Renaissance Portraiture

a c t a s d e l c o n g r e s o i n t e r n a c i o n a l p r o c e e d i n g s o f t h e i n t e r n a t i o n a l s y m p o s i u m Madrid, Museo Nacional del Prado, octubre de 2 01 1 Edición a cargo de stephan f. schröder Madrid, Museo Nacional del Prado, 2012 0504_06 CUPPERI##4.qxp:giordano 09/12/12 22:03 Página 66 w a l t e r c u p p e r i 0504_06 CUPPERI##4.qxp:giordano 09/12/12 22:03 Página 68 a u t o r i a l i t à m u l t i p l a e t r a n s c u l t u r a l i t à n e i r i t r a t t i l e o n i a n i d e l p r a d o 51. Leone e Pompeo Leoni, Filippo II, 1549-64. bronzo, 1,69 m. Madrid, Museo Nacional del Prado [e-272] 0504_06 CUPPERI##4.qxp:giordano 09/12/12 22:03 Página 69 74 w a l t e r c u p p e r i

The Habsburgs: Images and Portraits II, Renaissance Society of America, Annual Meeting, Miami, Florida, 22-24 March 2007.

Jooris van der Straeten: Habsburg Court Portraitist in Portugal, Spain and France.
New Notes and Attributions

Jooris van der Straeten, born in Ghent, carved out an international career which spanned several decades (from 1552 to 1574), and several European courts (Portugal, Spain and France). He was fluent in Portuguese, Spanish and French, transforming himself into a versatile courtier, well adapted in Habsburg Spain as he was in Valois France. While other Habsburg court painters, Anthonis Mor and Alonso Sánchez Coello, worked primarily for male courtiers and the king, Philip II of Spain, van der Straeten strategically carved out a niche for himself, working primarily as a portraitist for queens, commissioned to paint his female patrons (Catherine of Austria, Isabel of Valois, Catherine de’ Medici, Louise of Lorraine), their royal woman and children. Aside from court portraits, his oeuvre includes religious works: an altarpiece with the Ascension of the Virgin is still in sitú in the Church of St. Nicholas in Plasencia (Valladolid). Straeten arrived in Lisbon circa 1552, possibly in the retinue of Anthonis Mor, who was sent to Portugal by the regent Mary of Hungary to paint the Portuguese royal family. According to Carel van Mander (1604), “Georges de Gand,” had been a pupil of Frans Floris (1517-1570) in Antwerp, where Straeten conceivably met Mor, whose Habsburg portrait style was so influential upon his contemporaries. Straeten’s portraiture combine Floris’s synthesis of Italian innovations with Mor’s northern precision and love of detail. As a painter active at three Renaissance courts, Straeten promoted a portrait style firmly grounded in Habsburg court ideology and dynastic politics.

This paper will re-evaluate Straeten’s contributions, highlighted by the discovery of new archival documents and rediscovered portraits in Spain, Portugal, France, England, the Czech Republic and Hungary.

"In his De visione Dei, Nicholas of Cusa addresses two aspects of divine vision: my desire to see God and God’s capacity to see
me. The latter aspect is distinguished by absolute power: God’s gaze is all-seeing. To explain this peculiar power Cusa
introduces what he calls the figure of an ‘omnivoyant’. This is a portrait with its eyes turned towards the spectator so that the
gaze of the depicted person appears to follow the spectator. This paper shows how this optical effect determined the choice
of the full-face view as the characteristic way to represent the divine in Renaissance painting, and how inscriptions on the
frames of a series of portraits of Christ attributed to Jan van Eyck reveal that the use of this effect was deliberate and in
accordance with theological doctrine."

Titian’s so-called Flora is a picture that is as well-known as it is controversial for its iconography, characterized by the nude breast and a handful of flowers. Thus, in the seventeenth century the woman portrayed in this masterpiece was related to the realm of prostitution under the name of Flora, an interpretation that has been maintained by some scholars until today. More recently, in the late twentieth and twenty-first centuries, researchers are mainly divided between those who consider it a portrait-like image of an ideal beauty and those who associate it with the context of marriage. This article explores in greater depth the marital symbolism of the painting, especially of the nude breast, and argues that it should be considered a portrait, as other similar contemporary works. To this end, I review the origins of its interpretation as Flora meretrix or goddess, the importance of beauty in the cinquecento and its relation with the ritratto al naturale, the marital iconography rooted in Renaissance nuptial rituals and its debts to Roman antiquity, and the Aristotelian concept of true friendship as an essential element of the Renaissance ideal of marriage. The aim is to propose an interpretation of Flora that integrates all of its attributes and allows us to reconsider the painting as the portrait of a novella sposa who shows herself as a virtuous wife, a vera amica.

Petrarca im Schatten des Vesuv: Jacopo Sannazaro, Francesco Laurana und der Mythos von Donna Laura "Fortunata, inquam, et invidiosa Neapolis, literarum domus augustissima", mit diesen emphatischen Worten hat Petrarca die Hauptstadt des Königreichs Sizilien unter der Herrschaft des Robert d'Anjou charakterisiert. 1 Obwohl der Dichter letztlich nur einige Tage dort verbringen sollte, gehört Neapel zu den wichtigsten Orten seiner Selbsterschaffung und spielt auch in der Rezeptionsgeschichte eine bedeutende Rolle. 2 Im Folgenden soll versucht werden, den neapolitanischen Petrarca als hermeneutischen Horizont für ein Hauptwerk der italienischen Renaissanceskulptur, Lauranas in wesentlichen Aspekten noch immer ungedeutete weibliche Büste des Kunsthistorischen Museums in Wien, zu erschließen. Herrscherlob und Dichterlorbeer Petrarcas Dichterkrönung auf dem römischen Kapitol gehört in der abendländischen Kulturgeschichte zu den wohl wirkmächtigsten Akten eines Self-Fashioning und hat nicht nur das Bild Petrarcas, sondern die Rolle des Dichters und der Dichtung über Jahrhunderte geprägt. 3 Das Ereignis wurde von Petrarca selbst strategisch geplant und ist im Wesentlichen durch seine eigenen Texte überliefert und in seinen symbolischen Dimensionen vermessen worden. In einem Brief vom 4. Januar 1339 beglückwünschte er den befreundeten Gelehrten Dionigi da Borgo San Sepolcro zur Berufung an den angiovinischen Hof und erinnerte ihn zugleich an seinen Wunsch, den Lorbeer zu erhalten. 4 Am 1. September 1340 wurde ihm am exakt gleichen Tage von zwei Institutionen die Dichterkrönung angetragen, von der Pariser Universität und vom römischen Senat. 5 Stolz ließ er den Bischof Giacomo Colonna wissen: "Mich verlangen im Wettstreit die beiden größten Städte, Rom und Paris, die eine Hauptstadt der Welt und Königin der Städte, die andere Mutter des Studiums unserer Zeit". 6 Letztlich gab er Rom den Vorzug und erwählte Robert d'Anjou als Protektor und Schirmherren, "nicht nur König unter Königen unserer Zeit, sondern auch König der Philosophen" (Abb. 1). 7 Wenige Wochen vor der Dichterkrönung begab sich Petrarca nach Neapel. In den Gesprächen mit dem König und seinen Hofgelehrten ging es vordringlich um die Rolle der Dichtung, aber auch um antike Autoren wie Livius und Vergil. Nach drei Tagen der Prüfung befand Sebastian Schütze Robert ihn für würdig, den Dichterlorbeer zu erhalten. Als Dank versprach er, dem König sein noch unvollendetes Epos Africa zu widmen. 8 Die eigentliche Dichterkrönung fand am Ostertag, am 8. April 1341, auf dem römischen Kapitol durch den Senator Orso da Anguillara statt, die Laudatio hielt Stefano Colonna. Der greise König selbst konnte die Reise nach Rom nicht antreten, wird aber in den Briefen Petrarcas wie in seiner Ansprache auf dem Kapitol als der eigentliche Protagonist inszeniert: 9 An den Iden des Aprils im Jahre 1341 dieses letzten Zeitalters ist auf dem Kapitol zu Rom unter dem Zulauf einer großen Menschenmenge und unter ungeheurem Jubel ausgeführt worden, was zwei Tage früher der König in Neapel meinetwegen beschlossen hatte. Der Graf und Senator Orso von Anguillara, ein Mann von hervorragenden Geistesgaben, hat mich nach einer Prüfung durch den König mit dem Lorbeerkranz ausgezeichnet. Die königliche Hand fehlte, nicht aber ihre Autorität und nicht ihre Majestät; diese war nicht allein mir, sondern allen gegenwärtig. 10 Das feierliche Dichterdiplom erhebt Petrarca zum Familiaren des Königs und betont, es seien 1200 Jahre seit der letzten Dichterkrönung auf dem Kapitol vergangen. 11 Die geradezu physische Präsenz Roberts wurde in der Zeremonie dadurch anschaulich, dass Petrarca einen königlichen Mantel trug, den Robert ihm in Neapel geschenkt hatte. In

The National Gallery of Art's painting of Giuliano de' Medici by Sandro Botticelli (Samuel H. Kress Collection, 1952.5.56) is arguably the most well-known portrait from Quattrocento Florence. Commissioned, in all likelihood, shortly after Giuliano's assassination, the panel comprises the public image that Lorenzo the Magnificent sought to establish for his younger brother in the wake of the infamous Pazzi Conspiracy. Two other versions of the panel exist, yet, despite centuries of scholarly attention, the precise nature of the relationship between the three portraits remains unclear. While it is now generally acknowledged that the panels share a common prototype, few scholars agree upon which - if any - is indeed that prototype. At various times, each panel has been heralded as the genesis piece of the series, only to have that status rejected in subsequent connoisseurial studies.

Despite the high amount of interest, no publication has put forth a definitive and comprehensive discussion of the relationship between the panels that includes both technical study and art historical research. Furthermore, there are no discussions or illustrations of how the panels - though distinct in size, handling of paint, and iconography - match perfectly along Giuliano's profile when overlaid, suggesting a standardized form of reproduction. The series of portraits is pivotal for understanding both the nature of replication in Botticelli's workshop as well as the dissemination of propagandistic images under Medici rule. This article comprises the first investigative study to consider all three panels together through extensive technical and art historical analysis, brining the dynamic relationship of the portraits to light.

Inwieweit die Im vorliegenden Beitrag wird der Versuch unternommen, in der typologischen Ähnlichkeit beider Porträtgattungen einen Ansatzpunkt zu finden. Darüber hinaus weisen die Beispiele aus der Porträtpraxis darauf hin, dass dem profanen Bildnis zum einen eine Behandlung zukommen konnte, die den Kultbildern analog war, und zum anderen mit dem Begegnungsproblem von Prototyp und Porträt Anhaltspunkte vorliegen, die für eine Präsenzerfahrung bei den Betrachtern sprechen. Die Bedeutung der 'virtus' des Heiligenporträts scheint für das profane Porträt nicht ausgeschlossen, nur ihre Qualität muss vorerst anders eingestuft werden, denn als mirakulös dürften sie nicht gegolten haben. Hierfür jedenfalls liegen keine konkreten Quellen vor, wenngleich sich der Verdacht aufdrängt, dass für die offensichtlich kultische Verehrung der beschriebenen Papstporträts (Julius II., Gregor XV.) eine gewisse Erwartungshaltung der Zeitgenossen an das Bildnis vorauszusetzen ist. In beiden Fällen ist von einem postumen Bildniskult die Rede, der eine Sakralisierung des jeweiligen Porträts möglich erscheinen lässt. Die Übertragungskausalität der 'virtus' vom Prototyp auf sein Porträt, wie sie für das Heiligenporträt belegt ist, ist für das profane Porträt offensichtlich dann nachweisbar, wenn der Dargestellte noch lebt und seinem eigenen Bildnis während des Zeremoniells nicht begegnen darf. Das Begegnungsproblem unter der Voraussetzung der Präsenzerfahrung, wie sie bei den Herrscher-Funeralien und den frühneuzeitlichen Reitermonumenten zu registrieren war, weist auf ein Forschungsdesiderat hin, das vermutlich ohne den zeitgenössischen virtus-Begriff nicht auskommen wird. Der Mehrwert des Porträts und seine Aura als samenartiges Kraftpotential (ratio seminalis) bezeichnet den theoretischen Rahmen, innerhalb dessen der Porträtbegriff weiter zu verhandeln ist.

Портрет Франциска Скорины. К 550-летию со дня рождения книгоиздателя (1470–2020) / Pranciškaus Skorinos Portretas. 550-ąsias gimimo metines minint (1470–2020) / Portrait de Francisk Skorina. Еn commémorant le 550e anniversaire de sa naissance (1470–2020) ISBN 978-609-411-266-9 ISBN 978-80-87269-58-9

What happens when we look at a canonical painting from the perspective of its non-human occupant? This article explores that question through the case of the dog in Jan van Eyck's "Arnolfini Portrait." Not only is the dog in The Arnolfini Portrait fundamental to the fellowship that Van Eyck invites us to feel both with himself and with his work; consideration of his presence also offers an opportunity to reconsider the limitations of traditional art-historical method.

It is the fourth chapter of the "Michelangelo Buonarroti, Jacopino del Conte, Daniele Ricciarelli: ritratto e figura nel manierismo a Roma", by Andrea Donati, 2010.
According to the documents, it is clear that Daniele made twice the bronze casting of the portrait of Michelangelo, because the first was unsuccessful. This is a survey of all existing bronzes and try to distinguish the original from copies and imitations.

on portraiture. theory, practice and fiction. from francisco de holanda to susan sontag

NEW DATES – 18, 19 and 20 January 2022 | Faculty of Fine-Arts, University of Lisbon | Grande Auditório
In person and online event -  Due to recent developments in the Covid-19 situation, this event will mostly be held online


INTRODUCTION AND PRINCIPLE OBJECTIVES OF THIS CONGRESS

This colloquium intends to discuss the theory and practice of artistic, historical, anthropological, social and political experience on the topic of portraiture, as well as the fictional dimension contained within it. Located at the intersection of several disciplinary fields, the discussion(s) and papers will address the portrait as a concept, theme, process, object (monument and document) and device, in its multiple developments and in its successive conceptual, technological and contextual updates.

More than defining a temporal framework, the subtitle – From Francisco de Holanda to Susan Sontag – underscores the dynamic porosity on the researched topic in the fields of art and literature, as well as, in its mutual reversibility.

Francisco de Holanda, humanist and 16th-century Portuguese artist, is the author of Do Tirar pelo Natural [On Portraiture], the first treatise dedicated to portraiture in early modern Europe, which he concluded in 1549, in the decade following his return from a trip to Italy undertaken in 1538 to 1540, as member of the embassy of Ambassador D. Pedro de Mascarenhas. One objective for Holanda was to meet Michelangelo Buonarroti, in addition to observing and drawing fortresses and the most outstanding works of art across Italy. Upon his return, Holanda undertook writing Da Pintura Antiga [On Ancient Painting], concluded on October 13 (St. Lucas Day) 1548, as it is written at the end of Book II, followed by his second treatise, Do Tirar polo Natural [On Portraiture]. These two works were prepared for publication and were even translated into Spanish in 1563, by his friend, the Portuguese painter Manuel Denis. These treatises, written almost simultaneously, would only see publication, in Portuguese and Spanish, only in the 19th century. At the end of the Do Tirar polo Natural [On Portraiture], Holanda states that the text was completed on January 3rd, 1549, only a few months after the completion of the two Books of Da Pintura Antiga [On Ancient Painting]. In fulfilment of John B. Bury’s ground-breaking research, a bilingual edition of this portrait treatise, published by Paul Holberton Publishing in London, will be presented during this Congress.

Indeed, the two great pillars of Francisco de Holanda’s theory of art – the imitation of himself, nature and antiquity on one hand, and idea, on the other – have, precisely, as a point of departure, the artist’s creative process which Holanda discusses in his first two treatises. The importance of Do Tirar polo Natural [On Portraiture] for the theory of art, which Holanda explains and abundantly illustrates in his two books in On Ancient Painting, as well as in his drawings and illuminated albums, especially in As Antigualhas [On the Antique], makes Holanda’s need to write a portrait treatise fully justified. As an autonomous work, Do Tirar polo Natural [On Portraiture], complements Da Pintura Antiga [On Ancient Painting]. This treatise’s structure, in the form of dialogues, follows the model used in Book II of Diálogos em Roma [Dialogues in Rome], but here, instead of many interlocutors, is reduced to conversations between two protagonists, Brás Pereira and Feramando, the disciple and master, as well as the alter ego of Holanda. The themes and issues defined in Do Tirar polo Natural [On Portraiture], extend, deepen and, above all, specify in detail questions regarding portraiture; themes related to the representation of the human figure which Holanda took up in Chapters 38 to 41 in Book I of Da Pintura Antiga. These chapters lack the decisive contributions, which throughout the eleven, small dialogues of Do Tirar polo Natural [On Portraiture], Holanda describes as precepts for a painter to “portray” or “paint from life” the “persona” of a sitter. In Do Tirar, Holanda distinguishes the portrait as distinctive from other representations of the human figure.

In The Volcano Lover, Susan Sontag begins with documentation related to three historical figures from the 18th century, expanding them into a fictional extension where they appear as characters or doubles; emerging as figures stabilized in the credibility of portraits, thus questioning their presence throughout the history of art and the history of images. These figures are the diplomat, collector and volcanologist William Hamilton, his wife Emma Hamilton, lover of Admiral Nelson and the muse of the painter George Romney and Admiral Nelson. The portraits directly refer to those of William Hamilton, made by Joshua Reynolds, and those of Emma Hamilton, made by George Romney and Élisabeth Vigée-Lebrun. The questions asked regard the genesis of the sensitive body, in the example of the statue of Condillac, and the metamorphosis of the statue in the myth of Pygmalion; the metamorphosis of beings in the morphological accidents of the earth and in natural objects that retain their name and history; the ideal portrait; the impossibility of describing the beauty of a face or a body, delegated to the rhetorical artifice of metaphor; the portrait as a theme and as a model; the genre of statues: action and stillness, narcissism and modesty; effigies: symbolic death; cameos: miniaturization of the portrait, living picture: representation staged inside a box or in a place surrounded by the frames of the paintings; the body in pose: support and object of the representation of a representation; the body as the embodiment of the work; the ephemerality of the body and the perpetuity of the portrait; the figure, the portrait and the recognition that erases or illuminates the name. And the ruin of it all, because ruin is the inevitable destiny of human bodies and their representations, some and others relegated to the future of our time.

Магистерская работа посвящена прежде всего итальянскому и южнонемецкому станковому профильному портрету XV века. Целью работы является определение региональных особенностей и эволюции типа станкового профильного портрета в Европе в XV веке. Магистерская работа разбита на главы по хронологическому и территориальному признакам создания портретов или по признаку авторства в случае с художниками, работавшими в разных регионах. В целом работа включает введение с историографией, одну главу, где рассматриваются истоки формирования станкового профильного портрета и семь глав, посвящённых профильным портретам Венеции, Пизанелло, Пьеро делла Франческа, флорентийской, эмилианской, ломбардской школы и Южной Германии соответственно, и заключение, где систематизируются и обобщаются выводы, полученные из предыдущих глав.

The master's work is devoted primarily to the Italian and South German easel profile portrait of the 15th century. The aim of the work is to determine the regional characteristics and evolution of the type of easel profile portrait in Europe in the 15th century. The master's work is divided into chapters according to the chronological and territorial characteristics of the creation of portraits or according to the authorship in the case of artists who worked in different regions. In general, the work includes introduction and historiography, one chapter, which examines the origins of the formation of an easel profile portrait, seven chapters devoted to profile portraits of Venice, Pisanello, Piero della Francesca, the Florentine, Emilian, Lombard schools and Southern Germany respectively and conclusion, where the findings from the previous chapters are summarized.

La presente investigación tiene como objetivo el estudio de las máscaras mortuorias desde una perspectiva doble: por un lado, busca desarrollar una teoría de la máscara mortuoria que nos permita organizar algunos de los elementos centrales que convergen en ellas (rostro, presencia, muerte, semejanza, tiempo, etc.) y, por otro, abordar una aplicación de dicha teoría sobre unos casos y entornos concretos previamente seleccionados. Es por ello que el objeto de estudio, las máscaras mortuorias, no se contemplan tanto como artefactos susceptibles de ser enmarcados en un análisis histórico-artístico, sino como objetos sensibles que participan de un acto perceptivo. Esta mirada nos posibilita enfrentarnos a estas piezas desde una panorámica amplia, sin necesidad de atender a una acotación espacio-temporal cerrada. En los primeros apartados teóricos se definen las instancias conceptuales de imagen, cuerpo y medio, adquiriendo éste último un papel relevante como herramienta metodológica que nos posibilite pensar uno de los conceptos vertebrales de la investigación: la presencia. Las imágenes, entendidas del modo argumentado en la investigación, pueden contener una forma de presencia cuya naturaleza variará dependiendo del contexto y del proceso perceptivo. El tiempo tiene una implicación decisiva en todo ello que nos obliga a comprenderlo alejados de miradas lineales o teleológicas, asumiendo una postura que se oriente hacia la consideración de un tiempo heterocrónico. Una vez construido este armazón teórico, la segunda parte de la investigación trata de identificar una serie de núcleos argumentales que se irán conectando entre sí, formando una constelación de figuras e ideas que irá conformando nuestra particular genealogía. Una primera preocupación fijará la atención en el papel que ha jugado la semejanza por contacto desde la Antigüedad, analizando los casos en los que el moldeado facial ha ido más allá del mero recurso técnico. El estudio se irá poco a poco orientando hacia una de las hipótesis que más ha preocupado a los investigadores que han fijado su atención en las máscaras mortuorias: su consideración como objetos autónomos desligados de la aplicación práctica a la que habitualmente han sido reducidas.

L'articolo propone di identificare i due dipinti di Paolo Veronese oggi conservati a Philadelphia e Dresda come ritratti di Matteo Calergi, nobile cretese e patrizio veneziano, capitano di Galea e committente di Veronese. Nelle stanze di Ca’ Giustinian sul Canal Grande, oltre ai tre teleri veronesiani di cui si è dato conto nel n. 9/2018 di Ricche Minere, erano registrati anche due suoi ritratti, uno “in arme bianche e l’altro da senator” (“magnifico messere” in altro documento). L’ipotesi di identificazione è suffragata da quanto si vede nelle due tele, che raffigurano indubbiamente la stessa persona, dal riscontro araldico nel dipinto di Philadelphia e dall’analisi della storia conservativa di quello di Dresda.

In this study of two twin Paolo Veronese portraits that are today held in Philadelphia and Dresden, I propose that the sitter in both be identified as Matteo Calergi (1523-1572), a wealthy member of a Cretan-patrician family in Venice, a Galley captain, and Veronese’s patron.. Documents in the Correr Library mention several paintings in Calergi’s Venetian palace, Ca’ Giustinian on the Grand Canal. These paintings included three already-identified Veronese canvases (see Ricche Minere, n. 9/2018) and two portraits of Calergi, “one in white arms, the other as a senator” (or, in other documentation, as a “magnifico messere”). This new identification hypothesis is supported not only by the resemblance between the two sitters, but also by the provenance of the Dresden painting and by the heraldry depicted in the Philadelphia painting.

If Parmigianino was one of the most prolific portrait painters of the first half of the 16th century, he was also one of the most inventive. Proofs of that particular talent are many paintings which associate the painter’s own thinking about contemporary artistic conventions of individual representation with a research of appropriation by the image of social and political norms  or specific imaginations  liable to perform the singular identity of their sitters. The Portrait of Galeazzo Sanvitale that Parmigianino painted in Parma in 1524 constitutes an example of this type. Put there for the first time in relation with the institutional context of its elaboration, it appears to relay its sitter’s complex identification strategy through the instrumentalization of specific values relative to prince, courtier, condottiere, or cavaliere figures. This ambitious project calls to an identity crisis phenomena and nobiliary prerogatives in Parma consecutive to the city conquest by the papal forces between the years of 1520 and 1540.

The portrait miniatures of Elizabethan England (ca. 1560-1600) served as the ideal vehicle for the symbolic communication of intimacy and devotion. Only a few inches in height, miniatures contain detailed paintings of kings, queens, and nobility wearing jewels of gold and silver that appear to animate in candlelight. In a world with a taste for the enigmatic and dominated by the image, portrait miniatures served their patrons to signify ideals of status, wealth, beauty, and loyalty. Through their layers of secrecy and distinctive presence, portrait miniatures were key players in social and political games. Exchanges involving these performative “games of concealment and revelation, secrecy and display” ultimately served as a means of control in a court that revolved around the poetic image. The scholarship on portrait miniatures has just begun to get beneath the jeweled boxes in which they are contained.
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First Place Undergraduate Winner of the SCAD 2021 Larry W. Forrest Writing Competition

An examination of a number of group and individual portraits by Domenico Ghirlandaio, including those found in the Tornabuoni and Sassetti Chapels, the single portrait of Lucrezia Tornabuoni, and the double portraits of the Old Man and his Grandson, and Francesco Sassetti and his Son.  Particular attention is paid to familial status, patrimony, and the introduction of sentiment as a virtue in Ghirlandaio's portraits.

In the Sonnets, Shakespeare explores the crucial problems of Renaissance portraiture, probing the ways that the self of the Fair Youth is constituted  through family lineage, social roles, and its own unique essence. These explorations of the face and of the self behind it never amount to logical theories, either of human nature or of the art of representation. Instead, Shakespeare investigates these subjects through intricate metaphors of painting and acting, through which he projects his own desires for his art, and confronts the question of whether to reveal or conceal himself.

This paper focuses on the decoration of the Alcazar palace in Madrid during the reign of Philip II of Spain, concentrating on the king's portrait collection and other pictorial cycles deployed to decorate principal reception rooms and the queen's quarters.

Also discussed is the portrait of Infante Carlos by Sofonisba Anguissola, created for the heir and prince before his untimely death in 1568. Several copies and relics of this portrait of the prince wearing a lynx fur coat (bohemia) were made by Alonso Sánchez Coello and his workshop. One version today in the former royal palace in Sintra was identified by the author as a work after Sofonisba Anguissola and produced in Sánchez Coello's workshop, is published here for the first time.

Marquis puis ducs de Ferrare, Modène et Reggio, Niccolò III, Borso et Ercole I d’Este firent l’objet d’une ou de plusieurs effigies équestres. Synthèse inédite sur la problématique du portrait équestre Estense entre le milieu du XVe siècle et le début du XVIe, l’article met en exergue les traits distinctifs partagés par ces princes-condottières autant que leurs différences et leurs singularités via leurs effigies équestres. Celles-ci sont analysées en tant que productions socio-culturelles, à l’aune de leurs contextes de conception, de réalisation et de réception et de la prégnance de la culture équine à Ferrare, un des trois grands centres d’élevage équin et d’efflorescence de l’art équestre, en sus de la Naples aragonaise et de la Mantoue gonzague. Véritable outil de communication politique, instrument de légitimation voire de propagande, l’effigie équestre joue de répétitions et d’effets de démultiplication, redondants des liens filiaux et fraternels ayant rattaché ces princes. Où l’on démontre le type particulier de portrait officiel que constitue l’effigie équestre, de l’ex-voto de Niccolò III d’Este de la Santissima Annunziata de Florence (1435), au projet de monument équestre d’Ercole I d’Este pour la Piazza Nova de Ferrare abandonné en 1503, en passant par la statue équestre de Niccolò III de Niccolò Baroncelli et Antonio di Cristoforo installée à Cortevecchia en 1451 – première statue équestre fondue en bronze et installée au cœur de l’espace public depuis l’Antiquité tardive.