The Renaissance Portraits from the Courts of Italy to the Ottoman Empire

Gentile Bellini, The Sultan Mehmet II, 1480
(National Gallery, London)

"Bellini portrayed Sultan Mehmed from life so well, that it was considered a miracle."

                                                                                                      - Giorgio Vasari

Of all the genres in the history of art, portraiture has a very special place due to its intimate nature of enabling vis-a-vis encounters with illustrious figures from the past.  The Renaissance Portrait from Donatello to Bellini exhibit at the Metropolitan Museum of Art earlier this year was a great example of the art of depicting likenesses transcending centuries and making the absent present more than five hundred years after the portraits had been made. One of the highlights of the exhibit was the gallery devoted to portrait medals featuring primarily the works by Antonio Pisanello who is ascribed as the inventor of the portrait medal in Quattrocento. The portrait medal that was utilized by rulers of the Italian Renaissance to cultivate their image pertaining to their right to rule, lineage and intellectual capacity is a fascinating symbol of the philosophy of the the time.  It also is a great testament to the mobility of artists, ideas and influences as well as works of art - all of which can be garnered from examining Pisanello's body of work and it's effects as it pertains to the portrait medal. This mobility and influence seems to have extended out to the most eastern reaches of Europe, to a land that was ruled by Turks, the Ottoman Empire.

Antonio Pisanello,
Studies of Emperor John VIII Palaeologus and Members of the Greek Delegation to the Council of Ferrara and Florence, 1438-39
(Musee du Louvre, Paris)

In the absence of sources as to the artist or real intent of a work of art, most of the conclusions made have to be based on conjecture but following the visual clues that have survived enables even a novice a fascinating view into an enchanting period in history. I assume the best way to embark upon such a journey should be chronologically.  The medallion, John VIII Palaeologus by Pisanello is accepted as the first Renaissance portrait medal which was supposed to have been cast on the occasion of the Byzantine emperor's visit to Ferrara for the council to reunite the Eastern and Western Churches. The Eastern delegation is said to have really fascinated the Italians with their colorful costumes and interesting ways (the Emperor was out hunting instead of sitting in on the meetings) inspiring Pisanello to make the detailed drawings seen above.

Michelle Obama, The Queen of Cyprus, Eleonora of Aragon and Isotta degli Atti - what could they possibly have in common?

Andrea Mantegna, The Meeting  Camera degli Sposi, the Ducal Palace, Mantua,1471-74 

"All the world's a stage and all the men and women merely players."

The last week of August and the first in September, the American political world was on stage and the Republican and Democrats were merely the players.  While I am the least political person, I do make exceptions for big events such as these. Besides, my brother, Cenk was hosting the coverage of both the conventions on Current TV so we had no choice but to watch the full four hours even if it was just out of family loyalty.  While I gave only half my attention to most of the speeches, I listened with apt attention when Ann Romney at the Republican and Michelle Obama at the Democratic Convention took the stage.  These ladies were on a mission to paint a more human, personal picture of their husbands for the delegates and the American public as compassionate, loving individuals.  They were taking their part in creating their husband's public image.  Even I was impressed with Michele Obama's amazing speech (Link)  and I couldn't help but compare the image of the powerful (in every sense of the word) First Lady with those of others from the past.

Andrea Mantegna, The Court of Mantua,  Camera degli Sposi, the Ducal Palace, Mantua,1471-74
(Ludovico II Gonzaga with his wife Barbara von Brandenburg)

At this time, I was working on my book review (Link) for 3PP on the exhibition catalog for The Renaissance Portrait from Donatello to Bellini, an exhibition at the Metropolitan Museum of Art which contained portrayals of some of the most prominent individuals from fifteenth-century Renaissance.  In contrast to the image both the first lady and Mrs. Romney portrayed of their husbands as being 'regular guys', who could understand the American people, magnificence was the attribute that was largely cultivated during the Renaissance.  Especially the highly idealized female portrait with elaborate costumes and costly jewels was a greatly utilized tool to promote the persona and the status of their husbands.  While the rights and role of women is still being manipulated in our present day political arena, I thought we might take a look at some other consorts as well as leaders from fifteenth-century Renaissance to see what kind of an image they cultivated to further their cause.

Jacques- Louis David - Napoleon as First Consul

Jacques-Louis David, Napoleon as First Consul, 1812
(The National Gallery of Art, Washington D.C.) 

A Fascinating Look at Mary Cassatt thanks to Three Pipe Problem

 this is a great video that I found on one of my favorite blogs http://www.3pipe.net

http://youtu.be/VIvGeZi4xCQ

Mary Cassatt, Young Girl in a Blue Arm Chair, 1878
(The National Gallery, Washington DC)

This is one of my favorite paintings.  It is such a real depiction of a bored little girl.  Cassatt was concerned with portraying the real and truthfulness of children who were seen as little adults till 19th century.  Around this time there were a lot of concern and education reform about children not being young adults and having different needs.
The model for the little girl was the daughter of a friend of Degas' and he is said to have advised Cassatt in the way to setup the space for this painting.  The subject matter of mother and child was one of Cassatt's favorites.
The odd angle, the tipped up floor, leaving an empty space to the left of the center of the painting are all influences of Japanese prints that is common to find in both Degas' and Cassatt's work.  Even if Degas did advise Cassatt, her distinct characteristic as an artist comes thorough and it is easy to distinguish her style from any other artist's.