Portrait painting can depict the subject " full-length" (the whole body), " half-length" (from head to waist or hips), " head and shoulders" ( bust), or just the head. And the eyebrows can register, "almost single-handedly, wonder, pity, fright, pain, cynicism, concentration, wistfulness, displeasure, and expectation, in infinite variations and combinations." Aymar states, "the eyes are the place one looks for the most complete, reliable, and pertinent information" about the subject. However, with the mouth relatively neutral, much of the facial expression needs to be created through the eyes and eyebrows. Or as Charles Dickens put it, "there are only two styles of portrait painting: the serious and the smirk." Even given these limitations, a full range of subtle emotions is possible from quiet menace to gentle contentment. ![]() In most cases, this results in a serious, closed lip stare, with anything beyond a slight smile being rather rare historically. The artist generally attempts a representative portrayal, as Edward Burne-Jones stated, "The only expression allowable in great portraiture is the expression of character and moral quality, not anything temporary, fleeting, or accidental." As Aristotle stated, "The aim of Art is to present not the outward appearance of things, but their inner significance for this, not the external manner and detail, constitutes true reality." Artists may strive for photographic realism or an impressionistic similarity in depicting their subject, but this differs from a caricature which attempts to reveal character through exaggeration of physical features. Anthony van Dyck, Charles I in Three Positions, 1635–1636, shows profile, full face and three-quarter views, to send to Bernini in Rome, who was to sculpt a bust from this model.Ī well-executed portrait is expected to show the inner essence of the subject (from the artist's point of view) or a flattering representation, not just a literal likeness.
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