The Good, The Bad, & The Ugly - Dan oakes, full sail university.

A look at commissioned portraits and busts throughout many generations and nationalities of royalty. This gallery is meant to not only showcase the monarchs who are pictured, but to show the different styles and methods of the artists who captured their likenesses. 

Thutmose III was a King in Ancient Egypt. This statue was carved by an unknown artisan sometime during the 1400s BC. Although the tools used would be considered "primitive" by today's standards, the craftsmanship is breathtaking. From the small lines on his headdress and beard, the gentle features of the king's face, and the lifelike proportions of the figure, there was a careful attention to detail that went into crafting this piece.
This next piece also hails from Egypt. The style difference between BC 1400 and the 1st century BC is evident, as this piece shows more depth and texture. The smooth features are accented wonderfully and the sculptor was able to capture a life-like bust of this most famous queen. The details of her short hair, and the slight smile that barely touches her lips are examples of the craftsmanship of this time. The proportions of her facial features are extremely precise, and it is evident that a lot of time and skill went into crafting this piece.
This painting from 1702 was created by Hyacinthe Rigaude, and shows King Louis XIV in his coronation robe. The light of this portrait is stunning, and the texture is very lifelike. Although the lines of the King's face are a bit obscure, the detail on his hose and the robe are very nicely done. The deep shadows and shining light are a nice contrast, giving more definition to this piece.
This depiction of King Louis XIV shows quite a bit more detail than the previous painting. Bernini's sculpture is full of wonderful details and movement, from the delicate lace cravat around the king's neck to the flowing cloth at the bottom. The proportions are very life-like, and the studs and ridges of the shoulder pauldrons stand out against the folds of cloth and lifelike tresses of hair.
This portrait of Henry VIII, painted by Hans Holbein, the Younger, shows a lot of detail on the sleeves and chestpiece worn by the king. However, the drab background seems to cause a lack of dimension, causing his face to appear very flat. The proportions are correct, but the overall lines make Henry seem somewhat misshapen. Although still a beautiful piece, it is apparent that the artist was more focused on the finer details than the overall product. The hairs on his chin, and the ornate necklace are visually stunning.
Anthony Van Dyck did something extraordinary with this piece. Although all three figures are the same person, Charles I, each representation is wearing a different color. With this method, Van Dyck shows his ability to paint a profile, a straight ahead portrait, and a 3/4 profile with great attention to detail. The light is uniform, and the colors seem to jump from the canvas. The lines are flawless, especially in the right-hand figure's wrinkled cape. The lace appears as though you could reach out and feel how delicate it is. The motion of Charles' hair is captured well, and his complexion shows Van Dyck's unerring eye for coloration.
Again here, Anthony Van Dyck shows his mastery with coloration and texture for this portrait of Princess Mary. The dress is so realistic you can almost hear it rustle as Mary fidgets her diminutive frame. The background shows a wonderful attention to texture and lines, and her face was captured beautifully. The light reflecting off of her satin dress is very realistic, and accentuates the sense of motion and texture in the small wrinkles along the side.
Frederick V, shown here in his Anointment Robe, was captured by C.G. Pilo for this piece. The light and colors of his vestments are done with a keen eye to detail. The light seems to be lost on the crown that appears behind his cane, however. The background was also lacking. It appears that Frederick was standing in a damp, moldy cave for this portrait. The motion of his robe and hair show a lot of potential, but the color is not as vibrant as many royal portraits of this time.
Perhaps one of the most famous, and infamous rulers in history, Marie Antoinette is pictured here with two of her children. The portrait was painted in 1785 by Adolf Ulrik Wertmuller. Note the serene background, and the details such as the feathers upon her head. The motion of her young son is captured well not only by the wrinkles upon his trousers, but also the way his hat feathers trail behind him. On the left side of the painting, her daughter's dress exudes the same lines and motion. The single flower that has fallen to the ground gives a very realistic air to this moment, as does the small hand clutching Marie's dress.
This depiction of Marie Antoinette is a bit darker. The details of this medal are astounding, especially her dress and hair. On the reverse side, scores of onlookers crowd around the legendary guillotine while Marie herself is tied up in a cart. For this depiction, her face seems to be portrayed with sharper features and a blatantly crooked nose. The beautiful dress does little to disguise the disdain that the artist had for this particular ruler, made evident by the beak-like nose and the small child cheering the woman to her demise on the back side of the coin.
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