Study Note after reading an article,'Redefining Portraits by Karen Colleen Gerety and Adam Dowd Kelne.Goals and Overview Students will consider both the traditions and innovations of portraiture and examine how modern and contemporary artists have worked in this genre. Changes in the Portrait Genre Since ancient times, traditional portraits have appeared in both public and private contexts. Portraits of political leaders adorned coins and state sculptures, while portraits of religious leaders adorned places of worship. A wealthy client posed for the portrait to display in his home. In all contexts, traditional portraiture was a form of historical documentation, recording the portrait of an important individual or giving the impression of a respectable person in an idealized portrait. Typically, pre-modern artists created portraits to honor individuals and preserve their memories. In traditional portraiture, the identity of the model was so important that some artists considered the genre to be limited (Carr & Miles, 2001). --> Note: Historical background of Portrait. After the invention of daguerreotype photography in 1839, demand for portrait paintings began to decline. When photography became popular, painters could no longer monopolize portraits. Photography was a cheaper and more convenient way to create a personal likeness. Rather than abandoning portraits entirely, painters began exploring new ways to represent people. They experienced artistic freedom as they no longer had to paint portraits that looked exactly like specific people. Contemporary artists have explored this genre to create meaningful combinations of human and aesthetic elements. ---> Note: The invention of photography actually created a new art genre through individuality and free expression in portraiture. Modern and contemporary portraits present human nature in a more informal, accessible, casual, and sometimes humorous way. A portrait is an abstract composition that shows a person's appearance, characteristics, or behavior or only suggests the person. Modern and contemporary artists paint portraits on individualized terms. Students are afraid of drawing portraits. they are worried that when they draw a person, it won't look exactly like the same person. However, if you think about it the other way around, no matter how exactly a picture is taken, if you can't feel the character, emotions, or situation of the person, it will feel like a flower without scent. In this sense, looking at other examples of portraits discussed in this paper is helpful in improving our understanding of true portraits. Painting a portrait is difficult. Even if it looks exactly like the photo, if you don't feel like it's that person, it's not a successful portrait. Because a person's face has its own unique history engraved on it, even small wrinkles, expressions, and eye's light must be captured. That's why artists paint their own portraits the moment they feel they have risen to the rank of masters.
I still don't have a representative portrait of myself. That's because I want to draw when I'm certain of something in the process of finding myself genuinely. Of course, it may seem advantageous to portray a slightly younger version of myself. However, I am well aware that a portrait is perhaps an expression of a person's soul. I used to draw a lot about other people. And I know that my portraits are not aesthetically perfect. I want to exaggerate it to make it prettier, but the portrait becomes more and more honest. But people like my portraits. Because even if it doesn't look exactly like the picture, you feel included. So portraits have always been an attractive subject to me.
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