The conflict between idealism and realism was characteristic of High Renaissance portraiture. Frederico da Montefeltro and Battista Sforza (1465). In the 15th century, Italian portraiture was influenced by this Flemish approach, which confirmed the realist tradition based on ancient sculpture, as in the portraits by Piero della Francesca of Frederico da Montefeltro and Battista Sforza (1465), and in the Uffizi, Florence. The first great northern Renaissance portraitist was the Flemish painter Jan van Eyck, who endowed his subjects with life and personality and introduced the portrait as a secular art form to Europe. Donor portraits, incorporated into religious scenes, were common in Italy for another 150 years, a period in which portraiture for its own sake developed in the North. An example of the latter is the portrait by Giotto (c.1305) of Enrico degli Scrovegni, donor of the Arena Chapel at Padua. In the late Middle Ages realistic portraits appeared in works in which the identity of the subject was particularly important – tomb figures and donor portraits. They include works by Agnolo Bronzino and Tintoretto in Italy and highly personal interpretations by El Greco in Spain. Mannerist portraits tended to exaggerate colour, proportion, light, or expression in reaction to the balanced classicism of the High Renaissance. This approach is characteristic of panels by the Flemish masters Jan van Eyck, Rogier van der Weyden, and Hans Memling and the drawings and paintings of the later Germans Albrecht Durer and Hans Holbein the Younger. Portraits by Northern Renaissance painters show a preoccupation with realism and precise detail of physiognomy and costume. Celebrated masters of the High Renaissance, such as Leonardo, Raphael, Andrea del Sarto, Giorgione, and Titian, carried formal portraiture to new heights of refined perception and rich colour and light. Pisanello struck fine portrait medals.Įarly Renaissance portrait painters of realistic murals and panels included Benozzo Gozzoli, Domenico Ghirlandaio, Sandro Botticelli, Andrea Mantegna, Giovanni Bellini and Piero della Francesca. During the 15th century in Italy the Florentine sculptor Donatello revived portrait sculpture in stone, a style that was continued by Desiderio da Settignano and others. Thus it revived the ancient classical interest in human affairs and emphasised the development of the individual. During the Renaissance, portraiture flourished as a manifestation of humanism.
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