The development of portraiture in the Renaissance Automatic translate

During the Renaissance, portraiture is developing so rapidly that there are different types of portraiture. The main form, of course, remains a portrait on which a person is depicted on the chest, but waist-lengths, then generated, and soon full-length images of people begin to be written.

Aristocratic and simply rich married couples decorated their houses and castles with their portraits painted on separate canvases, but united by a common background and color. A vivid example of this is the work of the painter Piero del Francesca, which depicts the spouses Battista Sforza and Federico da Montefeltro, the Duchess and Duke of Urbinsk.

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Group portraits, which depict several people at once (for example, “Three Children of Charles I” by Van Eyck), are very popular. The nature of the depiction of pictorial portraits of the Renaissance can be ceremonial or intimate. Customers of ceremonial portraits were people standing at the very top of the hierarchical ladder: reigning persons, their relatives and close associates, clergymen of higher ranks, etc.

Going to pose for a ceremonial portrait, men and ladies put on their most luxurious and solemn dresses, and as a background, the artist usually depicted lush draperies, majestic landscapes or antique architectural forms. P. Rubens was considered a great master of ceremonial portrait - his most famous contemporaries dreamed of getting their portrait of the work of this famous painter.

An important place in European painting of the seventeenth century is occupied by a chamber portrait, which is often called intimate. The purpose of this picture is to show the viewer that state of mind of the person depicted on it, those emotions and feelings that possessed him at the time of posing. The most famous master of intimate portraiture is the great Dutchman Rembrandt.