Isabella Flores
Portrait paintings are a diverse art form that captures the essence of a person, animal, or group. They can vary based on the length, number of subjects, posture, and artistic style. Portraits have been historically commissioned or created out of interest, and they can be categorised into several groups. For instance, full-length portraits depict the entire body of the subject, while half-length portraits focus on the upper half or waist up. Kit-cat portraits, a sub-category of half-length portraits, showcase the subject's hands and chest. Bust portraits, also known as head and shoulder portraits, emphasise the face and neck, capturing the intricacies of facial expressions. Portrait paintings can also be classified based on the pose, such as the profile view or full-face view. The artistic style chosen by the artist, including the use of light and shade, perspective, texture, and brushstrokes, can convey different emotions and meanings. Portraits may also include objects or backdrops that provide context and reveal something unique about the subject.
| Characteristics | Values |
|---|---|
| Length of painting | Full-length, half-length, three-quarter, bust-view, kit-cat, knee-length |
| Number of subjects | Individual, couple, parents and children, families, collegial groups |
| Posture of subject | Standing, seated, reclining, horse-mounted |
| Pose | Frontal, side, profile, three-quarter |
| Medium | Oil, watercolour, pen and ink, pencil, charcoal, pastel, mixed media |
| Colour palette | Wide-ranging, restricted |
| Background | Detailed, monochromatic |
| Expression | Serious, smirk, closed-lip stare, slight smile, sensitive, thoughtful, expressive |
| Brushstroke | Delicate, rough, choppy |
| Style | Fauvist, Dada, Cubist, Abstract Expressionist |
| Subject matter | Humans, animals |
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What You'll Learn
Portrait length: full-length, half-length, or bust view
Portrait length is one of the oldest ways of classifying portraits. Here are some of the most common lengths used in portraiture:
Full-length portraits
Full-length portraits capture the entire body of the subject. These portraits often include a detailed background, which adds context to the painting. Full-length portraits were popular during the aristocratic era of 17th-century Europe, where royals and important figures used them to convey their social status.
Half-length portraits
Half-length portraits typically depict the upper half of the human body, from the waist up, although some sources describe this length as ending at the knees. These portraits usually focus on the subject, with less emphasis on the background. Half-length portraits have been popular since the Renaissance period.
Kit-cat or three-quarter portraits
Kit-cat portraits, also known as three-quarter portraits, are a variation of half-length portraits. They end above the waistline but include the subject's hands. The name originates from the Kit Cat Club of poets and writers in London, who commissioned portraits of their notable members.
Bust-view portraits
Bust-view portraits, also known as face and neck portraits or head and shoulder portraits, focus solely on the subject's head and neck. This style of portrait emphasises the subject's facial features and expressions, and does not require an elaborate background. Bust-view portraits are commonly used to depict religious and spiritual leaders.
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Pose: frontal, side, or three-quarter view
When it comes to the pose, there are several options to consider for a portrait painting. These include frontal, side, and three-quarter views, each offering a distinct perspective and aesthetic appeal.
The frontal view is a classic choice for portraits, capturing the subject's face directly. This pose allows for a strong focus on the subject's facial features, expressions, and eye contact with the viewer. It is a popular choice for portraits that aim to convey a sense of connection and engagement with the viewer.
Side-view portraits, on the other hand, offer a more angled perspective, showcasing the subject's profile. This pose can create depth and visual interest, often favoured by artists for its aesthetic appeal. Side-view portraits are commonly used to depict historical figures and eminent personalities, adding a sense of elegance and mystery to the artwork.
The three-quarter view is a hybrid pose that combines elements of both frontal and side views. In this pose, the subject is turned slightly to the side, providing a partial view of their profile while still offering a clear perspective of their facial features. This pose allows for a dynamic composition and can be used to create a sense of movement or contemplation in the portrait.
Another option is the profile view, where the subject is depicted from the side, showcasing their physical form at an angle. This pose is often chosen for its ability to create depth and visual appeal. Profile views are frequently used for historical figures and notable personalities, presenting a unique perspective on the subject's appearance and character.
Additionally, there are variations in the length of the portrait, such as full-length portraits, which capture the entire body of the subject, and half-length portraits, typically depicting the upper half of the human body, from the waist up. These different lengths can influence the pose and composition of the portrait, as well as the level of detail included in the background.
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Realism: from caricature to photographic realism
Realism in portraiture can range from caricature to photographic realism. While the former exaggerates certain features for comic effect, the latter aims for a true-to-life representation of the subject.
Caricature portraits have been popular since the Renaissance, with artists emphasising certain features to create a comic or grotesque effect. The style is often used to convey social or political commentary, as seen in the work of English artists such as Lucian Freud and Francis Bacon. Bacon's portraits, for example, are known for their nightmarish quality.
Photographic realism, on the other hand, aims for an accurate and detailed representation of the subject. This style of portraiture has been made possible by the advent of photography, which allows artists to work from photographs rather than requiring the subject to sit for hours in front of them. This style of portraiture is often used to convey the essence of the person, capturing their personality and making the viewer wonder about them. It can also be used to represent different stages of a person's life, growth, or development.
The choice of style depends on the artist's intention and the desired effect on the viewer. For example, a delicate, detailed portrait may convey sensitivity and thoughtfulness, while a rough, expressive brushstroke may convey emotion in a different way. The use of light and shade, perspective, and texture can also enhance the realism of a portrait, creating a sense of depth and ageing to the subject's skin.
Ultimately, the success of a realistic portrait lies in its ability to capture the essence of the subject and convey something about their character, whether through expression, pose, included objects, or the artist's use of colour.
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Medium: oil, watercolour, pencil, charcoal, etc
Oil is a versatile medium that has been a top choice for artists for centuries. It is ideal for capturing sharp details and exploring complicated emotions or themes. Oil paintings are classic and can retain their beauty and detail for hundreds of years with proper varnishing and care. The different layers of oil paint dry at different times, with the top layers drying faster and becoming more brittle. To prevent cracking, artists use the "fat over lean" rule, where each subsequent layer is made increasingly "fat", meaning oily or containing more medium.
Watercolour is another medium for portraits, consisting of pigments suspended in a water-based solution. It is valued for its transparency, allowing the white of the paper to reflect through the paint, contributing to the brightness and luminosity of the colours. Watercolour is also favoured for its ability to be layered and washed out, offering a range of possibilities from delicate tints to more vibrant, opaque layers by adjusting the water-to-paint ratio.
Pastels are another medium for portraiture, offering a soft, velvety texture that can range from subtle shades to intense hues. There are two types of pastels: oil and soft. Oil pastels do not crumble or produce dust and can be enhanced by oil, thinners, and mineral spirits. They are suitable for beginners due to their vivid colours and direct application. Soft pastels, on the other hand, are known for their smudging effects and are favoured for their ability to produce immediate, vibrant works.
Charcoal is a medium that creates works in grayscale only. It is versatile and can be used to create portraits, human sketches, and house portraits.
Other mediums used for portraits include pencil, acrylics, and conté crayons.
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Self-portraits: autobiographies in art form
Self-portraits are a unique form of autobiography in art. While the practice of self-portraiture gained momentum during the Early Renaissance in the mid-15th century, the earliest known self-portrait was sketched by a 13-year-old boy, Albrecht Durer, in 1484. Durer, who later became a renowned artist and printmaker, is considered the first artist to dedicate entire canvases to his own face. However, artists have represented themselves in their work since ancient times, with painted portraits dating back to the Roman era and the Middle Ages.
The self-portrait as a genre involves the artist making themselves the main subject of the artwork. This form of portraiture can be a means of self-expression, self-discovery, or personal myth-making. Artists may use self-portraits to explore their identity, culture, and geography, as seen in Frida Kahlo's "Self-Portrait on the Border Line Between Mexico and the United States." Self-portraits can also challenge gender norms, as exemplified by Claude Cahun's "What Do You Want From Me?" and Romaine Brooks' self-portrait from 1923. Additionally, some artists use self-portraiture to reflect on their mortality, as seen in works by James Ensor and Hippolyte Bayard, who depicted themselves as dead.
The creation of self-portraits offers practical advantages, eliminating the need for models or demonstrating the artist's skill to potential clients. During the Baroque period, it became common for established artists to leave drawings or printed portraits of themselves, sometimes as gifts for loved ones. Rembrandt's numerous self-portraits, both as paintings and prints, further popularized the form.
Self-portraits in Asian art, particularly Chinese and Japanese traditions, have a long history. The scholar-gentleman tradition features small portraits of the artist in a vast landscape, often illustrating a poem about their experience of the scene. Zen Buddhism also inspired semi-caricatured self-portraits, while artists like Hakuin Ekaku painted themselves as sages of the past.
The revival of portraiture in the 1960s and 1970s brought new perspectives to self-portraiture. Artists like Lucian Freud and Francis Bacon produced powerful and expressive portraits, with Bacon's work known for its nightmarish quality. Andy Warhol, a prolific portrait painter of the 20th century, created iconic graphic portraits, such as "Orange Shot Marilyn" of Marilyn Monroe and "Orange Prince" of the singer Prince. These artists continued to push the boundaries of self-portraiture, using their art as a form of autobiography and self-expression.
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