Analyzing portraits:

Begin with the following opening questions:

• Have any of you ever had your portrait made? (Think of ID cards, passports, photographs, etc.)

• What are some of the things you thought about before your portrait was made? (Consider clothing, facial expression, background, etc.)

• What did it feel like to have your portrait made?

• Do you like to show off that portrait, or do you keep it hidden?

Study the following descriptions:

1. Leonardo da Vinci. Mona Lisa (Gioconda)

She is represented sitting in front of a marble balcony. The left arm rests on the arm of the seat, and the fingers fold over the end of it. The right hand, perhaps the most perfect hand ever painted, lies lightly over the left hand and wrist. On sleeves and bodice the pleats of the satin dress take the light, and worked along the braid, as if it were a sign manual of the artist, is one of the interlacing patterns. The curling auburn hair escapes at either side from the veil, and just brushes the bosom as it falls. The eyes look out at you, gray, devoid alike of eyelash or eyebrow, heavy-lidded, languorous yet strangely intent. The face is full and of a southern type, and the lips are smiling. She was listening to music while he painted. Beyond the balcony a strip of herbage has a warm russet glow, and road and river wind away on either side in labyrinthine coils amidst the fretted rocks to where, in the far distance, shadows are deep and still water lies among the hills.

2. Обаятелен своей юной прелестью образ В. А. Шевцовой — невесты Репина — в портрете 1869 года.

Доверчивый взгляд девушки, устремленный на зрителя, нежная гладь кожи, хрупкая фигурка, упавшая на плечо коса, выбившиеся из пробора упрямые волосы, легшие на лоб, — все подмечено внимательным наблюдателем и опоэтизировано художником, стремящимся передать красоту человеческой души, изгибающиеся линии контура, живописная свежесть и гармонируют с образом молодой девушки, придают ему еще больше поэзии и внутренней красоты.

3. "The Morning Walk" by Th. Gainsborough

Gainsborough is famous for his brilliant sense of composition, harmony and form.: In the foreground of the picture you see a pretty slim young woman of about 25 and an elegant young man. The woman has a very fashionable long dress on, her face is attractive. She has dreamy blue eyes and thick curly golden hair. As for the man, he is tall and handsome, the features of his face are pleasant and expressive. His eyes are dark, his look is proud, his mouth is rather large, his nose is straight, and he has; classical strong figure. I am sure that the young people are happy because they are young, they are in love, because the day is fine, and life is beautiful. It is an idyllic scene in a romantic landscape. Thanks to the soft colour treatment the picture has a lyrical and poetic atmosphere.

4. "Family Portrait"

Van Dyck created the impressive, formal type of portrait and such masters as Reynolds, Gainsborough, Lawrence and Raeburn owed much to their study of his works. He created a genre of aristocratic and Intellectual portrait which influenced much the development of English painting, Van Dyck created the type of portrait which helped him to convey the sitter’s individual psychology.

The sitter's individuality is vividly expressed in this portrait. One can easily follow the gentle and even character of the young woman and the outstanding searching, restless ; personality of her husband. The artist managed to create the impression ,of spiritual relationship in spite of the difference of characters. The colour scheme of this canvas is very beautiful. The prevailing tones are red, 'golden and brown.

DISCUSSION QUESTIONS

• What is the first thing you notice about the sitter on the painting?

• What does the facial expression tell us about him or her? His or her posture? His or her gestures?

• How about his or her attire? The setting? The props he or she is holding?

• Do you think he or she works? What does he or she do?

• Would you like to meet this person? Why or why not?

• What do you think the sitter wanted his or her portrait to communicate?

• What do you see that makes you say that?

1. The general effect. (The title and the name of the artist. The period or trend represented. Does it appear natural and spontaneous or contrived and artificial?)

2. The contents of the picture. (Place, time and setting. The accessories, the dress and environment. Any attempt to render the emotions of the model. What does the artist accentuate in his subject?)

3. The composition and colouring. (How is the sitter represented? Against what background? Any prevailing format? Is the picture bold or rigid? Do the hands (head, body) look natural and informal? How do the eyes gaze? Does the painter concentrate on the analysis of details? What tints predominate in the colour scheme? Do the colours blend imperceptible? Are the brushstrokes left visible?).

4. Interpretation and evaluation. (Does it exemplify a high degree of artistic skill? What feelings or ideas does it evoke in the viewer?)