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Gold, glass, and marble dazzle the eye in this 6th-century church. High above us, Emperor Justinian presides.
Everything seems so perfect... Hang on, what’s that in the foreground? And why is that lute string broken?
Artificial? Moi? This genuine portrait of familial affection challenged assumptions about the aristocracy.
The subjects appear quiet and austere, yet Hals’s expressive use of paint animates this group portrait.
Ancient Egyptians made little use of naturalistic portraits, but this changed following capture by Rome.
These self-portraits were swapped like friendship bracelets among Gauguin, Bernard, and their buddy Van Gogh.
Does a portrait need to be an accurate visual representation of the subject?
Female painters were rare in sixteenth-century Italy. In self-portraits, Sofonisba made sure to appear virtuous.
What couldn’t Peale do? He is shown as he saw himself: portraitist, naturalist, curator, and Enlightenment thinker.
Napoleon’s sister courted controversy and posed semi-nude for Canova, who sculpted her as a modern-day Venus.
This idealized portrait celebrates Republican ideals and memorializes a Revolutionary martyr in the pose of Christ.
She fled France in disguise, but Vigée Le Brun does little to conceal her face—or her sympathy to Marie Antoinette.