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Giuseppe Castiglione (also known as Lang Shining), Qing dynasty, 1736. Hanging scroll, color on silk, Palace Museum, Beijing

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“Imperial Visage” of the Qianlong emperor

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“Imperial Visage” of the Qianlong emperor

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This portrait of the emperor Qianlong was completed during the Qing dynasty in 1736 by Italian artist Giuseppe Castiglione. This was created during a time of stability and prosperity during the Qing dynasty that allowed for the arts to flourish and welcomed artists and missionaries like Castiglione. The influx of outside artistic influence and desire for art within the courts heavily influenced the style in this era. This piece incorporates European uses of space and depth along with traditional Chinese medium and techniques. In this piece, the blend of Chinese and European techniques speaks to the status power and intellect of the figure by showcasing global connections

This image is a display of power and status. The garments, throne, and textiles are portrayed with immense importance and given high detail and attention in order to convey grandeur and opulence to the viewer. The size of this portrait (7ft 2 ½ in x 6ft) also plays into the feeling of grandeur that establishes the importance of the image and thus the figure.  The items in this piece are as important as the figure; the intention is to convey status in addition to documenting a likeness.

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Hans Holbein the Younger, 1533. Oil on panel, National Gallery, London.

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This double portrait of two French Ambassadors was created in 1533 during the Renaissance in northern Europe. This period placed an emphasis on humanism and created an influx of portraiture and increased attention to the individual. During this time, the protestant reformation caused a fracturing the church and a shift of power. The two ambassadors pictured were sent by the French king, Francis I, to the court of Henry VIII to convince him to remain catholic. The two figures are stood off to the left and right of the frame which guides the viewer to focus on the center, placing the importance on the objects that are positioned centrally. These objects not only display the great material wealth and achievements of the ambassadors, but also indicate what has been achieved in the world historically, all within the scope of mortality which is indicated with the elongated skull. The objects are representative of scientific advancements and philosophical ideas with things like the astronomy tools and books. These objects speak to the figures' active and contemplative roles in society. Chosing these symbols and ideas in particular speaks to the ways the sitters want their social and intellectual status to be showcased. The large scale (6ft 9in x 6ft 10in) of the piece  and incredible attention to detail also conveys a feeling of importance and high status that is meant to be imposed upon the viewer.

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Grant Wood, 1930 Oil on beaverboard, Art Institute of Chicago.

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This famous American painting was created by Grant Wood in 1930 after driving past the iconic house in the background and taking interest in its “flimsy” looking structure with the seemingly out of place gothic style window. He figured the home would be easy to paint and added the figures in later being characters he figured would likely live there.

Industrial culture was very prominent in American during this time making the rural portrait a point of intrigue. Many middle Americans thought this piece was making a mockery out of their way of life which was an especially common life in the midst of the Great Depression.  The patterns and repetition in the painting ties the individuals directly to the land; like the pitchfork repeated in the man’s clothing shows his identity is connected to the landscape and rural life. The "American Gothic" is not a specific portrait, the individuals depicted are more or less inconsequential, it is the idea of a group of people, their values and status in the context of the country that are on display. The depiction of status in modern times shifted more from an individual basis onto groups which speaks more to sociopolitical ideals. The status of the sitters is dependent on the viewers opinions. The depiction of power has shifted from attempting to oppose one’s power onto the viewer to leaving the viewer to make their own judgements. This ambiguity also allows the viewer to connect with the portrait to consider their own power and perhaps how they themselves are viewed in a larger scope.

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16th century, Edo peoples, Court of Benin, Nigeria, ivory, iron, copper, The Metropolitan Museum of Art.

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This ivory pendant was created for the ruler, or Oba, Esigie which portrays his mother, Queen Idia. Ivory was a significant material for the Edo people, it was one of their primary exports which brought in more Portuguese traders who were thought to have connections to the spiritual world. The Portuguese were also highly regarded for their imports they brought to the land, particularly bronze and red coral, and were thought to lend their power to Oba. Though the symbol of the Portuguese outlasted the actual presence of the Portuguese in the land. Portuguese soldiers are depicted on head of the Iyoba forming a crown alongside mudfish which symbolized the rulers’ dual nature of the divine and earthly like the mudfish’s aquatic and terrestrial nature. The intense symbolism is used to indicate to the viewer the status and divination of the Iyoba. The power of the Iyoba is visually reinforced with iron inlays in the eyes giving her an authoritative watch upon the viewer.

The pendant was not only an idealized portrait of the Queen Mother but also served as a force of spiritual protection when worn. The power of the Iyoba is contextually known to the people and visually displayed through symbolism but is also showcased through the use. It is worn exclusively by rulers which by proxy gives the object an established high status but also gives the power back to the wearer through it’s ritualistic properties and uses.

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All of these pieces aim to express the status of the sitter to the viewer in differing ways. "The Imperial Visage" and "The Ambassadors" strive to impose their power onto the viewer by carefully cultivating an image that represents their intellect and material wealth in an idealized image. The Queen Mother also uses an idealized image with some naturalistic elements and spiritual symbolism. These idealized versions of the individual are meant to give an eternal image of perfection making them timeless and somewhat godlike. But, as we move forward through time the intention of displaying status moves away from guiding the viewer into one way of thought or viewpoint and instead creates conversation of status with the viewer. Like the other pieces in the timeline, "American Gothic" surrounds the sitters with objects and clothing they would align themselves with, but the portrayal is more naturalistic and ambiguous which speaks to more modern ideas of a collective status of a group of people.

Power and status has always been an important ideal to humans and portraiture is a very clear and inherently impressive way to express these ideas.