A fascinating exhibit at the Metropolitan Museum of Art showcases the concept of “two-sided” or multi-sided portraits from the Renaissance. These paintings and medals offer a fresh way to appreciate artwork—by examining both the front and back. Called Hidden Faces: Covered Portraits of the Renaissance, this exhibit presents how artists of that era created portable portraits, often hidden by covers, boxes, or dual-sided frames. Each side revealed something unique about the sitter’s identity, their background, and even their character. These objects tell stories of friendship, love, and political loyalty, inviting viewers to decode symbols and allegories.
This article explores the exhibit in detail, delving into the history behind these remarkable pieces, how they were made portable, and the symbols used to represent personal and political connections. The exhibit goes beyond traditional portrait art, merging history, symbolism, and creativity in ways that shed light on the hidden identities of the people portrayed.
Section | Details |
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Exhibit Title | Hidden Faces: Covered Portraits of the Renaissance |
Focus | Multisided portraits where the sitter’s likeness is concealed or has symbolic backs. |
Notable Artifacts | Holbein’s Portrait of a Man (1532-1535), Gonzaga Medal (1447), Coin Portrait Boxes. |
Theme | Exploring how Renaissance portraits and medals were used for personal and political purposes, often as portable objects. |
Symbolism | The back of many portraits and medals featured emblems, allegories, or mythological symbols related to the sitter’s identity and background. |
Portable Portraits | Paintings and medals made portable by enclosures, such as boxes or hinged panels. |
Notable Artists | Hans Holbein the Younger, Pisanello, Hans Süss von Kulmbach |
Renaissance Portraiture | The exhibit explores how these multisided portraits functioned as tokens of friendship, love, or political allegiance, often with symbolic and personalized reverses. |
Symbolic Use of Animals | Animals, such as unicorns and pelicans, were frequently used in portrait medals to represent traits like chastity, sacrifice, and Christ’s sacrifice. |
Coins and Medals | Renaissance artists like Pisanello were inspired by ancient Roman coins to blend sensitive portraiture with rich symbolism on the reverse. |
The Art of Hidden Portraits
Holbein’s Gold Medal Portrait
One standout piece is a small gold medal-sized portrait created by German artist Hans Holbein the Younger between 1532 and 1535. This tiny artwork, less than four inches wide, was designed for travel, protected by a cover to preserve the painting. Holbein’s mastery in painting delicate, detailed portraits is evident in this piece, which shows an attendant in King Henry VIII’s household. The subject is identified by the red cap and embroidered coat he wears, marking his connection to the royal court. The idea of using covers to protect such fine portraits emphasizes the portable nature of Renaissance art, making it possible to carry personal tokens of love and loyalty
Portable Portraits in Coins and Boxes
Portrait Inside a Coin Box
The exhibit also showcases how portraits could be integrated into everyday objects. A fascinating example is a German “Wild Man” thaler from 1604. This coin was cut in half and hollowed out to hold a miniature portrait of a lady. It was likely a personal item, possibly an engagement gift, symbolizing a deep connection between the giver and receiver. The lady’s clothing and headdress suggest that the portrait was painted later, indicating that the object held personal significance beyond its use as a coin.
Symbolism and Coin Design
Renaissance artists often blended portraiture with symbolic representations. One example on display is the depiction of Roman Imperial coins, like those of Augustus and Diocletian. The obverse, or front, of these coins featured portraits, while the reverse showed symbols like laurel crowns and wreaths, symbolizing triumph and power. This dual-sided approach allowed artists to tell a story about the person portrayed, their achievements, and their role in society.
Medals and Symbolic Backs
Pisanello’s Portrait Medals
Medals were another popular medium for Renaissance portraiture. Artists like Pisanello used medals to combine sensitive, detailed portraits with richly symbolic reverses. One famous example is the portrait medal of Cecilia Gonzaga from 1447. Gonzaga, a classical scholar who chose a religious life over marriage, is shown on one side in elegant court dress. The reverse, however, tells a deeper story: it depicts a maiden taming a unicorn, symbolizing her chastity and innocence. The unicorn, a symbol of knowledge and Christ, reflects her scholarly background and piety.
Symbols of Sacrifice and Education
Another notable medal is the portrait of Vittorino Rambaldoni da Feltre, a renowned teacher. The reverse side of the medal portrays a bird feeding its young, symbolizing Christ’s sacrifice or perhaps Vittorino’s dedication to his students. The symbolism here connects the themes of education, selflessness, and moral guidance, offering a deeper understanding of the person depicted.
The Unique Stories Behind Double-Sided Portraits
Double-sided portraits in Renaissance art were not just beautiful objects; they also told stories. One example by Hans Süss von Kulmbach from around 1508 shows a young man gazing upward. The back of the portrait reveals a scene of a young woman sitting by a window, weaving a garland of forget-me-nots. The flowers symbolize loyalty and love, while her loose hair indicates she is unmarried, suggesting that this portrait may have been created to mark an engagement or wedding. This innovative use of the double-sided format turns a simple portrait into a narrative, merging love, tradition, and symbolism in a unique way.
Conclusion
The Hidden Faces exhibit at the Metropolitan Museum of Art offers a rare glimpse into the world of Renaissance portraiture. These two-sided, portable portraits provide more than just visual beauty—they tell stories of personal connections, historical events, and complex symbolism. Whether in medals, paintings, or coin boxes, these portraits merge artistry with history in ways that challenge how we think about portrait art. Through their hidden sides, these works offer viewers a deeper look into the lives and identities of the people who commissioned them, making each piece both a work of art and a personal token of love, loyalty, or power.
FAQs
1. What is the focus of the exhibit “Hidden Faces: Covered Portraits of the Renaissance”?
The exhibit explores multisided portraits from the Renaissance period, where the subject’s likeness is concealed or the back of the portrait includes symbols and emblems related to the sitter’s identity.
2. Why are some portraits considered portable in the exhibit?
During the Renaissance, many smaller-sized portraits were created to be portable, often enclosed in boxes, hinged panels, or coins. These portable objects allowed people to carry personal portraits or symbols on them.
3. What are some notable works featured in the exhibit?
Some key works include Hans Holbein the Younger’s Portrait of a Man (1532-1535), Pisanello’s portrait medals, and the “Wild Man” thaler coin that was transformed into a portable portrait box.
4. What kind of symbols are featured on the back of these portraits?
The backs of the portraits often contained symbols or mythological references that reflected the sitter’s identity, background, or status. For instance, animals like unicorns and pelicans represented chastity and sacrifice.
5. How did medals and coins influence Renaissance portraiture?
Renaissance artists like Pisanello drew inspiration from ancient Roman coins. Medals would feature sensitive portraiture on one side, while the reverse depicted rich symbolism or allegories related to the sitter.