10 fascinating facts about portraits

From the series 10 things...

The Remember me exhibition brings together more than a hundred portraits made between roughly 1470 and 1570. With their clothes, attributes, poses and backdrops, the subjects of these portraits each tell their own story. Here are ten fascinating facts about these portraits.

In het echt zien?

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Remember me

Portraits allowed those who were absent to still be present, even centuries after they had passed away, helping to keep their memory alive. Essentially, each of the subjects in this exhibition is saying, ‘Remember me’.

Albrecht Dürer, Portrait of a Young Woman in Prayer with her Hair Down, 1497. Frankfurt am Main, Städel Museum

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Experimentation

Around 1500, portraiture became a widely practised art form, and artists across Europe began experimenting with new forms. Well-known genres, such as the traditional Dutch militia piece, were created during this time.

Dirck Jacobsz, (detail), 1529

Portrait of Erard de la Marck Portrait of Erard de la Marck

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Power

Portraits of rulers were symbols of their authority in even the most far-flung corners of their dominions, in a way allowing them to rule by proxy. The clothes they wore and the way they chose to be portrayed were meant to underline their status and wealth.

Portrait of Erard de la Marck Jan Cornelisz Vermeyen (c. 1503–1559), Mechelen?, c. 1528–1530, oil on panel

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Children’s portraits

Children’s portraits showed that a new branch had been added to the family tree. Instead of painting these children sitting rigidly side by side, Jan Gossart portrayed them in a more natural setting, sitting around a table. They are wearing dark mourning dress, as their mother, Queen Isabella of Denmark, had died that year.

Jan Gossart, Portrait of Dorothea, Hans and Christine, the Children of Christian II, King of Denmark, and Isabella of Austria, 1526. London, Royal Collection

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Frontal

Frontal portraits were rare, most likely because of their direct nature. Those who did choose to be portrayed this way were able to highlight their power and authority with a penetrating look. In the portrait of Beetke van Rasquert, even her little dog is staring straight at the viewer.

Anonymous, Portrait of Beetke van Rasquert. Groningen, Groninger Museum

Portraits of Giuliano and Francesco Giamberti da Sangallo Portraits of Giuliano and Francesco Giamberti da Sangallo

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Ambition

As the middle class became more prominent, portraits were not just for emperors and queens anymore – scholars, bankers, merchants and artisans also sought out portrait artists. The objects they chose to be portrayed with show their professions: the architect is holding a pair of compasses, while the musician is depicted with sheet music.

Piero di Cosimo, Portraits of Giuliano and Francesco Giamberti da Sangallo, 1482 - 1485. Rijksmuseum, on loan from the Koninklijk Kabinet van Schilderijen Mauritshuis

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Fashion dating

Clothing, accessories, hairstyle and makeup can tell us a lot about when a subject was portrayed. Just like today, fashions sometimes changed quickly, often allowing us to date portraits with a fair amount of precision.

Anonymous (Florence), Portrait of a Lady in Red, c. 1440–1450. London, The National Gallery

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Beauty comes from within

Outward beauty was often seen as a sign of inner virtue. Women in particular, from empresses to merchants’ wives, emphasized their beauty – and thus their virtue – with jewellery and clothing.

Portrait of a young women, Giambattista Moroni, 1560 - 1578

Eleanora of Aragon Eleanora of Aragon

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Photoshop avant la lettre

Artists often had to walk a fine line: their subjects had to be easily recognizable, but their likenesses also had to satisfy contemporary ideals of beauty (indicating a virtuous nature). Based on descriptions of Eleanor of Aragon, we know that this portrait shows her in an idealized manner.

Portrait van Eleonora van Aragon, Giovanni Cristoforo Romano

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Self-portrait

Painters also immortalized themselves, as they came to be looked on as true artists rather than artisans. Both male and female painters became their own subjects to show their ambition and prestige.

Sofonisba Anguissola, Zelfportret aan de schildersezel, ca. 1556–1557. ŁaŃcut, Muzeum-Zamek w ŁaŃcucie

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