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The Practice of Portraiture
Suggestions and investigations for Secondary School Art Teachers based on the National Portrait Gallery collection

Liz Rideal
Art Education Officer NPG

In this part of the website we are going to consider different media and approaches to making portraits of a selection of people, for a variety of reasons. The images range from the fifteenth to the twentieth century. There is background information about the work and the sitter, each image can be viewed on the web, cut and copied from there, but is also available in better quality print form, from our shop. In addition to this the Woodward Portrait Explorer on CD Rom, is an interactive catalogue of the Gallery's Primary Collection of 10,000 portraits.

Together with the portraits, a list of accompanying questions are designed to provoke discussion about each image, and two suggestions for practical art projects which can be done in connection with the individual works. Portrait projects suggested are conceived with demands of Key Stage 3 and G.C.S.E. in mind, but the approach is designed to welcome all levels of debate around the diverse chronological selection.

The National Portrait Gallery was founded in 1856, and the intention was that it should provide a source of inspiration for contemporary portraitists to "soar above the mere attempt at producing a likeness, and to give that higher tone which was essential to maintain the true dignity of portrait painting as an art. " It was to be an example to future generations. During a debate about the gallery in the House of Lords, Lord Palmerston declared - "There cannot , I feel convinced, be a greater incentive to mental exertion, to noble actions, to good conduct on the part of the living, than to see before them the features of those who have done things worthy of our admiration, and those whose example we are more induced to imitate when they are brought before us in the visible and tangible shape of portraits."

 

1. DRAWING
Investigating Drawing web pages

Henry VIII (1491-1547) and Henry VII (1457-1509)
by Hans Holbein, 1536-1537
Ink and watercolour on paper
NPG 4027
  2. THE MINIATURE, THE FAMILY AND THE SELF-PORTRAIT
Isaac Oliver (1565-1617) c.1590
Water-based paint on vellum, Oval
NPG 4852

Peter Oliver (his son) (1594 -1648) c.1625-1630
Water-based paint on vellum, Oval
NPG 4853
  3. SYMBOLS & POLITICAL REFERENCE
Elizabeth I (1533-1603)
by Marcus Gheeraerts the Younger, (inscribed) c.1592
Oil on canvas
NPG 2561
  4. THE DOUBLE PORTRAIT
David Garrick (1717-79) and Eva Maria Veigel (1724 -1822)
by Sir Joshua Reynolds, 1772-3
Oil on canvas
NPG 5375
  5. THE GROUP PORTRAIT: COMPOSITIONAL TRICKS
The Sharp Family
by Johan Zoffany, 1779-81
Oil on Canvas
NPG L169
  6. THE ARTIST'S STUDIO
Sir Edwin Henry Landseer (1802-73)
by John Ballantyne, c.1865
Oil on canvas
NPG 835

 

7. PHOTOGRAPHIC PORTRAITURE AND THE MANIPULATION OF THE IMAGE
Hugh (Binkie) Beaumont (1908-73) with Angela Baddeley (1904-76) and Emlyn Williams (1905-87), in Terence Rattigan's The Winslow Boy
by Angus McBean, signed by the photographer on the mount, 1947
Bromide print
NPG P59
Copyright Harvard University, courtesy of Harvard Theatre Collection.
  8. THE ABSTRACT PORTRAIT
Thomas Stearns Eliot (1888-1965)
by Patrick Heron, signed, dated 1949
Oil on canvas
© estate of Patrick Heron/DACS/Collection National Portrait Gallery)
NPG 4467



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All images and text are subject to copyright protection. 20 November 2008


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