![portraiture art portraiture art](https://www.studentartguide.com/wp-content/uploads/2015/02/pencil-self-portrait.jpg)
I have tried to plan out the lessons so they run in a clear, natural order.
#Portraiture art series#
The series of drawing lessons is long enough to cover at least a half term of teaching (based on one hour per week at KS3) – however it can easily be adapted to be shorter or longer if necessary.
#Portraiture art how to#
These lessons on how to draw faces also has six slides introducing a quick history of portraiture, famous faces in art and some context about self-portraits. I have tried to make the steps as clear as possible to show students exactly how to draw each facial feature.Įxamples of steps to help students draw, as well as differentiated outcomes. There are a lot of examples (in various drawing styles) for students to aim for. If this is the new normal, then I am all for it.Ĭurious for more? Explore in-depth art history object lessons from our curatorial staff by visiting our Learning Guides Page.Throughout this scheme of work showing how to draw faces, each lesson breaks down the stages of drawing different features of the face into small steps. They understand, fundamentally, that Black lives matter. History will be better served by the awakened critical faculties of today’s youth. They are challenging the presence of public monuments that perpetuate inaccurate and harmful historical narratives. They are asking museums to answer the aforementioned questions and be accountable for how they have marginalized nondominant narratives of American history. Thankfully, we are in a moment when people, especially young people, are more attuned than ever to issues of representation in art, culture, and politics. When it comes to the matter of historical portraiture, we should ask and seek answers to such questions as who is being represented, and why? how are they represented? and is their representation mounted on the oppression of others? Beyond highlighting diversity, their paintings complicate, challenge, and broaden our understanding of what constitutes worthiness in artistic representation and who gets to make decisions about worthiness in the first place. Contemporary artists like Alice Neel, Titus Kaphar, and Jordan Casteel-whose first solo museum exhibition was mounted at the Cantor in fall 2019-all showcase a wide range of sitters in their portraits.
![portraiture art portraiture art](https://www.thoughtco.com/thmb/c6V0xHVWDeM2qEKjHckJwYSXnzw=/768x0/filters:no_upscale():max_bytes(150000):strip_icc()/Gustav_Klimt_046-2c30b36ebc904494aafdd0077d696d3e.jpg)
It took years of research at the graduate level to find the types of images I was interested in seeing-ones that honored and revealed a more truthful representation of our nation’s population. In my early days of art historical study, I rarely, if ever, saw works of art featuring human figures who resembled myself or my mother. Can we separate the history of visual representation from the history of wealth in this country? An object like a portrait is very often an expression of social and economic capital. Through amassing and inheriting wealth, elite figures, like the Stanfords, could and did amass representations of themselves. communicates affluence and power, from his refined yet understated garb to a setting that reveals his scholarly interests. Everything about this image of a young Leland Jr. is a prime example of grand European and American portraiture of the time period and a foundational object in the Cantor’s collection. Gustave Courtois’s 1884 portrait of Leland Stanford Jr. A MASTERCLASS IN FINE ART PORTRAITURE Drawing inspiration from her years as a painter, Gemmy Woud-Binnendijk creates painterly portraits with a camera. But who decides who is worthy of a painting, and what constitutes worthiness in artistic representation?Īs a young person, I accepted these painted representations of historical American figures without question and never thought about the types of faces I wasn’t seeing. As viewers, we gaze at these captured likenesses presented on the walls of museums and reproduced in textbooks with the tacit acceptance, more often than not, that these sitters are worthy subjects of art. Throughout the history of American art, portrait paintings have been used as a means to many ends: to memorialize those who have passed, to teach future generations about important historical figures, and to sanctify legacies. Assistant Curator of American Art, Cantor Arts Center