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Portraits


Politicians and Statesmen, Painters' Portraits and Self-Portraits, Scientists, Rulers, Emperors and Kings, Musicians and Composers, Writers and Poets.



1 subcategory
Propaganda

PROPAGANDA

5,164 photos
Marie Marcotte de Sainte Marie, sister-in-law of Marcotte d'Argenteuil, one of Ingres' best friends. Paper, pencil. 32,4 x 24 cm RF 41393
#33010928

Marie Marcotte de Sainte Marie, sister-in-law of Marcotte d'Argenteuil, one of...

Mme. Louis-Francois Bertin, wife of the French publisher, sister of an art-critic,1834. Portrait of Louis-Francois Bertin 40-11-02/35. Paper and pencil; 32,1 x 23,1 cm RF 4380
#33010929

Mme. Louis-Francois Bertin, wife of the French publisher, sister of an art-criti...

Selfportrit of the artist, 1835.Signed in pencil "Ingres a ses eleves" (to his students). Paper, pencil, 29,9 x 21,9 cm RF 9
#33010930

Selfportrit of the artist, 1835.Signed in pencil "Ingres a ses eleves" (to his s...

Self-portrait,1892. Beardsley's style is an entirely original blend of English Pre-Raphaelitism (especially Burne-Jones' style),French Rococo engravings and Japonism. This is an early drawing and was reproduced for the first time in an album of designs published in 1899, the year after Beardsley's death in France. PD, 1906-4-23-1
#33010946

Self-portrait,1892. Beardsley's style is an entirely original blend of English P...

'Head of a Woman', 1520. Woman's face with closed eyes; the light falls down the exact centre of her face with the left side in shadow. Her closed eyes and her ideal face may reflect Dürer's construction of an ideal, and not a real head studied from life, although it could be an idealisation of a real model. Dürer was deeply interested in the ideal, human form and had travelled to Italy to study classical sculptures and their proportions. For Dürer, the chief purpose of these theoretical studies was to discover the mathematical proportions of the ideal human body. From his research, he wrote an important treatise, Four Books on Human Proportion. PD, Sl 5218-43
#33010958

'Head of a Woman', 1520. Woman's face with closed eyes; the light falls down the...

'Portrait of an English Woman', c1535. She is drawn in red and black chalk with touches of bodycolour to highlight her features. Holbein used the point of a brush with black ink to reinforce the edge of her cap and facial features. Her eyebrows and eyelashes are particularly delicate. It is likely that she was a lady at the English court of Henry VIII. The original paper was prepared with a soft pink ground, which suggests her flesh tones. However, at some stage the drawing was cut out from its original paper and laid down on another sheet so that the figure is now silhouetted. PD, 1910-2-12-105
#33010961

'Portrait of an English Woman', c1535. She is drawn in red and black chalk with...

Hogarth painting the muse of comedy, 1764. A self-portrait of him seated before an easel, painting the comic muse. At his feet is a map containing one of his plates, "An Analysis of Beauty".
#33010969

Hogarth painting the muse of comedy, 1764. A self-portrait of him seated before...

Haniwa, Kofun period, Japan, 6th century. Her hair is swept up into an elaborate coiffure, and she wears a string of beads round her neck. This tall pottery female figure would have stood with others in a protective circle around the tomb mound of a powerful ruler. The figure is said to have been found near the village of Motomachi close to the port of Konjô in Musashi Province, in present day Tokyo-tô. From the late fourth century the leaders of the Yamato state in the area around Kyoto had established their dominance over other Japanese kingdoms. They are clearly the founders of the Japanese Imperial line. MAXIMUM CURRENT FILE SIZE AVAILABLE ON THIS IMAGE IS: 25MBYTES JA, F2210
#33011024

Haniwa, Kofun period, Japan, 6th century. Her hair is swept up into an elaborate...

Sugawara no Michizane in Chinese dress, Muromachi period, Japan, late 15th century. Holding a small branch of plum blossom, the badge of a Chinese scholar-gentleman. His Chinese appearance may be a reference to the legend that he studied Zen in China after his death. One of his poems is inscribed at the top of the painting. A cultural figure of the Heian period (794 -1185), he is still widely regarded in Japan as the patron of scholarship. He was a scholar of Chinese and also a politician who rose to be Minister of the Right, one of the highest ranks in the government of the time. After his death in exile there were several disasters in the capital of Kyoto which people believed were caused by his angry spirit. He was therefore raised to the rank of a Shintô deity (renamed Karai Tenjin). In the Muromachi period (1333-1568) there was a revival of interest in kambun (Chinese-style writing) and Michizane's reputation was re-established as the greatest Japanese poet who had written in the Chinese language.Creator: Kitagawa Utamaro JA, JP 1 (1913.5-1.038)
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Sugawara no Michizane in Chinese dress, Muromachi period, Japan, late 15th centu...

Bodhidharma (Daruma), Momoyama period, Japan, late 16th century. Portraits of Daruma traditionally emphasised his 'Indian' appearance with bushy beard and eyebrows, compelling eyes, large nose and long ears (a symbol of Buddhist sanctity). He wears a large earring. The painting is powerfully executed in a variety of fine lines for the face, hair and beard and dashing black brushstrokes for the robes. Bodhidharma, known as Daruma in Japanese, was the Indian founder of Zen Buddhism which he brought to China. He is said to have spent nine years seated in meditation in a cave, losing the use of his arms and legs. Zen became influential in Japan in the thirteenth century. From this period onward Japanese Zen monks began painting portraits of Daruma in brush and ink as an aid to reaching enlightenment (satori). 765 mm x 390 mm JA, JP 362 (1913.5-1.0101)
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Bodhidharma (Daruma), Momoyama period, Japan, late 16th century. Portraits of Da...

Actor Ichikawa Danjuro VII as warrior Matsuomaru with axe
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Actor Ichikawa Danjuro VII as warrior Matsuomaru with axe

Triumphal Arch ('Ehrenpforte') for Emperor Maximilian I. Dated 1515. Detail of 33-02-02/65. Woodcut. Fourth set of the Busts of Emperors, left side.
#33020313

Triumphal Arch ('Ehrenpforte') for Emperor Maximilian I. Dated 1515. Detail of 3...