III. Historical comparison activity
The class should divide into 2 groups, one assigned to Edward Winslow and Elizabeth
Paddy Wensley, the second assigned to Josiah Winslow and Penelope Pelham Winslow.
Each group will contrast and compare their two 17th century
portraits, one male and one female, to portraits from other eras. You will
be visiting museums from all around the world, so please be patient as you wait for the
images to load!
Your challenge, once you enter the online museum, is to find the portraits
listed. The best first step is usually to click on a category
labeled with the word "Collections." You may then be asked
to search by type of artwork ("Paintings") or by
time-period. Good luck (and enjoy the hunt)!
NOTE : If you find any of these links are no longer functioning,
please notify us at pegbaker@pilgrimhall.org
Edward Winslow and Elizabeth Paddy Wensley
group :
Visit the Louvre in Paris, France at www.louvre.fr
Find the 1481 portrait of Charles VII by Jean Fouquet
Find the 1701 portrait of Louis XIV by Hyacinthe Rigaud
Find the 1805 portrait of the Empress Josephine by Pierre-Paul Prud’hon
("France: 19th Century")
Visit the National Gallery in London, England at www.nationalgallery.org.uk
Find the 1533 portrait labelled "The Ambassadors" by Hans
Holbein the Younger
Find the 1856 portrait of Madame Moitessier by Jean-Auguste-Dominique Ingres
Find the 1875 self-portrait of Claude-Oscar Monet
Visit the National Gallery of Art in Washington, DC at www.nga.gov
Find the 1793 portrait of Catherine Brass Yates by Gilbert Stuart
|
Josiah Winslow and Penelope Pelham Winslow group:
Visit the Louvre in Paris, France at www.louvre.fr
Find the 1790 portrait of the Marquesa de la Solana by Francisco Jose de Goya y Lucientes
Visit the National Gallery in London, England at www.nationalgallery.org.uk
Find the 1434 Arnolfini Portrait by Jan van Eyck
Find the 1640 self-portrait of Rembrandt
Find the 1750 portrait of Mr. & Mrs. Andrews by Thomas
Gainsborough
Visit the National Gallery of Art in Washington, DC at www.nga.gov
Find the 1800-1815 portrait of John Adams by Gilbert Stuart
Find the
1800-1815 portrait of Abigail Smith Adams by Gilbert Stuart
Find the 1888 portrait of Eleanora Iselin by John Singer Sargent
|
|
Questions for both groups :
Portraits, through their use of clothing, facial expression, posture, props, and
background, can tell us much about the sitter and about the times in which they lived.
Portraits can also tell us about the artist.
Artists are judged on two different levels. The first level is their technical expertise
and skill - use of shadow and light, proper perspective and body proportions,
"three-dimensionality," and good figural representation particularly in eyes,
hands, hair, and eyes. The second level is creativity - does a painting have life and
movement, is it compelling or inspiring? Does a real person with thoughts and emotions
shine from behind the painted eyes? Has the artist successfully used his own personal
style to create the illusion of a 3-dimensional living being?
Contrast and compare the 2 Pilgrim Hall portraits with the other portraits you have
visited for :
attire,
facial expression, mood, eye contact with the viewer
pose or gesture,
choice of accessories or props,
background,
artistic use of shadows and light,
perspective and proportions,
artistic skill in rendering the sitter. |
What is unique about the 17th century portraits?
What are the biggest differences among the portraits?
What qualities do all the portraits share?
Has the idea of what is "good-looking" changed over time?
Has the idea of appropriate posture for a formal portrait changed over time?
What does each portrait reveal that is unique about the sitter?
Exceptionally creative artists often produce paintings that strongly reflect their own
personality and character. Would this be an advantage or a difficulty for a portrait
painter?
A portrait involves an artist and a sitter, who has commissioned the portrait and is
therefore the "customer." A "self-portrait," a depiction of the artist
by the artist, combines the artist and the sitter into a single person. Two
of the
portraits (1640 Rembrandt and 1875 Claud-Oscar Monet) in this historical comparison exercise
are self-portraits. Would the motivations for an artist producing a self-portrait be different
from an artist producing a portrait for a separate sitter? Who do you think was the
ultimate "customer" for these self-portraits? Is a self-portrait more revealing
than a portrait by an outside artist?
Of the portraits you have viewed online, which is the most powerful portrait? Why?
Which portrait has the most artistic merit? Why?
Which is your favorite portrait? Why?
Proceed to Self-portrait
activity.
Return to Introduction to Painted
Pilgrims.
|
