Look at the four different portraits and answer the questions below.
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 LtdSir Neil O’Neill (c.1658-90) by John Michael Wright (1617-94)
Copyright Philip Mould Ltd
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
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 © The Estate of Francis Bacon. All rights reserved / DACS, London 2009.
© The Estate of Francis Bacon. All rights reserved / DACS, London 2009Study after Velázquez’s Portrait of Innocent X (1953) by Francis Bacon (1909-92)
© The Estate of Francis Bacon. All rights reserved / DACS, London 2009
© 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 © The Estate of Francis Bacon. All rights reserved / DACS, London 2009.
© The Estate of Francis Bacon. All rights reserved / DACS, London 2009
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
© Central Bank and Financial Services Authority of Ireland Photo © The National Gallery of IrelandLady Lavery as Kathleen Ní Houlihan (1928) by John Lavery (1856-1941)
© Central Bank and Financial Services Authority of Ireland Photo © The National Gallery of Ireland
© Central Bank and Financial Services Authority of Ireland Photo © 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
© Central Bank and Financial Services Authority of Ireland Photo © The National Gallery of Ireland
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 ArtistPortrait of Marcel Duchamp (1966) by Brian O’Doherty/Patrick Ireland (b.1928)
Courtesy the Artist
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- Describe what you see in the portraits.
- What stands out most in each portrait?
- Can you tell how the people lived? How did you come to that idea?
- Can you tell what the people in the portraits were like? If so, how?
- What colours and shades of colour do you see in the portraits?
- Where is most of the light shining in the portraits?
- What do you like/dislike about them?
- What differences do you see between the portraits?
- How are these portraits different from real life?
- Which one is your favourite? Why?