Musée de l'Armée
2319:
2298:
2245:European artists
2210:Giovanni Boldini
2187:Vincent van Gogh
2152:Vincent van Gogh
2091:The Gross Clinic
2050:Eugène Delacroix
1985:
1965:
1950:
1927:
1911:
1890:
1879:Anthony van Dyck
1870:
1849:
1793:history painting
1770:Rosalba Carriera
1690:François Boucher
1590:Hyacinthe Rigaud
1569:Anthony van Dyck
1517:
1493:
1474:
1455:
1434:
1415:
1399:
1388:High Renaissance
1375:
1356:
1337:
1268:Giovanni Bellini
1172:, 1503–1505/1507
1142:Lorenzo di Credi
1045:National Gallery
1019:Giovanni Bellini
994:Apollo Belvedere
956:
953:
940:
901:
880:
855:
834:
813:
751:Master Theodoric
711:gold backgrounds
683:John the Baptist
580:Fertile Crescent
563:
556:
552:
549:
543:
541:
500:
476:
468:
341:. Some, such as
245:Anthony van Dyck
242:
241:
237:
232:
231:
227:(side view); a "
226:
225:
220:
219:
210:
209:
197:" (from head to
196:
195:
190:
189:
157:A well-executed
141:Anthony van Dyck
21:
18:Portrait-painter
5312:
5311:
5307:
5306:
5305:
5303:
5302:
5301:
5267:
5266:
5254:
5208:Woodall, Joanna
5204:
5202:Further reading
5180:
5165:10.2307/1358525
5149:
5145:
5136:
5134:
5121:
5117:
5102:10.2307/3250079
5086:
5082:
5051:
5047:
5032:10.2307/3045847
5016:
5012:
4981:
4977:
4962:10.2307/3249745
4946:
4942:
4927:
4913:
4909:
4894:10.2307/3250505
4878:
4869:
4864:Wayback Machine
4842:
4838:
4829:
4827:
4814:
4813:
4809:
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4798:
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4773:
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4715:
4714:
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4691:
4666:
4662:
4658:Bonafoux, p. 45
4657:
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4639:
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4524:
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4515:
4511:
4506:
4502:
4497:
4493:
4489:Bonafoux, p. 99
4488:
4484:
4479:
4475:
4470:
4466:
4461:
4457:
4452:
4448:
4443:
4439:
4434:
4430:
4425:
4421:
4416:
4412:
4407:
4403:
4380:Anne of Austria
4366:; his brother,
4364:Henriette-Marie
4361:
4357:
4352:
4348:
4344:Bonafoux, p. 62
4343:
4339:
4334:
4330:
4325:
4321:
4316:
4312:
4307:
4303:
4298:
4294:
4289:
4285:
4280:
4276:
4272:Bonafoux, p. 40
4271:
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4235:
4230:
4226:
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4212:
4208:
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4199:
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4190:
4173:Pascal Bonafoux
4171:
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4065:
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4060:
4055:
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4046:
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4037:
4028:
4023:
4019:
4014:
4010:
4006:Bonafoux, p. 35
4005:
3998:
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3989:
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3916:
3914:
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3898:
3882:
3878:
3873:
3869:
3862:Natural History
3859:
3855:
3839:
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3815:
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3806:
3801:
3797:
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3621:
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3599:
3595:
3586:
3564:
3557:
3550:
3541:
3531:
3475:), Song dynasty
3473:Emperor Qinzong
3465:
3425:
3377:
3356:Emperor Gaozong
3332:
3315:Emperor Taizong
3291:
3188:decades of wars
3180:
3151:
3138:
3132:
3125:
3114:
3105:
3102:Pahari painting
3086:
3077:
3072:Ottoman Sultan
3070:
3009:Akbar the Great
2958:
2951:
2938:Boris Kustodiev
2935:
2926:
2916:Boris Grigoriev
2913:
2904:
2890:
2881:
2871:
2862:
2845:
2836:
2824:
2815:
2803:
2794:
2779:
2770:
2756:
2624:Francis Picabia
2575:Oskar Kokoschka
2537:
2530:
2518:
2509:
2493:
2484:
2471:
2462:
2448:
2439:
2418:
2409:
2396:
2387:
2377:Gustave Courbet
2374:
2365:
2346:
2337:
2320:
2311:
2299:
2104:Gustave Courbet
2071:La maja desnuda
2013:Madame Récamier
2005:
1998:
1986:
1977:
1976:, New York City
1966:
1957:
1951:
1942:
1928:
1919:
1916:Cornelis Troost
1912:
1903:
1891:
1882:
1871:
1862:
1859:Diego Velázquez
1850:
1838:Rembrandt Peale
1759:William Hogarth
1672:Diego Velázquez
1621:Pope Innocent X
1606:Carracci family
1539:
1532:
1518:
1509:
1498:Armada Portrait
1494:
1485:
1475:
1466:
1456:
1447:
1435:
1426:
1423:Agnolo Bronzino
1416:
1407:
1400:
1391:
1376:
1367:
1357:
1348:
1338:
1289:Agnolo Bronzino
1264:Gentile Bellini
1245:Antonio Manetti
954:
942:
938:
935:
932:
930:
928:
926:
920:
913:
902:
893:
892:, c. 1460
881:
872:
856:
847:
835:
826:
814:
747:panel paintings
723:donor portraits
695:
646:Pliny the Elder
623:Fayum portraits
564:
553:
547:
544:
501:
499:
489:
477:
466:
461:
399:Joseph van Aken
359:Oliver Cromwell
239:
235:
234:
229:
228:
223:
222:
217:
216:
207:
206:
193:
192:
187:
186:
179:Charles Dickens
134:
118:Group portraits
51:Fogg Art Museum
43:Nicolas Régnier
35:
28:
23:
22:
15:
12:
11:
5:
5310:
5300:
5299:
5297:Self-portraits
5294:
5289:
5284:
5279:
5265:
5264:
5253:
5252:External links
5250:
5249:
5248:
5241:
5232:Brilliant, R.
5230:
5219:
5203:
5200:
5199:
5198:
5185:
5184:
5179:
5178:
5143:
5115:
5096:(1/2): 40–86.
5080:
5055:Ars Orientalis
5045:
5010:
4985:Ars Orientalis
4975:
4940:
4925:
4907:
4867:
4836:
4807:
4782:
4758:
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4708:
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4087:
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3575:
3570:
3563:
3560:
3559:
3558:
3551:
3544:
3542:
3532:
3525:
3495:’s handscroll
3464:
3461:
3424:
3421:
3376:
3373:
3331:
3328:
3290:
3287:
3179:
3176:
3157:, the rise of
3150:
3147:
3131:
3128:
3127:
3126:
3115:
3108:
3106:
3087:
3080:
3078:
3071:
3064:
2966:Mughal emperor
2957:
2954:
2953:
2952:
2936:
2929:
2927:
2914:
2907:
2905:
2891:
2884:
2882:
2872:
2865:
2863:
2846:
2839:
2837:
2825:
2818:
2816:
2804:
2797:
2795:
2782:Olga Boznańska
2780:
2773:
2771:
2757:
2750:
2729:Marilyn Monroe
2664:Abram Arkhipov
2660:Nikolai Fechin
2640:George Bellows
2592:Olga Boznańska
2536:
2533:
2532:
2531:
2519:
2512:
2510:
2504:, Portrait of
2494:
2487:
2485:
2472:
2465:
2463:
2449:
2442:
2440:
2427:. Portrait of
2419:
2412:
2410:
2397:
2390:
2388:
2375:
2368:
2366:
2347:
2340:
2338:
2325:, portrait of
2321:
2314:
2312:
2300:
2293:
2274:camera obscura
2166:Impressionists
2108:Honoré Daumier
2004:
2001:
2000:
1999:
1987:
1980:
1978:
1967:
1960:
1958:
1952:
1945:
1943:
1929:
1922:
1920:
1913:
1906:
1904:
1892:
1885:
1883:
1872:
1865:
1863:
1851:
1844:
1797:Gilbert Stuart
1538:
1535:
1534:
1533:
1519:
1512:
1510:
1495:
1488:
1486:
1476:
1469:
1467:
1457:
1450:
1448:
1436:
1429:
1427:
1417:
1410:
1408:
1401:
1394:
1392:
1377:
1370:
1368:
1358:
1351:
1349:
1345:Ginevra d'Este
1339:
1332:
1257:Sistine Chapel
1090:Albrecht Dürer
1072:Albrecht Dürer
923:
921:
919:
916:
915:
914:
906:self-portraits
903:
896:
894:
882:
875:
873:
857:
850:
848:
836:
829:
827:
815:
808:
793:panel painting
762:Wilton Diptych
741:spread in the
739:tomb monuments
703:Wilton Diptych
694:
691:
566:
565:
480:
478:
471:
465:
462:
460:
457:
446:Gilbert Stuart
320:Gilbert Stuart
133:
130:
26:
9:
6:
4:
3:
2:
5309:
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5280:
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5246:
5242:
5239:
5236:, Cambridge:
5235:
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5147:
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5129:
5125:
5119:
5111:
5107:
5103:
5099:
5095:
5091:
5090:Artibus Asiae
5084:
5076:
5072:
5068:
5064:
5060:
5056:
5049:
5041:
5037:
5033:
5029:
5025:
5021:
5014:
5006:
5002:
4998:
4994:
4990:
4986:
4979:
4971:
4967:
4963:
4959:
4955:
4951:
4950:Artibus Asiae
4944:
4936:
4932:
4928:
4926:9780191518034
4922:
4918:
4911:
4903:
4899:
4895:
4891:
4888:(1/2): 7–26.
4887:
4883:
4882:Artibus Asiae
4876:
4874:
4872:
4865:
4861:
4858:
4854:
4850:
4846:
4840:
4826:on 2010-07-24
4825:
4821:
4817:
4811:
4797:
4793:
4786:
4772:
4768:
4762:
4748:on 2018-03-27
4747:
4743:
4739:
4733:
4718:
4712:
4706:
4705:0-8212-1652-X
4702:
4698:
4693:
4686:
4682:
4678:
4677:5-901724-21-6
4674:
4670:
4664:
4655:
4649:Piper, p. 646
4646:
4640:Aymar, p. 188
4637:
4628:
4622:Piper, p. 582
4619:
4603:
4597:
4588:
4582:Piper, p. 552
4579:
4573:Piper, p. 576
4570:
4564:Aymar, p. 299
4561:
4555:Piper, p. 561
4552:
4546:Piper, p. 589
4543:
4541:
4531:
4525:Piper, p. 568
4522:
4516:Piper, p. 585
4513:
4504:
4498:Piper, p. 542
4495:
4486:
4480:Aymar, p. 149
4477:
4471:Aymar, p. 263
4468:
4462:Aymar, p. 204
4459:
4450:
4441:
4432:
4423:
4414:
4408:Piper, p. 460
4405:
4399:
4398:
4393:
4392:Marie-Thérèse
4389:
4385:
4381:
4377:
4373:
4369:
4365:
4359:
4353:Piper, p. 418
4350:
4341:
4335:Piper, p. 424
4332:
4326:Aymar, p. 218
4323:
4317:Piper, p. 421
4314:
4308:Aymar, p. 161
4305:
4299:Aymar, p. 162
4296:
4290:Simon, p. 109
4287:
4278:
4269:
4262:
4258:
4254:
4249:
4240:
4238:
4228:
4219:
4210:
4204:Piper, p. 330
4201:
4192:
4186:
4185:0-8478-0586-7
4182:
4178:
4174:
4169:
4163:Piper, p. 345
4160:
4154:Piper, p. 338
4151:
4142:
4128:
4127:
4122:
4116:
4101:
4097:
4091:
4077:on 2008-12-06
4076:
4072:
4069:(in German).
4068:
4062:
4053:
4044:
4035:
4033:
4031:
4024:Piper, p. 318
4021:
4012:
4003:
4001:
3994:Piper, p. 365
3991:
3982:
3976:Piper, p. 363
3973:
3967:Piper, p. 301
3964:
3955:
3946:
3937:
3931:Piper, p. 337
3928:
3913:
3909:
3903:
3901:
3894:
3893:0-517-62336-6
3890:
3886:
3883:David Piper,
3880:
3871:
3864:
3863:
3857:
3850:
3846:
3842:
3837:
3831:
3830:1-85928-424-8
3827:
3823:
3817:
3808:
3802:Aymar, p. 265
3799:
3793:Aymar, p. 264
3790:
3781:
3775:Simon, p. 107
3772:
3763:
3757:Aymar, p. 262
3754:
3752:
3745:Simon, p. 131
3742:
3736:Simon, p. 129
3733:
3727:
3726:0-8161-8795-9
3723:
3719:
3716:Robin Simon,
3713:
3704:
3695:
3689:Aymar, p. 280
3686:
3680:Aymar, p. 235
3677:
3671:Aymar, p. 283
3668:
3660:
3654:
3650:
3649:
3641:
3632:
3626:Aymar, p. 129
3623:
3614:
3607:
3603:
3597:
3593:
3588:
3587:
3579:
3576:
3574:
3571:
3569:
3566:
3565:
3555:
3548:
3543:
3539:
3536:
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3523:
3522:
3520:
3516:
3511:
3507:
3505:
3500:
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3494:
3490:
3486:
3481:
3474:
3469:
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3457:
3453:
3448:
3445:
3440:
3438:
3434:
3430:
3420:
3417:
3413:
3412:
3406:
3405:
3398:
3395:
3391:
3386:
3385:Mongol Empire
3382:
3372:
3369:
3365:
3364:sheng xian tu
3361:
3358:commissioned
3357:
3353:
3345:
3344:Wuzhun Shifan
3341:
3336:
3327:
3325:
3324:Emperor Gaozu
3320:
3316:
3311:
3309:
3304:
3300:
3296:
3286:
3284:
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3256:
3252:
3248:
3244:
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3228:
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3211:
3209:
3205:
3201:
3197:
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3185:
3175:
3172:
3168:
3164:
3160:
3156:
3146:
3144:
3137:
3123:
3119:
3118:Fath Ali Shah
3112:
3107:
3103:
3099:
3095:
3091:
3084:
3079:
3075:
3068:
3063:
3062:
3061:
3059:
3055:
3054:Qajar dynasty
3050:
3048:
3043:
3039:
3037:
3033:
3029:
3025:
3020:
3018:
3014:
3010:
3005:
3000:
2998:
2995:
2990:
2986:
2985:Islamic world
2982:
2978:
2970:
2967:
2962:
2949:
2948:
2944:
2939:
2933:
2928:
2924:
2923:
2917:
2911:
2906:
2902:
2900:
2899:Chaïm Soutine
2894:
2888:
2883:
2879:
2875:
2869:
2864:
2861:
2857:
2855:
2849:
2848:Pablo Picasso
2843:
2838:
2834:
2833:
2828:
2822:
2817:
2813:
2812:
2811:Self-portrait
2807:
2801:
2796:
2793:
2789:
2788:
2787:Self-portrait
2783:
2777:
2772:
2768:
2766:
2760:
2759:Henri Matisse
2754:
2749:
2748:
2747:
2745:
2740:
2738:
2734:
2730:
2726:
2725:
2719:
2717:
2713:
2709:
2704:
2702:
2698:
2697:
2692:
2691:Francis Bacon
2688:
2687:Sigmund Freud
2685:(grandson of
2684:
2679:
2676:
2672:
2667:
2665:
2661:
2657:
2656:Isaak Brodsky
2651:
2649:
2645:
2641:
2637:
2633:
2629:
2625:
2621:
2617:
2612:
2609:
2605:
2601:
2597:
2596:Expressionist
2594:(1865–1940).
2593:
2589:
2584:
2580:
2579:Pablo Picasso
2576:
2572:
2568:
2564:
2563:Henri Matisse
2560:
2552:
2548:
2546:
2541:
2528:
2527:
2522:
2516:
2511:
2507:
2503:
2502:
2497:
2491:
2486:
2482:
2481:
2475:
2469:
2464:
2460:
2458:
2452:
2446:
2441:
2438:
2434:
2430:
2426:
2422:
2421:Pedro Américo
2416:
2411:
2407:
2406:
2405:Alfred Sisley
2400:
2394:
2389:
2385:
2384:
2378:
2372:
2367:
2364:
2360:
2356:
2355:
2350:
2344:
2339:
2335:
2331:
2329:
2324:
2318:
2313:
2309:
2308:
2303:
2297:
2292:
2291:
2290:
2288:
2284:
2283:Thomas Eakins
2279:
2275:
2270:
2268:
2267:Henri Matisse
2264:
2260:
2256:
2255:
2250:
2246:
2242:
2235:
2234:
2229:
2225:
2221:
2217:
2215:
2211:
2207:
2206:Cecilia Beaux
2203:
2198:
2194:
2192:
2188:
2184:
2180:
2176:
2172:
2167:
2159:
2158:
2157:Self-portrait
2153:
2149:
2145:
2142:
2141:Thomas Eakins
2137:
2135:
2134:
2129:
2125:
2121:
2120:impressionism
2117:
2116:Édouard Manet
2113:
2109:
2105:
2101:
2093:
2092:
2087:
2086:Thomas Eakins
2083:
2079:
2077:
2073:
2072:
2067:
2063:
2059:
2055:
2051:
2046:
2042:
2039:
2035:
2030:
2023:
2019:
2015:
2014:
2009:
1996:
1995:
1990:
1984:
1979:
1975:
1971:
1968:John Durand,
1964:
1959:
1956:
1955:Pompeo Batoni
1949:
1944:
1940:
1936:
1932:
1926:
1921:
1917:
1910:
1905:
1901:
1900:
1895:
1889:
1884:
1880:
1876:
1869:
1864:
1860:
1856:
1855:
1848:
1843:
1842:
1841:
1839:
1835:
1831:
1827:
1823:
1822:Benjamin West
1819:
1818:John Trumbull
1815:
1811:
1807:
1802:
1798:
1794:
1790:
1786:
1782:
1777:
1775:
1771:
1767:
1762:
1760:
1756:
1750:
1747:
1746:
1741:
1737:
1729:
1725:
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1715:
1711:
1707:
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1701:
1697:
1693:
1691:
1685:
1683:
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1673:
1668:
1665:
1663:
1658:
1657:
1652:
1648:
1643:
1640:
1636:
1627:
1623:
1622:
1617:
1613:
1609:
1607:
1603:
1598:
1593:
1591:
1586:
1580:
1578:
1574:
1570:
1567:painters Sir
1565:
1561:
1553:
1552:
1547:
1543:
1530:
1526:
1522:
1516:
1511:
1507:
1503:
1499:
1492:
1487:
1483:
1479:
1473:
1468:
1464:
1461:(1498–1574),
1460:
1454:
1449:
1445:
1441:
1440:
1433:
1428:
1424:
1420:
1414:
1409:
1405:
1398:
1393:
1389:
1385:
1381:
1374:
1369:
1365:
1361:
1355:
1350:
1346:
1342:
1336:
1331:
1330:
1329:
1327:
1326:
1321:
1317:
1312:
1310:
1306:
1302:
1298:
1294:
1290:
1286:
1282:
1278:
1274:
1269:
1265:
1260:
1258:
1254:
1250:
1246:
1242:
1238:
1234:
1233:Paolo Uccello
1229:
1228:
1221:
1219:
1215:
1211:
1205:
1200:
1197:
1193:
1189:
1185:
1184:
1179:
1171:
1167:
1166:
1161:
1157:
1153:
1151:
1147:
1143:
1139:
1135:
1131:
1125:
1123:
1122:Lorenzo Lotto
1119:
1115:
1114:Filippo Lippi
1111:
1106:
1104:
1100:
1095:
1091:
1087:
1086:Lucas Cranach
1079:
1078:
1077:Self-Portrait
1073:
1069:
1062:
1061:
1056:
1052:
1048:
1046:
1042:
1041:
1036:
1031:
1029:
1025:
1020:
1016:
1012:
1008:
1004:
998:
996:
995:
985:
981:
977:
973:
971:
967:
962:
958:
955: 1474–8
949:
948:
941:
934:
911:
907:
900:
895:
891:
890:
885:
879:
874:
870:
866:
862:
861:
854:
849:
845:
841:
840:
833:
828:
824:
823:
818:
817:Robert Campin
812:
807:
806:
805:
803:
798:
794:
790:
786:
785:Robert Campin
782:
778:
774:
769:
767:
763:
758:
756:
752:
749:, such as in
748:
744:
740:
736:
732:
728:
724:
716:
712:
708:
704:
699:
690:
688:
684:
680:
676:
672:
668:
664:
660:
659:Constantine I
654:
652:
647:
643:
639:
634:
632:
631:Severan Tondo
628:
627:Tomb of Aline
624:
620:
616:
612:
610:
606:
601:
597:
593:
588:
585:
581:
572:
562:
559:
551:
540:
537:
533:
530:
526:
523:
519:
516:
512:
509: –
508:
504:
503:Find sources:
497:
493:
487:
486:
481:This section
479:
475:
470:
469:
464:Ancient world
456:
454:
449:
447:
443:
442:
437:
436:John Trumbull
433:
432:
428:'s notorious
427:
423:
422:
417:
411:
407:
404:
400:
391:
390:
385:
381:
377:
375:
374:human anatomy
370:
368:
362:
360:
356:
355:Thomas Eakins
352:
346:
344:
340:
334:
332:
327:
325:
321:
317:
313:
309:
305:
301:
297:
293:
289:
285:
276:
272:
268:
264:
262:
261:
256:
252:
251:
246:
214:
204:
200:
183:
180:
175:
173:
169:
164:
160:
152:
148:
147:
142:
138:
129:
123:
119:
115:
114:
109:
105:
101:
97:
95:
94:digital media
91:
87:
83:
79:
75:
69:
67:
63:
59:
52:
48:
44:
39:
33:
19:
5277:Portrait art
5259:
5244:
5233:
5222:
5211:
5188:
5159:(1): 22–27.
5156:
5152:
5146:
5135:. Retrieved
5131:
5118:
5093:
5089:
5083:
5058:
5054:
5048:
5023:
5019:
5013:
4988:
4984:
4978:
4956:(1): 35–72.
4953:
4949:
4943:
4916:
4910:
4885:
4881:
4857:google books
4844:
4839:
4828:. Retrieved
4824:the original
4819:
4810:
4799:. Retrieved
4795:
4785:
4774:. Retrieved
4770:
4761:
4750:. Retrieved
4746:the original
4741:
4732:
4721:. Retrieved
4711:
4696:
4692:
4668:
4663:
4654:
4645:
4636:
4631:Aymar, p. 54
4627:
4618:
4606:. Retrieved
4596:
4591:Simon, p. 49
4587:
4578:
4569:
4560:
4551:
4534:Aymar, p. 88
4530:
4521:
4512:
4503:
4494:
4485:
4476:
4467:
4458:
4453:Simon, p. 19
4449:
4444:Simon, p. 92
4440:
4435:Aymar, p. 62
4431:
4426:Simon, p. 97
4422:
4413:
4404:
4395:
4374:, and wife,
4358:
4349:
4340:
4331:
4322:
4313:
4304:
4295:
4286:
4277:
4268:
4248:
4227:
4218:
4209:
4200:
4191:
4176:
4168:
4159:
4150:
4141:
4130:. Retrieved
4124:
4115:
4104:. Retrieved
4102:. 2008-01-14
4090:
4079:. Retrieved
4075:the original
4061:
4052:
4043:
4020:
4011:
3990:
3985:Aymar, p. 29
3981:
3972:
3963:
3954:
3949:Simon, p. 80
3945:
3936:
3927:
3915:. Retrieved
3911:
3884:
3879:
3870:
3860:
3856:
3844:
3836:
3821:
3816:
3807:
3798:
3789:
3780:
3771:
3766:Simon, p. 98
3762:
3741:
3732:
3717:
3712:
3707:Aymar, p. 72
3703:
3698:Aymar, p. 51
3694:
3685:
3676:
3667:
3647:
3640:
3635:Aymar, p. 93
3631:
3622:
3617:Aymar, p. 94
3613:
3601:
3596:
3535:Ming dynasty
3518:
3515:Ming dynasty
3512:
3508:
3503:
3501:
3496:
3488:
3484:
3482:
3478:
3449:
3443:
3441:
3429:Qing dynasty
3426:
3409:Portrait of
3408:
3402:Portrait of
3401:
3399:
3393:
3389:
3381:Yuan dynasty
3378:
3363:
3359:
3352:Song dynasty
3349:
3318:
3312:
3307:
3295:Tang dynasty
3292:
3282:
3277:
3272:
3268:
3262:
3259:
3214:
3212:
3181:
3159:Confucianism
3152:
3139:
3052:The Persian
3051:
3040:
3021:
3001:
2974:
2941:
2920:Portrait of
2919:
2897:Portrait of
2896:
2877:
2852:Portrait of
2851:
2830:
2827:Gustav Klimt
2809:
2785:
2765:Green Stripe
2762:
2741:
2722:
2720:
2705:
2694:
2683:Lucian Freud
2680:
2675:Andrew Wyeth
2668:
2666:and others.
2652:
2647:
2636:Robert Henri
2613:
2604:Max Beckmann
2571:Gustav Klimt
2556:
2543:
2535:20th century
2524:
2499:
2496:Paul Gauguin
2478:Portrait of
2477:
2457:Miss Cassatt
2455:Portrait of
2454:
2424:
2403:Portrait of
2402:
2381:Portrait of
2380:
2352:
2326:
2305:
2271:
2263:André Derain
2252:
2248:
2238:
2231:
2227:
2195:
2183:Paul Gauguin
2179:Mary Cassatt
2171:Claude Monet
2163:
2155:
2139:In America,
2138:
2131:
2097:
2089:
2069:
2043:
2029:neoclassical
2026:
2018:Neoclassical
2011:
2003:19th century
1992:
1969:
1897:
1875:Kenelm Digby
1852:
1810:Thomas Sully
1806:John Smibert
1785:Samuel Adams
1778:
1763:
1751:
1743:
1733:
1705:The Blue Boy
1703:
1686:
1675:
1669:
1661:
1654:
1644:
1631:
1619:
1594:
1581:
1557:
1549:
1462:
1437:
1323:
1313:
1261:
1253:Michelangelo
1249:Brunelleschi
1225:
1222:
1217:
1213:
1207:
1202:
1186:, named for
1181:
1175:
1169:
1163:
1126:
1107:
1083:
1075:
1058:
1038:
1035:Jan van Eyck
1032:
1011:Jan van Eyck
999:
992:
989:
963:
959:
945:
943:
937:
924:
910:Jean Fouquet
887:
858:
844:Jan van Eyck
837:
820:
781:Jan van Eyck
770:
759:
754:
720:
667:Late Antique
663:Theodosius I
655:
635:
613:
589:
577:
554:
548:January 2024
545:
535:
528:
521:
514:
502:
490:Please help
485:verification
482:
450:
439:
429:
419:
412:
408:
395:
387:
371:
363:
347:
335:
328:
323:
315:
280:
270:
258:
255:Andrew Wyeth
248:
224:profile view
184:
176:
156:
144:
126:
111:
108:Pieter Codde
70:
57:
56:
5190:The New Age
5061:: 118–139.
5026:(1): 7–18.
4917:Portraiture
3811:Aymar, p. 5
3427:During the
3390:wen ren hua
3366:) on blank
3350:During the
3293:During the
3283:On Painting
3273:Book of Jin
3264:Book of Jin
3184:Jin dynasty
3167:physiognomy
3155:Han dynasty
3153:During the
3047:caricatures
2744:Jamie Wyeth
2716:Chuck Close
2708:Andy Warhol
2671:abstraction
2461:, 1876-1878
2451:Edgar Degas
2310:, 1800–1801
2287:Edgar Degas
2128:Edgar Degas
1994:Paul Revere
1830:James Peale
1826:Robert Feke
1789:Paul Revere
1728:Jean Nocret
1677:Las Meninas
1656:Night Watch
1647:chiaroscuro
1624:, c. 1650,
1577:Jan Vermeer
1558:During the
1523:, probably
1382:, c. 1518,
1316:Jean Clouet
1170:La Gioconda
1099:Thomas More
944:Leonardo's
918:Renaissance
802:Virgin Mary
773:Middle Ages
715:ultramarine
693:Middle Ages
687:Saint Peter
600:Hellenistic
418:celebrated
403:lay-figures
331:Chuck Close
308:mixed media
292:pen and ink
194:half-length
188:full-length
86:photography
82:lithography
76:(including
49:, 1623–24,
5271:Categories
5225:, Oxford:
5195:Ezra Pound
5137:2019-05-09
4991:: 96–128.
4853:9004064982
4830:2018-03-27
4801:2018-03-27
4776:2018-03-27
4752:2018-03-27
4723:2008-08-29
4132:2008-08-29
4106:2008-08-29
4081:2008-08-29
3589:References
3519:wenren hua
3208:Neo-Daoism
3028:Shah Jahan
2701:Christie's
2616:Vorticists
2437:Petrópolis
2278:Baudelaire
2076:Charles IV
1814:Ralph Earl
1755:Peter Lely
1708:, c.1770,
1670:In Spain,
1651:Caravaggio
1635:Frans Hals
1343:, perhaps
1277:Tintoretto
1210:Verrocchio
1108:In Italy,
1103:Henry VIII
1003:oil colors
743:Romanesque
518:newspapers
288:watercolor
277:, New York
168:caricature
104:Frans Hals
5292:Portraits
5221:West. S.
5067:0571-1371
4997:0571-1371
4935:319070279
4742:Widewalls
4608:26 August
3493:Gu Kaizhi
3346:, 1238 AD
3342:Buddhist
3279:Gu Kaizhi
3251:Wang Rong
3235:Xiang Xiu
3227:Ruan Xian
3223:Rong Qiqi
3124:, c. 1813
3122:Mihr 'Ali
3100:, 1750s.
3096:state of
3076:, c. 1570
2997:Ilkhanids
2874:Juan Gris
2712:Alex Katz
2644:Max Ernst
2020:fashion,
1881:, c. 1640
1682:Philip IV
1659:(1642).
1639:Rembrandt
1616:Velázquez
1597:Rembrandt
1546:Rembrandt
1531:, c. 1600
1378:Possibly
1360:Young Man
1347:, c. 1440
1341:Pisanello
1325:Mona Lisa
1285:Mannerism
1241:Donatello
1183:Mona Lisa
1165:Mona Lisa
1150:Pisanello
912:, c. 1450
713:and much
665:) In the
619:Etruscans
584:Akhenaten
218:full face
163:Aristotle
5282:Painting
5124:Wu, Hung
5075:29550011
5005:25481909
4860:Archived
4390:; Queen
3917:16 April
3562:See also
3489:san cong
3454:painter
3407:and the
3299:Buddhism
3247:Shan Tao
3231:Liu Ling
3204:Sima Yan
3090:Nainsukh
3088:Lady by
3074:Selim II
3024:Jahangir
3013:dyslexic
2981:idolatry
2969:Jahangir
2947:Semyonov
2790:, 1906,
2632:Art Deco
2622:painter
2600:Otto Dix
2357:(1812),
2332:, 1806,
2328:Napoleon
2214:Whistler
2045:Romantic
1972:, 1768,
1745:Blue Boy
1674:painted
1529:El Greco
1305:El Greco
1281:Veronese
1192:Florence
1110:Masaccio
629:and the
596:Socrates
326:(1796).
300:charcoal
273:, 1878,
159:portrait
66:painting
32:portrait
5173:1358525
5110:3250079
5040:3045847
4970:3249745
4902:3250505
4796:AnOther
3554:Utamaro
3513:In the
3416:Araniko
3243:Ruan Ji
3239:Ji Kang
3219:Nanjing
3098:Jasrota
3017:muraqqa
2943:Kapitsa
2590:, was
2567:Cézanne
2561:artist
2559:Fauvist
2408:, 1868
2336:, Paris
2259:Cézanne
2189:, both
2100:realist
1628:, Rome.
1583:years.
1560:Baroque
1554:, 1662.
1425:, 1540
1380:Raphael
1196:Tuscany
1118:Raphael
1043:(1434,
1007:tempera
727:mosaics
651:tempera
642:frescos
609:deified
532:scholar
459:History
453:Raphael
238:⁄
166:from a
151:Bernini
78:etching
5240:, 1991
5229:, 2004
5171:
5108:
5073:
5065:
5038:
5003:
4995:
4968:
4933:
4923:
4900:
4851:
4703:
4683:
4675:
4259:
4183:
3891:
3828:
3724:
3655:
3556:, 1793
3504:shi nü
3485:lie nü
3452:Jesuit
3404:Kublai
3368:ground
3249:, and
3198:, and
3163:Taoist
3094:Rajput
3036:rajahs
2994:Mongol
2950:, 1921
2925:, 1916
2880:, 1912
2858:1910,
2835:, 1907
2814:, 1906
2769:, 1905
2737:Prince
2689:) and
2583:cubist
2549:1906,
2508:, 1888
2483:, 1887
2386:, 1848
2265:, and
2160:, 1887
2094:, 1875
2058:Poland
1997:, 1770
1931:Pastel
1918:, 1725
1902:, 1654
1861:, 1632
1836:, and
1664:(1632)
1564:Rococo
1446:, 1546
1444:Titian
1406:, 1534
1386:. The
1297:Medici
1273:Titian
1247:, and
1237:Giotto
1144:, and
1092:, and
1080:, 1500
1063:, 1527
1028:canvas
871:, 1448
846:, 1434
729:, and
685:, and
534:
527:
520:
513:
505:
306:, and
304:pastel
296:pencil
74:prints
5183:Notes
5169:JSTOR
5106:JSTOR
5071:JSTOR
5036:JSTOR
5001:JSTOR
4966:JSTOR
4898:JSTOR
4388:Louis
3411:Chabi
3269:erbei
3171:Henan
3120:, by
3116:Shah
3032:halos
1421:, by
842:, by
638:Fayum
539:JSTOR
525:books
199:waist
90:video
62:genre
60:is a
5063:ISSN
4993:ISSN
4931:OCLC
4921:ISBN
4849:ISBN
4701:ISBN
4681:ISBN
4673:ISBN
4610:2010
4257:ISBN
4181:ISBN
3919:2019
3889:ISBN
3826:ISBN
3722:ISBN
3653:ISBN
3450:The
3379:The
3261:the
3213:The
3182:The
3026:and
2975:The
2964:The
2945:and
2903:1916
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