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| Gentile Bellini, The Sultan Mehmet II, 1480 (National Gallery, London) |
"Bellini portrayed Sultan Mehmed from life so well, that it was considered a miracle."- Giorgio Vasari
Of all the genres in the history of art, portraiture has a very special place due to its intimate nature of enabling vis-a-vis encounters with illustrious figures from the past. The Renaissance Portrait from Donatello to Bellini exhibit at the Metropolitan Museum of Art earlier this year was a great example of the art of depicting likenesses transcending centuries and making the absent present more than five hundred years after the portraits had been made. One of the highlights of the exhibit was the gallery devoted to portrait medals featuring primarily the works by Antonio Pisanello who is ascribed as the inventor of the portrait medal in Quattrocento. The portrait medal that was utilized by rulers of the Italian Renaissance to cultivate their image pertaining to their right to rule, lineage and intellectual capacity is a fascinating symbol of the philosophy of the the time. It also is a great testament to the mobility of artists, ideas and influences as well as works of art - all of which can be garnered from examining Pisanello's body of work and it's effects as it pertains to the portrait medal. This mobility and influence seems to have extended out to the most eastern reaches of Europe, to a land that was ruled by Turks, the Ottoman Empire.
In the absence of sources as to the artist or real intent of a work of art, most of the conclusions made have to be based on conjecture but following the visual clues that have survived enables even a novice a fascinating view into an enchanting period in history. I assume the best way to embark upon such a journey should be chronologically. The medallion, John VIII Palaeologus by Pisanello is accepted as the first Renaissance portrait medal which was supposed to have been cast on the occasion of the Byzantine emperor's visit to Ferrara for the council to reunite the Eastern and Western Churches. The Eastern delegation is said to have really fascinated the Italians with their colorful costumes and interesting ways (the Emperor was out hunting instead of sitting in on the meetings) inspiring Pisanello to make the detailed drawings seen above.
| Image may be NSFW. Clik here to view.  |
| Antonio Pisanello, Studies of Emperor John VIII Palaeologus and Members of the Greek Delegation to the Council of Ferrara and Florence, 1438-39 (Musee du Louvre, Paris) |
In the absence of sources as to the artist or real intent of a work of art, most of the conclusions made have to be based on conjecture but following the visual clues that have survived enables even a novice a fascinating view into an enchanting period in history. I assume the best way to embark upon such a journey should be chronologically. The medallion, John VIII Palaeologus by Pisanello is accepted as the first Renaissance portrait medal which was supposed to have been cast on the occasion of the Byzantine emperor's visit to Ferrara for the council to reunite the Eastern and Western Churches. The Eastern delegation is said to have really fascinated the Italians with their colorful costumes and interesting ways (the Emperor was out hunting instead of sitting in on the meetings) inspiring Pisanello to make the detailed drawings seen above.
