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Types of Paintings
  There are many kinds of portraits made for different reasons. Here we will explore those of individuals, groups of people, couples and self-portraits.
 
  Individual Portraits
 

Many of the works of art shown on this site depict people sitting or standing alone. In this case the main relationship is that between the sitter and the viewer. Our opinions of the sitter can be formed by their pose, what they are wearing and any expression they may have. In deciding what to wear and which pose to adopt, the sitter thinks about how they want to be seen and the artist must think about how to communicate certain ideas and messages about the sitter. For example, Pauline Bonaparte, who in fact was well known for her wild ways, has been shown looking elegant and refined.

In this section you can compare two different portraits of individuals: one of Pauline Bonaparte and one of Sir William Holburne. In reality, the portrait of Pauline Bonaparte is about 70 x 52 cm in size, while that of Sir William Holburne, the founder of the Holburne Museum, is a miniature, measuring 10 x 8 cm approx. The size of these portraits indicates how they were intended to be seen and used. While a miniature is portable and for reserved for private consumption, larger images could be used for more public display.

  Group Portraits: Formal and Informal
 

With a group portrait, like that by Bonito, the painting also would have to take into account the relationships between the people within the painting. Gaze and gesture often show these relationships, for example in the Family Portrait Group by Bonito group portrait and in The Byam Family by Gainsborough, it is often a child’s direct gaze, which gives us a point of entry and invites us into the painting.

If we compare the Bonito group portrait with that of Madame de Ventadour with Portraits of Louis XVI and his Heirs, we can see that there are also different types of group portrait. The latter feels much more formal than the former, partly through the setting, dress and poses of the sitters, as befits a royal portrait. Which do you think seems the more carefully structured? Think of the different levels in the group. Could you draw a diagram to show the relationships? How do your sketches differ? Your sketch of the Bonito portrait might be full of curves and intersecting lines.

  Wedding or Betrothal Portraits
  Wedding or betrothal portraits act as a statement about the nature of a relationship and celebrate an engagement or wedding. As such, they conform to particular conventions. Think about contemporary wedding photographs. What kinds of photographs would you expect to find in a wedding album? The portrait of Marie de Raet by Van Dyck was made after that of her husband, on the occasion of their engagement. It is therefore a response to it and her pose acts as a mirror to his. The Byam Family by Gainsborough deals with how the couple view themselves and wish to be seen. United in their appreciation of nature, they appear the perfect family and fall into line with contemporary ideas about marriage partnerships.
  Self-portrait
  Artists create images of themselves for a number of reasons: perhaps to promote their self-image and fame, to practice their technique through painting themselves or to create a particular vision of themselves that they would like the world to see. Self-portraits can be very revealing because the artist may be acutely conscious of his or her audience. If we look at the self-portrait by Thomas Barker, we see him looking out at the viewer, brushes and palette in hand, with a painting resting on an easel behind. He looks confident and comfortable in his role as an artist, perhaps trying to emphasise his ability. Behind him he has chosen to show an image of the Temple at Vesta, Tivoli, possibly indicating that he is well-travelled and well-versed in the much-envied art of the Italians.
 
Discussion Points:
  • Ask the pupils to make a class collage. Put them into groups and ask them to create an image of someone else in their group. Then ask them to put the group's portraits together, developing a setting in which they can be placed and props that suit the setting. How easy is it to decide who goes where? What stories can they construct about their group?
  • Which do the class think is most difficult to make: a portrait of one person or of a group of people?
  • Thomas Barker’s self portrait shows him with the tools of his trade; a paintbrush and a painting behind. How would your pupils like to be pictured? Which ‘props’ would they choose to hold in their picture which might give clues as to their personality?
    Related Portraits
   
Louise Marie Jeanne  Mauduit  Portrait of Pauline  Bonaparte 1806
Louise Marie Jeanne
Mauduit

Portrait of Pauline
Bonaparte

1806
 
 
   
Charles Jagger of Bath, Sir William Holburne, 1827
Charles Jagger of Bath
Sir William Holburne
1827
 
   
Giuseppe Bonito Family Portrait Group 18th-century
Giuseppe Bonito
Family Portrait Group
18th-century
 
   
Thomas Gainsborough  The Byam Family  circa 1762
Thomas Gainsborough
The Byam Family
circa 1762
 
   
French School Madame de Ventadour  circa 1715 to 1720
French School
Madame de Ventadour
circa 1715 to 1720
 
   
Anthony Van Dyck  Marie de Raet 1631 Philippe le Roy 1630
Anthony Van Dyck
Marie de Raet 1631
Philippe le Roy 1630
 
   
Thomas Barker Self Portrait at an  Easel  circa 1794
Thomas Barker
Self Portrait at an
Easel

circa 1794