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Modern Italy
Journal of Modern Italian Studies
RIVISTA DI STUDI ITALIANI
Anno II , n° 2, Dicembre 1984 ( Contributi ) pag. 27-72
LEONARDO DA VINCI'S REACTION PORTRAITS
THOMAS MARTONE
Erindale College (University of Toronto),
Toronto, Ontario
During the third quarter of the fifteenth century Florentine portrait painters began to represent the sitter of the portrait in poses displaying moderate movement and expressing an emotion or an attitude of mind*. Previously portraitists tended to represent the sitter expressionless and in a stationary pose; motion, if expressed, was merely implied. Prior to the 1470s painters were almost exclusively concerned with idealizing the sitter's physical features and recording his social status or devotional piety. The expressionless faces and static poses of these early portraits were in part due to the stoic faces on antique coins, the models of portraits most readily available. [...]
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