17 and 18th Centuries

17 and 18th Centuries

Portraying wealth or status in a portrait.

Through researching portraits dating back to the 17th and 18th centuries it has been interesting to find that there were numerous links and clear influences dating back to the renaissance period. 
During these times, portraits acted as more of a visual language than what they perhaps do today. It was popular for the powerful and wealthy to have portraits produced. Many aspects of the paintings, such as clothing or surrounding objects and possessions of that person, would all be purposely included into the portrait to either represent that persons wealth, function or status.  



Copley's William Murray


My understanding taken from this research of status portraits is that the aim of the status portrait is to included certain factors and elements within the painting which make it visible to the viewer what the person does as a job and what their social class might be.
To have a portrait painted during this time straight away would of shown you were not of a working class as only the wealthy and important could afford to have them produced.

Book;
Citezens and Kings, 
Portraits in the age of revolution 1760-1830 
Royal Academy of Arts

"This is why the statesman or government minister is generally represented seated with his hand on a table on which documents are displayed, adhering to a convention established during the renaissance."

So this characteristic within a painting of an important looking male seated with his hand on documents on a table, will have worked at this time as a visual language to the people; basically saying 'this male is a statesman or government minister'. - someone very important. 

Another example of this style painting is available;


Derby's Richard Arkwright


Book;
Citezens and Kings, 
Portraits in the age of revolution 1760-1830 

"The sitter, a skilled businessman, is portrayed seated beneath an official-looking curtain as if he were a top government official. On the table beside him, the customary pens, papers and letters have been replaced by a machine of his own invention for spinning wool."

If you think to portraits in either photograph or painting form at present, it is not the norm to have ones possessions or certain symbols presented in the portrait. These style paintings really go to show the importance of a persons social class, profession and wealth during these time periods and how times have now changed.

The Renaissance

The Renaissance

BBC: Italy Unpacked

http://www.bbc.co.uk/iplayer/console/tv/b03pn6xz

http://www.bbc.co.uk/iplayer/episode/b03pn6xz/Italy_Unpacked_Series_2_In_the_Footsteps_of_the_Poets/


Here is a BBC series, called Italy Unpacked.
The program is based on a Chef and an Art Historian touring Italy, exploring the local recipes and the Historical Art of those places.
Despite a very large percentage of the program being based around the unique cooking styles and recipes of the country, I found it extremely interesting to learn from the historical art they visited.
Some of the art explored, touched on the important subject of the renaissance while some explored art before and after this time, however I feel it was all useful information and it has been interesting to see what art was produced before the renaissance and the impact it carried on to have on the art after this time.

One of the most interesting pieces I found they touched on was the extremely life like sculptures from the 19th century at the graves and tombs of those who have passed in Staglieno in Genovese. The incredible life like features and immense detail of these sculptures along with the real emotions and expressions presented in the sculptures show several characteristics taken from renaissance art and it's heavy emphasis on humanism and realism. The mass effort of producing these sculptures to almost protect the graves show the huge importance of the Roman Catholic religion and beliefs.





The next most interesting part i found in this episode was their visit to the San Mateo museum in Pisa.

http://www.ambientepi.arti.beniculturali.it/flash/musei/smatteo/index.html




Here, the Crucifixion of Christ is presented from the 12th century through to the renaissance and after. It is interesting to note the differences in characteristics of the crucifix over time.








Here is an example of a Crucifixion from the museum which was produced around the 12th century. You can note the fact it is a beautiful painting with rich bright colours. The lack of expression on the face of Christ suggests no pain, which all in all makes the crucifixion come across more as a celebration of the death of Christ. This peice is actually reffered to as 'Christ Triumphant' meaning he is triumphing over death. No pain or sorrow is meant to  be felt for the viewer.











Here is a Crucifixion also presented in the museum, but from a much later date than the 12th century. This will have been produced at the real start of the renaissance period. What remains the same in this crucifix is the the royal rich colours, emphathising the importance and celebration of Christ. The huge difference however, in this crucifixion and all the ones produced after this, show very different characteristics in Christ. His body is distorted in the pain he is suffering, blood is pouring from the nails in his hands, and there is a clear pain and sorrow in the emotions of his face. Quote; "Christ is a real man, feeling real pain."
This is something which came from the renaissance; their ideas of humanism and realism. The real pain expressed in the painting makes you sympathise and feel you're really there, feeling that pain and sorrow for yourself. The paintings from this time on wards become more human and more realistic.