People in Art

Portraits

The portrait had a particular significance before photography as a means of recording a likeness of an individual. However, it also functioned to convey status, indicating wealth, power, culture and learning.

Tomb of Piers Butler, 8th Earl of Ormond and his wife, Margaret Fitzgerald

Tomb of Piers Butler, 8th Earl of Ormond and his wife, Margaret Fitzgerald (c.1539), St Canice’s Cathedral, Kilkenny. In comparison to English tombs, the armour and costume depicted on this tomb appear quite dated. As most tombs were commissioned before death, this seems to be deliberate; it may have been a way for the couple to display their ancient lineage, or perhaps simply reflect the different fashions that were current in Ireland at the time.

Tomb of Piers Butler, 8th Earl of Ormond and his wife, Margaret Fitzgerald

Tomb of Piers Butler, 8th Earl of Ormond and his wife, Margaret Fitzgerald (c.1539), St Canice’s Cathedral, Kilkenny. In comparison to English tombs, the armour and costume depicted on this tomb appear quite dated. As most tombs were commissioned before death, this seems to be deliberate; it may have been a way for the couple to display their ancient lineage, or perhaps simply reflect the different fashions that were current in Ireland at the time.

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Tomb frontal, Strade friary, Co. Mayo

Tomb frontal, Strade friary, Co. Mayo. 15th/ 16th century. The figures depicted are the three Magi, Christ displaying the Five Wounds, the patron of the tomb, St Thomas a Beckett and Ss Peter and Paul. The choice of these figures probably reflects the favoured devotions of the patron during life.

Tomb frontal, Strade friary, Co. Mayo

Tomb frontal, Strade friary, Co. Mayo. 15th/ 16th century. The figures depicted are the three Magi, Christ displaying the Five Wounds, the patron of the tomb, St Thomas a Beckett and Ss Peter and Paul. The choice of these figures probably reflects the favoured devotions of the patron during life.

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Our clearest idea of how people saw themselves – or wished to be seen – in the Middle Ages comes from tomb sculpture. From the early thirteenth century it was not uncommon for the tombs of the wealthy to be decorated with life-sized effigies. The effigies are not actual likenesses, but rather they are designed to demonstrate the high status of the deceased during life; showing civilian men in armour, women in their finest gowns and headdresses, and ecclesiastics in full vestments.

Sometimes the sides of tombs were also decorated with heraldry and figures designed to demonstrate the status and faith of the deceased. The person’s devoutness was demonstrated by the inclusion of depictions of various saints or Apostles. Particular saints may have been included because the deceased had a devotion to them, or to remind the living to say specific prayers, such as the Apostles’ Creed, over the grave.

Sir Neil O’Neill (c.1658-90) by John Michael Wright (1617-94)

This portrait by John Michael Wright (1617-94) of Sir Neal O’Neill (c.1658-90) places as much importance on the clothing and trappings of rank as it does on any likeness of the sitter.

Copyright Philip Mould Ltd

Sir Neil O’Neill (c.1658-90) by John Michael Wright (1617-94)
Copyright Philip Mould Ltd

Sir Neil O’Neill (c.1658-90) by John Michael Wright (1617-94)

This portrait by John Michael Wright (1617-94) of Sir Neal O’Neill (c.1658-90) places as much importance on the clothing and trappings of rank as it does on any likeness of the sitter.

Copyright Philip Mould Ltd

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Study after Velázquez’s Portrait of Innocent X (1953) by Francis Bacon (1909-92)

Study after Velázquez’s Portrait of Innocent X (1953) by Francis Bacon (1909-92) is one of the most expressive studies of character in visual art, suggesting a personality tortured by internal psychoses. Oil on canvas, 60 x 46 in. (153 x 118.1 cm) Des Moines Art Centre, Nathan Emory Coffin Collection Š The Estate of Francis Bacon. All rights reserved / DACS, London 2009.

Study after Velázquez’s Portrait of Innocent X (1953) by Francis Bacon (1909-92)
Š The Estate of Francis Bacon. All rights reserved / DACS, London 2009

Study after Velázquez’s Portrait of Innocent X (1953) by Francis Bacon (1909-92)

Study after Velázquez’s Portrait of Innocent X (1953) by Francis Bacon (1909-92) is one of the most expressive studies of character in visual art, suggesting a personality tortured by internal psychoses. Oil on canvas, 60 x 46 in. (153 x 118.1 cm) Des Moines Art Centre, Nathan Emory Coffin Collection Š The Estate of Francis Bacon. All rights reserved / DACS, London 2009.

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The earliest surviving true portraits, which contain a likeness of the sitter, date to the sixteenth century. Demonstration of status remained key and was projected in various ways: through the environment in which the subject was shown, the landscape, architecture, furniture and objects surrounding them. Typically, sitters were shown in their most fashionable and expensive clothing, and often also with ‘props’ that signified their role in society, their learning, or some other aspect of their standing or character they wished to convey.

O'Connell Monument, O'Connell Street, Dublin

The street, which used to be called Sackville Street, was re-named in his honour in 1924 and the statue seen in the photo is of O'Connell.

Government Publication photo

O'Connell Monument, O'Connell Street, Dublin
Government Publication photo

O'Connell Monument, O'Connell Street, Dublin

The street, which used to be called Sackville Street, was re-named in his honour in 1924 and the statue seen in the photo is of O'Connell.

Government Publication photo

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Portrait sculptures of significant figures in history and politics have often been monumentalised in public sculpture, particularly since the eighteenth century. From the late nineteenth century, increasing attention was paid to representing suitable Irish candidates, like Daniel O’Connell.

Lady Lavery as Kathleen Ní Houlihan (1928) by John Lavery (1856-1941)

Lady Lavery as Kathleen Ní Houlihan (1928) by John Lavery (1856-1941) is an engraving of the painting which appeared on Irish banknotes for fifty years, until 1977. Central Bank and Financial Services Authority of Ireland Collection. Photographer: Roy Hewson

Š Central Bank and Financial Services Authority of Ireland Photo Š The National Gallery of Ireland

Lady Lavery as Kathleen Ní Houlihan (1928) by John Lavery (1856-1941)
Š Central Bank and Financial Services Authority of Ireland Photo Š The National Gallery of Ireland

Lady Lavery as Kathleen Ní Houlihan (1928) by John Lavery (1856-1941)

Lady Lavery as Kathleen Ní Houlihan (1928) by John Lavery (1856-1941) is an engraving of the painting which appeared on Irish banknotes for fifty years, until 1977. Central Bank and Financial Services Authority of Ireland Collection. Photographer: Roy Hewson

Š Central Bank and Financial Services Authority of Ireland Photo Š The National Gallery of Ireland

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Among the most public types of portrait are those shown on coins and banknotes; normally depicting the head of state. In Ireland, one of the most famous such public ‘portraits’ was by John Lavery, of his wife Hazel posed as Cathleen Ní Houlihan, the personification of Ireland. The image was used in the designs by John Harrison to decorate the Irish paper currency from 1928 until 1977.

Portrait of Marcel Duchamp (1966) by Brian O’Doherty/Patrick Ireland (b.1928)

Portrait of Marcel Duchamp (1966) by Brian O’Doherty/Patrick Ireland (b.1928) incorporates the graphic output of an electrocardiogram of Marcel Duchamp’s heartbeat.

Courtesy the Artist

Portrait of Marcel Duchamp (1966) by Brian O’Doherty/Patrick Ireland (b.1928)
Courtesy the Artist

Portrait of Marcel Duchamp (1966) by Brian O’Doherty/Patrick Ireland (b.1928)

Portrait of Marcel Duchamp (1966) by Brian O’Doherty/Patrick Ireland (b.1928) incorporates the graphic output of an electrocardiogram of Marcel Duchamp’s heartbeat.

Courtesy the Artist

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The development of photography in the nineteenth century led to concerns that portraiture would become obsolete and, while it has undoubtedly had an impact, the decline of the aristocracy in the nineteenth century was arguably at least as significant a factor. Both developments released the portrait from certain constraints, however, and there has been a general shift of focus from likeness and status, towards a sense of the underlying character of the sitter. One of the most extraordinary ideas for a ‘portrait’ is by Brian O’Doherty (aka Patrick Ireland) of the ground-breaking artist, Marcel Duchamp (1887-1968). O’Doherty used his medical training to make an electrocardiogram of the older artist, and the artwork shows the repeated graphic output of the pulsing heartbeat, thereby capturing not only an unusal ‘likeness’, but suggesting that his ‘heart’ lives on.