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Renaissance portraits that have been regarded as reality of the sitters have also a symbolic aspect. They look after the sitters, but are symbolic forms of idealism which seem to be as they are.
Kings and dukes, doge and Signoria, courtiers and poets, their wives and daughters have their ideal norms depending on their public and social roles. Physiognomic resemblance of the sitter produces a main effect, but the real purpose of the order is to show the sitter as an ideal norm. A good likeness of Renaissance had to satisfy these two demands. In this paper, I want to reveal the process and the purpose of this fusion through profile portraiture in early Renaissance.
We can find the origin of profile portraiture in the medals of Italian rulers. Leonello d’ Este, Alfonso d’ Aragone and other rulers in the middle of 15th century expressed their idealized images through medals and portraits of same types. And it was Pisanello who satisfied their demand in the most effective way. But their patronage of Pisanello did not come from the enthusiasm for Art, but from the military competition between the city states in Italy.
Double portraits of Federico da Montefeltro and his wife succeeded to the medal tradition and developed it into panel portraiture. In the back of portraits, Piero della Francesca represented the triumph of fame of the sitter by iconografies of virtues, and in the front, the painter embodied the monumental image of Federico so efficiently. The pose of the profile not only hides his defect of one-eyed Federico, but also emphasizes the image of straightforward and strong will. The realistic description of the nose which is abruptly hollowed makes us believe that this sitter is Federico. But this portrait eliminated his natural image and is idealized as a virtuous politician.
In profile portraiture, there is nothing to feel familiarity. The response of these images is some kind of admiration and respect. In other words, the pose of the profile is a symbolic form that makes us respect the sitter.
In case of a female sitter, the portrait of Giovanna degli Albizzi Tomabuoni shows the standard profile. Her face reveals the pure and temperate beauty. On the other hand, from her golden clothes with gorgeous and elaborate embroidery, we can recognize her high status. She stared at forward straightly, but doesn’t seem to look at something definite. Rather, She directed upright as if she let us observe her. At <the Visitation of Mary) in Tomabuoni Chapel, the same kind of her portrait attracts our interests. The more striking thing is that Ludovica Tomabuoni, her sister-in-law, represented in opposite side, is almost the same as Giovanna.
The portraits of the female sitters, any part of which can not be identified with the real characters, are represented not as a specified individual but as an anonymous ideal woman for her father or her husband. The profile portraits of female sitters feel like Icon, in other words, a symbol that implies anonymity, passivity and chastity. And this unifted style of female faces is strikingly different from that of the male face described as an individual person.
The Renaissance portraits are not Fine Art that simply hang on the wall of the museum, but the visual media in which the sitters display themselves as special images and satisfy their desire. The male rulers distinguish themselves as virtuous politicians and display their wives and daughters as an equipment for their family.
Kings and dukes, doge and Signoria, courtiers and poets, their wives and daughters have their ideal norms depending on their public and social roles. Physiognomic resemblance of the sitter produces a main effect, but the real purpose of the order is to show the sitter as an ideal norm. A good likeness of Renaissance had to satisfy these two demands. In this paper, I want to reveal the process and the purpose of this fusion through profile portraiture in early Renaissance.
We can find the origin of profile portraiture in the medals of Italian rulers. Leonello d’ Este, Alfonso d’ Aragone and other rulers in the middle of 15th century expressed their idealized images through medals and portraits of same types. And it was Pisanello who satisfied their demand in the most effective way. But their patronage of Pisanello did not come from the enthusiasm for Art, but from the military competition between the city states in Italy.
Double portraits of Federico da Montefeltro and his wife succeeded to the medal tradition and developed it into panel portraiture. In the back of portraits, Piero della Francesca represented the triumph of fame of the sitter by iconografies of virtues, and in the front, the painter embodied the monumental image of Federico so efficiently. The pose of the profile not only hides his defect of one-eyed Federico, but also emphasizes the image of straightforward and strong will. The realistic description of the nose which is abruptly hollowed makes us believe that this sitter is Federico. But this portrait eliminated his natural image and is idealized as a virtuous politician.
In profile portraiture, there is nothing to feel familiarity. The response of these images is some kind of admiration and respect. In other words, the pose of the profile is a symbolic form that makes us respect the sitter.
In case of a female sitter, the portrait of Giovanna degli Albizzi Tomabuoni shows the standard profile. Her face reveals the pure and temperate beauty. On the other hand, from her golden clothes with gorgeous and elaborate embroidery, we can recognize her high status. She stared at forward straightly, but doesn’t seem to look at something definite. Rather, She directed upright as if she let us observe her. At <the Visitation of Mary) in Tomabuoni Chapel, the same kind of her portrait attracts our interests. The more striking thing is that Ludovica Tomabuoni, her sister-in-law, represented in opposite side, is almost the same as Giovanna.
The portraits of the female sitters, any part of which can not be identified with the real characters, are represented not as a specified individual but as an anonymous ideal woman for her father or her husband. The profile portraits of female sitters feel like Icon, in other words, a symbol that implies anonymity, passivity and chastity. And this unifted style of female faces is strikingly different from that of the male face described as an individual person.
The Renaissance portraits are not Fine Art that simply hang on the wall of the museum, but the visual media in which the sitters display themselves as special images and satisfy their desire. The male rulers distinguish themselves as virtuous politicians and display their wives and daughters as an equipment for their family.
목차
1. 序: 초상화의 주인공과 보는 이
2. 메달과 옆면 초상의 시작
3. ‘명예’ 로운 통치자의 초상
4. ‘정숙’ 한 여성의 초상
5. 이사벨라 데스테와 초상
6. 結: 옆면 초상의 기능과 작용
참고문헌
Abstract
「사실과 상징 사이: 초기 르네상스의 옆면 초상 연구」에 대한 질의(김향숙)
김향숙 선생님의 질의에 대한 답변(이은기)
참고문헌 (0)
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