While any kind of art can be studied within cultural psychology, in the current piece we argue that an art form known as the donor portrait, and more particularly a subcategory thereof known as the contact portrait, visually depicts core aspects of our psychological lives that constitute matters of . Imperial iconography, of course, has as its core purpose the assertion of imperial authority and privilege. On the one hand, these variations are rendered possible because these portraits of lay figures do not have to adhere to the rules governing the representation of holy figures in their eternal truth. A PDF of this content is also available in through the Save PDF action button. Figure 1.29: Imperial procession, Ara Pacis Augustae, Rome, 1319 BC. Thus even though at first sight these imperial ktetor portraits look like a species of donor portrait, their closest structural relative is the coronation. [4] To do so during prayer is in accord with late medieval concepts of prayer, fully developed by the Modern Devotion. [12] In subsequent centuries bishops, abbots and other clergy were the donors most commonly shown, other than royalty, and they remained prominently represented in later periods. The emperor does not have to appear in a pose of humility because he makes no request. [22] In an often-quoted passage, John Pope-Hennessy caricatured 16th-century Italian donors:[23], In Italy donors, or owners, were rarely depicted as the major religious figures, but in the courts of Northern Europe there are several examples of this in the late 15th and early 16th centuries, mostly in small panels not for public viewing. To save this book to your Kindle, first ensure coreplatform@cambridge.org [10] Another tradition which had pre-Christian precedent was royal or imperial images showing the ruler with a religious figure, usually Christ or the Virgin Mary in Christian examples, with the divine and royal figures shown communicating with each other in some way. Every organisation is different. On the left-hand side there is a representation of a row of nine Church Fathers, amongst whom are Sts. Creative personality, esthete with good organizational skills. The 6th-century mosaic panels in the Basilica of San Vitale in Ravenna of the Emperor Justinian I and Empress Theodora with courtiers are not of the type showing the ruler receiving divine approval, but each show one of the imperial couple standing confidently with a group of attendants, looking out at the viewer. It exploits to a much greater degree the many expressive possibilities of the folding of the human body. It is therefore the subject of the next chapter. In some of these diptychs the portrait of the original owner has been over-painted with that of a later one. IV, 1319. Hans Memling Paintings, Bio, Ideas | TheArtStory In this scene, then, an effort has been made to preserve something of the genuine contact of the true donor portrait, but not so much as to make the emperors seem like petitioners. The message that emerges is that just as Constantine engaged in a great public work for the benefit of the citizens of the city, so too did Justinian. Hans Memlings portraits of Tommaso and Maria Portinari (14.40.626-27), painted around 1470, were also probably meant to flank the image of a saint in a small triptych, yet each likeness fills a whole panel and has the emphasis of a portrait in its own right.
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