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| Nefertiti, 1300 BCE |
Some time ago I mentioned one of the axiomatic rules having to do with art.
That is, artists have always tended to paint or sculpt that which is most
important to them. I pointed out that man's earliest works, as seen in surviving
prehistoric art, reflected the relative importance of two topics in his life -
sports and sex. As any "football widow" will tell you, not much has changed in
20,000 years. Dating almost that far back we find a few other extremely ancient
art content areas, one being superstition and primitive religious images,
another being representations of human figures - God and man. These too have
persisted into contemporary art, though, in recent years, the prevalence of
religious art seems to have waned to an even greater degree than religion
itself. Or, perhaps it is just that we have so internalized our faith in a
supreme being that we no longer need religious images as we once did.
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| Alexander the Great coin bust, 320 BCE |
Primitive figural art first evolved into portraiture, in its earliest
surviving form, probably in ancient Egypt. Though much Egyptian figural art is
formalized and stylized, the sculpted bust of Nefertiti, dating from 1348 BCE (top left),
is so remarkably realistic we can only make the relatively safe assumption that
it was also a portrait likeness. Several other pieces from the same period bear
similar traits. But such portrait likenesses in Egyptian art were but brief
flares of genius. It was another thousand years before Greek sculpture reached
such heights of representational audacity as to approach our modern day
definition of portraiture. And, even at that, as I mentioned a few days ago, so
much regarding portraiture depends upon our definition of the term. Is the image
of Alexander the Great on a Greek drachma coin dating from 320 BCE (above) an actual
likeness, or merely a symbolic one? Although we have no way of knowing whether
the Greeks mastered the art of portraying sculpted or painted likeness, those of
their Roman predecessors are so individualistic and naturalistic as to make such
judgements much more certain.
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Emperor Lothair I (detail), 849 CE,
grandson of Charlemagne |
But just as the fall of the Roman Empire set western civilization back a
thousand years, the same must be said of the art of portraiture as well. The
Imperial portrait of the Emperor Lothair I, dating from 849 CE (left), while impressive
in its detail, is, in its own way, nearly as stylised and symbolic as those of
ancient Egypt. Even as late as 1317, we see in the religious paintings of
Italian artist Simone Martini, especially in his donor portraits, much of the
same stiff, stylized rendering and only the barest suggestion that his static
profiles might bear some actual resemblance to his patrons. Yet as little as 43
years later, an unknown artist (probably of Italian origin) painted a profile
portrait of King John II of France (below, right) so strikingly individualized and accurate in
its facial anatomy that we might consider it the first true portrait likeness of
any consequence since Roman times.
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| King John II of France, 1350 |
Strangely, considering the many hundreds of years in which the painting of
portraits languished in ineptitude, once artists began to again seriously study
the human face and strive to reproduce its anatomical similarities as well as
its individual differences in paint, the movement to modern day, highly
characteristic portraiture was amazingly rapid. In little more than a hundred
years after the unknown artist captured the likeness of King John II, Robert
Campin in the Netherlands was routinely turning out subtle, three-quarter view
portraits as accurate as any we might find today, and not just of kings and
noblemen, but those of such middle-class individuals that their likenesses have
survived long after their names have been forgotten. And while the importance of
religious art may have waned in modern times, portraiture has become so vital to
our daily lives that we must carry such likenesses with us to drive a car, to
cash a check, or to, in many cases now, report to work.
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| Portrait of a Man, 1430, Robert Campin |
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| Portrait of a Woman, 1430, Robert Campin |
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