5 fashion the visual image portraits
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FASHION: THE VISUAL IMAGE
Symbolism, Power and Representation: Dress in
Portraits
Clothing is not just clothes It can carry a variety of social,
economic and moral distinctions and messages.
But, what we know of the past is just a small ‘scraping of the barrel.
NB: In the Middle Ages it was men who were the ‘fashion victims’.
A description of King Louis IX of France (1214 - 1270):"he went into his garden dressed in a camel's-hair coat, a surcoat of linsey-woolsey without sleeves, a black silk cloak without a hood, and a hat trimmed with peacocks' feathers. At other times he was dressed in a coat of blue silk, a surcoat and mantle of scarlet satin, and a cotton cap."
THOSE MESSAGES CAN ACTUALLY BE LETHAL Inside-versus-outside perspectives
and hidden meaning in many styles, such as pleats on shirts or pants, which helped two major prison gangs identify each other.
A gang investigator told about a homicide where the dead person was found with a blue rag in his hand and a red rag in his back pocket.
“The dead person had been carrying two colors, thinking that depending on the situation, he would pull out a rag to show his affiliation with one group or the other, and he would be safe, But, he had misread the signs and had selected the wrong color. Thus, he was killed by a gang member who had perceived him as claiming alliance with a rival gang.”
WHAT WERE THEY SAYING? Until the late 1900s (Impressionism)
there was no art market of any note. Painters were jobbing hacks. Paintings were commissioned to show
the patron in a good light or show power.
It was the clothing in the pictures that was expensive and to be seen with meaning.
IF YOU KNOW THE DRESS HISTORY SOME PICTURES LOOK DIFFERENT
Jean-Honore Fragonard
THE SWING (1767)
Wallace Collection
THEY CAN SHOW CHANGES IN CIRCUMSTANCES AND PROJECT A MESSAGE
Beware of Mistakes When Looking at Visual Sources
Tissot (1883-5)
Paris
“L’Ambitieuse”
COLOURS WERE SO IMPORTANTBut they fade!
Meanings Do Change Around 1780
Duchess of Athol and her Children
Gender started at the age of 6 for boys, up until that time dress was much the same.
“Breeching” a great event for boys, he then moved away from his mother and into the world of males. In poor families dresses would be worn into the teens by boys.
For a girl womanhood was menstruation, as in many societies today
Blue for a Girl: Pink for a Boy
Some Medieval Propaganda Jan Van Eyk (1436)
Madonna and Child with Canon Joris who commissioned the painting
(Black and white of purity and piety)
Madonna blue or Vermillion
Brilliant blue was wealth (Lapis)
Canon to the left of the painting
Medieval babies were pretty ugly
SYMBOLISM (DUTCH)Goltzius (1578) Lucretia and Handmaids: Leyster (F) 1650 The Proposition
Spinning virtuous distaff spinster. Spinning moral rather than job. Duties of wife or passed by wife to servant.
Virgin Mary spinner of life Erotic metaphors for copulation,
needle passing through cloth, weaving shuttle, embroidery. (With a man in the room)
Stand on right If a man in the room (Cuckold or
mollycoddled) Lace making a frivolity when it was
frowned upon Male Spinner Topsy Turvy world.
Weak with women. Men in female domain were fools Women in male domain (Weaving)
respectable and strong
“Married in her Hair” Portrait of a Lady c1400 Veils from the time of
crusades, also in Genesis 24:65
Mary conceived through her ear to remain chaste so head covers should come to the ears
Head coverings not an option (Eve’s penance)
These head fashions really frowned on by the Church. One of the reasons that God sent the plague. Took time so vanity
Note fashion for shaving eyebrows (The 1930s 500 years in advance)
Once married exposing hair was tantamount to advertising whoredom
Hans Memling Portraits Woman’s hands
devotional. Man’s hands on frame of painting so secular.
Wealthy, black clothes (cork ash and indigo dyed-not fast), spotted fur (civet)
BUT did they really look like this? Pock marked and teeth. (mouth closed)
Giovanni & Giovanna Arnolfini Wedding (Van Eyk)1434
She is not pregnant – it is the fashion of the day (Hands through pockets to lift gown)
A Mass of coded social signals. Dressed in black and in fur. Simplicity and professionalism:
standing on right. Dominant Renaissance elbow Musical instrument harmony Dog for faithfulness Clogs show domestic harmony Fur slippers are sexual Oranges: Garden of Eden or
wealth “She I sin green for the last
time (green the marriage bed: The Song of Solomon) Also hope
Allegories upon Allegories The Procuress (Van
Honthorst) 1625 In Style of Caravaggio Lute the shorthand for lovers
and sex Hats and bonnets with feathers
show loose morals
(Borch)
Suiters Visit
THE AMBASSADORS (1533) Holbein 1447-1543 A Mass of Symbols and
Representations Left: Jean de Dinteville
Ambassador Francois Ist Right: George de Seelve,
Bishop of Lavaur (25) Silk, furs, gold velvet Liturgical Gloves. Black
for Good Friday am. (Red for Good Friday pm)
LITURGICAL GLOVES This is a pair of liturgical gloves from
1510 and were the property of an Archbishop in the Rhine region. They were knitted in red silk with metal threads at a gauge of 25 stitches to the inch. This pair of gloves demonstrates the use of gold thread incorporated into the knitting about the fingers to depict rings. It also demonstrates that the cuffs of gloves could be knitted as a part of the body of the glove and not applied.
These gloves are dated to 1245 and are a pair of liturgical gloves which belonged to the Archbishop Rodrigo Ximenez de Rada. They are knitted in silk at a very tiny gauge of approximately 25 stitches per inch. A variety of 2 color patterns decorate the gloves.
My Very Best Picture
Billy
TUDOR POWER POLITICSNot for Public Show Ruler of all he surveyed A catch for any woman A real political portrait
projecting state power: Tudors very political with a tenuous grasp on power
Note Red Hair Actual colour red and gold
(Powerful and forceful) What about that cod-
piece? Legs hugely important for
a man of the time. Renaissance elbow Bombazine breeches
A Chip of the Old Tudor Block Edward VI about 10 or 12
years old (Died of TB about 15)
Showing he was his father’s son, a necessity to carry the line
Red Hair? (Deliberate or would have been painted out.
Cod piece reflecting father’s virility. Renaissance elbow
An outward sign to the world of powerful continuity
Fur is Lynx Wheat colour is hope.
1546 Princess Elizabeth The Tudors were perhaps the
first monarchs to understand the importance of public relations and they carefully prepared their image for public consumption.
There is certainly little warmth in any of the portraits, but there is much majesty.
note: As students of Elizabeth's
1st life know, the queen was very proud of her beautiful hands. She considered them her best feature and took pains to have them prominently displayed in all of her state portraits. As you view the following images, please note this recurring feature.
Who is this Woman? Black and Serious: Black and
white of virtue. Liturgical gloves but colour
faded Ermine for wealth and purity. Every indication that she would
marry and not be the dominant partner
Wealth and warmth in a cold setting
Sumptuary laws heavily concerned with fur
No indication of red hair: image change?
Actual picture russet and blue Broken ruff for unmarried
woman
Pelican Portrait 1575 This portrait is held by the
National Portrait Gallery , London. It is not on display. this picture shows the growing stylization of images of the queen. There is a closed imperial crown over each shoulder. The crown is on top of both a rose (on the left) and a fleur-de-lys (on the right.) These represent her dynastic claims to both England and France. The Pelican pendant on her breast symbolizes charity and redemption. It represents the queen's selfless love of her subjects. How? According to legend, the pelican pricked its own breast to feed its children with the blood. Elizabeth wore a pelican jewel in several state portraits to remind the English of her equally selfless love.
1580-85 Peace Portrait 1580-5, by Marcus Gheeraerts
the Elder. In this portrait, the queen is the harbinger of peace. She holds an olive branch in her left hand and a sheathed sword lies at her feet. She is possibly wearing the same headdress, collar and girdle from the 'Ermine Portrait'. Also, both gowns are 'Polish style' with froggings.
From the date, we can assume the symbolism refers to the turbulent situation in the Netherlands.
Not usual face pattern Note dog, carrying a paper fan.
Note ‘white boys’.
The Italian Job ?(Believed to be 1575-1579)
Zuccaro (or not) Excommunicated in 1870 so
probably closer to this date. Ruff conspicuous consumption (10
metres) sin of linen The Face Pattern for all later work Dyed Ostrich fan of Virginia Pearls on breast for virtue Ribbons
on sleeve where sleeves joined Pomander or mirror on ribbon Face make-up up to half inch of
white lead Eliz colours. Black and white of
purity, red and gold of power Red Wig Spanish Farthingale (Armada 1588) The aristocratic English Lady Purchased in 1925 for 1500 pounds
The ‘Sieve’ Portraits (1579-1580 At least six different
versions at different times Painted to represent rather
than be representative Ruff getting larger still
Spanish Farthingale Black and white and grey
(Constance and purity) Pearls of Virtue ‘White boys’ in background
Tuccia Vestal Virgin
GLORIANA (1588) Gower A Mature Elizabeth not as a
woman but as the embodiment of the power and wealth of England
Huge dangers: Religion, Spanish, Scots, Ireland
An Imperial Caricature Pearl trinity? Pearl Codpiece Red wig Hand on globe showing
imperial reach Clothes show magnificence,
glory and wealth Now wearing a French
Farthingale
Ditchley Portrait (1592) Very much an
embodiment of England. Painted for Elizabeth to
succour favour. Standing on a map of
Southern England (Oxford) Seat of past champion Sir Henry Lee.
Married to England: dress probably never existed. All in white as the shining light.Tudor rose in ruff.
A woman but not a woman
A Problem 1600 A Coronation
Picture but painted on her death.
Virgin long hair Henry’s Hair Ermine on Robes
Succession??
Men’s Clothes Told the Story Dudley of Leicester
Male clothing dandified One of the ‘white boys’ Faithful dog: hound
upper class Glamour and passion of
young men. Elizabeth always associated herself. Young men possess humour of heat and light and war
Note the elbow
A Procession as the Light of England Countess of Southampton: French Farthingale
In Contrast the ‘Melancholy’ Statesman Black for gravitas and
dependability. Age gives wisdom
Humour of Black bile and melancholy
Men of age and self control
Ruff a sign of conspicuous consumption.
Opposite of white boys But take care not to look
too Catholic Thomas Walsingham the
Spy Master
Mr and Mrs Andrews An early Gainsborough
(1749) 22 Year old Robert Andrews
(Painter’s friend 16 year old Francis Carter 9 children (Her 48, him 80) Note patch on dress I am filthy rich because look
at all that land behind me. Scene still exists: not bench Dressed in similar colours
and materials Note Dog
women remarkably free except for inheritance.
The Same Set-Up
Mr and Mrs Coltman
Joseph Wright (1734 – 1797)
But 30 Years later Mr and Mrs Hallet Gainsborough “Men in Black” Beau Brummel said you
can tell a gentleman (English of course) by the cut of his clothes)
Last vestiges of old ways but Professionalism, trust. Law, church, property
She now is responsible for showing the family wealth particularly as you could not work in those clothes.
IT HAPPENED IN THE AMERICAS AS WELL (B.1732)
200 Years Later
Jean Muir
1995
The Professional Woman in Black
No frills: feminine and beautifully cut
Real Propaganda Through Dress
Heinrich Knirr
1936
Stamps etc
Propaganda at its Peak
Kursell
1941
Nazi Ideology Through Dress
BUT HOW POPULAR WAS IT?
Contrasts
The Modern World
Clothes (or the lack of them) still sell a lifestyle and an aspiration image
But you can really get it wrong Did it hit its
correct audience? Or did it actually
improve sales to those who matter and who identified
Also, look at those shoes!
FASHION: THE VISUAL IMAGE
Symbolism, Power and Representation: Dress in
Portraits
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