Essay About Portraiture

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Annunciation Triptych (Merode Altarpiece)

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Portrait of a Woman with a Man at a Casement

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Portrait of a Carthusian

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Tommaso di Folco Portinari (1428–1501); Maria Portinari (Maria Maddalena Baroncelli, born 1456)

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Erasmus of Rotterdam

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François I (1494–1547), King of France

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Portrait of a Young Man

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Hermann von Wedigh III (died 1560)

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Brother Gregorio Belo of Vicenza

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Filippo Archinto (born about 1500, died 1558), Archbishop of Milan

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Alessandro Vittoria (1524/25-1608)

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Guidobaldo II della Rovere, Duke of Urbino (1514–1574)

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Portrait of a Young Man, Probably Robert Devereux (1566-1601), Second Earl of Essex

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Princess Elizabeth (1596-1662), Later Queen of Bohemia

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Self-Portrait

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Portrait of a Woman, Probably Susanna Lunden (Susanna Fourment, 1599–1628)

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Portrait of Charlotte Duchesne

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The Artist's Mother: Head and Bust, Three-Quarters Right

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The Fortune Teller

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James Stuart (1612-1655), Duke of Richmond and Lennox

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Don Gaspar de Guzman (1587-1645), Count-Duke of Olivares

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Rubens, His Wife Helena Fourment (1614–1673), and Their Son Frans (1633–1678)

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Herman Doomer (born about 1595, died 1650)

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Juan de Pareja (born about 1610, died 1670)

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Self-Portrait

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Everhard Jabach (1618–1695) and His Family

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Defining Beauty for Men and Women in Portraiture Essay example

2794 Words12 Pages

Defining Beauty for Men and Women in Portraiture

" ... A thing of beauty is a joy forever :
It's loveliness increases ; it will never Pass into nothingness ... "

What is beauty? Seemingly a continually evolving and infinitely elusive ideal - mankind has been obsessed with the concept of beauty throughout the ages. Portraiture, as an essential channel of visual communication, has traditionally been the medium through which definitions of beauty are graphically expressed. Particularly in the Renaissance where portraiture often served celebratory or commemorative purposes, it was crucial that portraits were accepted as aesthetically pleasing reflections of the social ideals of the time. Hence by comparing and contrasting a range of…show more content…

Clearly for him the concept of feminine beauty could be defined simply as physical attractiveness. She has no attributes or companion to assert specific personal characteristics. According to Renaissance logic, her good looks are obviously the outward manifestation of her inner virtues of mind and soul. Therefore it is clear that the concept of feminine beauty of this time was directly and inextricably linked to pleasing physical appearance, the depiction of which viewers derived great pleasure from.

Placed in the social context of the time, this type of portrait portraying unidentified, beautiful women in modern clothing was extremely popular in Venice. Common features which bound these portraits into a genre now labelled as “generic beauty portraits” include the illustration of women with milky alabaster skin, wavy reddish-gold hair, large dark eyes, detailed texturised draping clothing with their figures presented in half or three quarter stance. The combined effect of these different characteristics was to present an‘ideal woman’ – a visual embodiment of the ultimate feminine vixen. Overall the effect was to create an erotic and sensual invitation for viewers to reach out and touch these unattainable images of perfection.

Examining portraiture of married women of the time also highlights the differences between concepts of masculine and feminine beauty in the Renaissance. Portraits such as Bronzino’s Portrait of Eleonora de Toledo

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