Introduction: Portraits in History and Today (03:24)
Viewers look at portraits differently than a landscape; portraits are important to the British People. This episode will explore the people who create these works of art. A portrait captures the essence of a person.
Stuart Pearson Wright (04:21)
Fiona Shaw describes how John Taylor painted the Chandos Portrait, which is considered the only authentic depiction of the author. Wright discusses the intimate relationship between the painter and his or her subject. Faces tell a story and flattery is demeaning.
Eamonn McCabe (05:17)
Shaw explains how Oliver Cromwell wanted an accurate depiction of his person, including his warts and pimples. McCabe describes the collaboration between the photographer and the subject. Leonardo DiCaprio sessions are very controlled.
Innovating Portraiture (04:21)
Sitters posed for an artist. Francis Bacon tried to capture his subject's aura by using torn-up photographs. Clementine Churchill burnt a painting that Grant Sutherland made of her husband.
Marc Quinn (04:18)
Quinn cast a self-portrait in his blood. In "Sir John Edward Sulston," the artist collaborated with the geneticist to create artwork from cloned DNA.
Joshua Reynolds (04:04)
Sitting for an artist was considered a social activity at the end of the 18th Century. The Royal Academy reinforced the new cult of celebrity. Reynolds gained notoriety by depicting Laurence Sterne in a portrait.
Rankin and Shaw collaborate on a portrait to create an alternative view of the actress. There is always a narrative or theme in advertising. The photographer searches for the truth within a fantasy.
Victoria Russell (07:12)
A portrait is someone else's view of the subject. Shaw and Russell discuss their collaboration on a portrait. Painters depict the relationship between themselves and the poser.
Credits: Portraits in History and Today (00:22)
Credits: Portraits in History and Today
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