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Covert Portraits: Fun and Function
Since man first began to paint on the walls of ancient caves and carve rudimentary forms from wood and stone, the representation of the human form has been one of the most intriguing to many artists in almost all periods of art. For the cavemen, the female figure was generally an object of greater interest—at least, it was more often represented, and with greater levels of sophistication—but gradually, as men and masculinity came to dominate Western society (and as the depiction of women grew, at times, somewhat riskier), the male figure also came to dominate works of art. Over time, of course, such depictions grew in realism and in detail; the rudimentary works of prehistoric mankind could never distinguish a specific individual—the level of detail is simply not great enough to convey individual features. Gradually, however, portraiture was born.
From at least the time of the Ancient Greeks, and through every age of art history and civilization since, the representation of real, living people in works of art has been a hugely common practice, so much so that it almost seems to require no mention—it is simply one of the givens of the art world. Powerful leaders and wealthy merchants have had their portraits painted, or busts or even full statues of themselves made, for at least the several millennia of recorded history. Such portraits were—and are—often intended to glorify the individuals depicted within them as overt signs of respect, admiration, and often commemoration of a certain milestone or achievement. But this is does not necessarily paint the entire picture of the practice and history of portraiture.
Portraits are such a common occurrence and feature of artistic works that the subject themselves seem to fade in importance to the artistic hands and techniques that created any individual work of portraiture. In most instances, this approach does not have any real drawbacks; the artistic technique employed in a particular portrait is often more interesting than the subject, as even the greatest artists have taken the work that paid them, and anyone with money could have their portrait painted. There are times, however, when the subject of a painting is at least as important in some regards as the artist and techniques that created it. This is true of overt portraits, but is arguably even more true of covert portraits—representations of real people in disguise.
There are several clever examples of such covert portraiture. Serving somewhat as "in-jokes" with artists and their friends and even the wider community, such plainly hidden portraits could be intended as honorifics or as insults, depending on the context of the painting, the real-life situation being paralleled, and of course the relationship between the painter and the subject of such secretive portraits. One might even argue that such paintings are not true portraits at all; when one figure is represented as another, it could be claimed that both figures are transformed into something else entirely, standing for the constituent parts only in a symbolic fashion. On the other hand, the specific figures referred to here are as "covert portraits" are unquestionable representations of real individuals with whom the artists were familiar standing in as other historical or religious figures. The question is complex, but an examination of some specific examples of this type of covert portraiture will perhaps lead to an understanding of how they function as portraits, and if they function as other things, too, while providing a greater understanding of the work as a whole.
One such painting with a hidden portrait in it is Jean Fouquet's "Virgin and Child with Angels, " painted around 1450. The painting is an interesting take on a common theme; depictions of the Madonna with the infant Jesus abound throughout medieval and Renaissance painting, often with several angels also depicted in the scene, but there are some distinctive features about this example. For one, the number of angels and the specifics of their depiction are both quite unusual—the multitude that crowds around the throne upon which the Virgin is sat are monochromatic, in wither red or blue. Most interesting, however, are the proportions of the Madonna and the child on her knee, which coupled with the identity of the hidden portrait is especially intriguing.
It is rumored that the model for the Madonna in this painting was Agnes Sorel, mistress to King Charles VII of France, and also a lover of the royal secretary Chevalier who was Fouquet's first patron at the French court (Pioch par. 5). This complex relationship lends itself to many varying interpretations as to the meaning and even the function of this painting and its representation of Sorel. As a portrait, it is not incredibly successful—the downward leaning head and downcast eyes of the subject obscure the figures identity and beauty to a degree. As a statement of other sort, however, this painting could mean many things. It is unlikely that anyone would have dared to directly insult the mistress of the sitting monarch, but the depiction of Sorel in this work could be a slightly sneaky way to accomplish this. The red angels that surround her are more reminiscent of devils, and her exposed breast could be a reference to her promiscuity.
On the other hand, this could be the artist's attempt to ingratiate himself both with his patron and with higher members of court—perhaps even the king himself. Fouquet did eventually become France's Royal Painter under Louis XI, and his inclusion of the current king's mistress could have been a political move meant to honor this woman and her...patron (Pioch par. 5). There are some details that add a great deal of evidence to this interpretation—the figures breasts are perfectly round, in an exaggeration of the body conforming to the ideals of feminine beauty. Her other features, from her narrow waist to her small mouth and slender neck, are also subtly exaggerated to similar effect. The choice to place her in a richly jeweled throne and crown could also indicate her worthiness of royalty, at least insofar as the royal bedchamber is concerned. Regardless of the exact interpretation of this painting, it is clear that it is more than merely a portrait—there is some sort of commentary going on here from Fouquet regarding Agnes Sorel, and perhaps even a dialogue between Fouquet and at least on of his intended viewers.
A far more extensive and infinitely more intriguing use of covert portraiture was made by Raphael in his mural School of Athens and the other murals painted on a wall in the massive Vatican compound between 1509 and 1520. There are numerous contemporary figures included as characters from the history of mathematics, philosophy, religion, and politics adorning these frescoes, some of them so detailed that it is actually possible to date the paintings according to Raphael's depiction of known figures (MoodBook par. 5). On instance of this is the beard on Raphale's depiction of Pope Gregory IX, which is one of the details that identifies the figure as a covert portrait of the current Pope at the time of Raphael's painting, Pope Julius II, who rather unusually allowed himself to be portrayed (and who, it is known, did not grow his beard until 1511) (MoodBook, par. 5). The motives here are, thankfully, not as nebulous as they were for Fouquet.
Known for his promulgation of Church doctrine as law, Gregory IX is one of the most respected and revered Popes, and depicting the pope of the current day as this hero of the Church would certainly have been an honorific gesture on the part of the painter. This is in keeping with many of the other secret portraits that Raphael included in his murals, which included many of his friends and colleagues currently making advances in thought and in science during the flourishing of the Renaissance (Phelan, par. 4). Tying these two figures together would be Raphael's way of honoring the Pope, who as the head of the Catholic Church was essentially the over-patron of any commissioned works of art. No doubt he would have been especially involved in artwork tat was to become a permanent feature of the Vatican itself, and it is nearly impossible that this portrait could have been in any way a slight towards the pope or the Church and still have been allowed to exist. Unlike the depiction of Agnes Sorel as the Virgin Mary, which could be seen as both honorific and degrading to the monarchy—if not outright sacrilegious—this depiction was meant in the same way as standard portraits, to show honor and respect.
Vanity has been seen as a sin at least since the founding of the Church, and in many cultures for centuries before that. By secreting certain known and admired people from his time into his works of art, Raphael could very well have been providing honor and fame to these individuals while sidestepping this overt transgression. The striking clarity of Agnes Sorel as the Virgin Mary does not exactly fit into this paradigm, but that only makes the concept of covert portraiture more interesting. Like all other things in art, there are as many techniques and meanings as there are artists and viewers.
Works Cited
Fouquet, Jean. "Virgin and Child with Angels." Accessed 30 May 2009. aiwaz.net/panopticon/virgin-and-child-surrounded-by-angels/gi1139c161.
MoodBook. Raphael. Accessed 30 May 2009. moodbook.com/history/renaissance/raphael-vatican-frescoes.html#g regory-ix-approving-the-decretals
Phelan, Joseph. "The Philosopher as Hero." Artcyclopedia. 2002. Accessed 30 may 2009. artcyclopedia.com/feature-2002-09.html
Pioch, Nicolas. "Fouquet, Jean." WebMuseum, Paris. 2002. Accessed 30 May 2009. ibiblio.org/wm/paint/auth/fouquet/
Raphael. School of Athens. Accessed 30 May 2009. newbanner.com/AboutPic/athena/raphael/nbi_ath4.html
The Role of Technology in Economic Development
Economic development is a topic more on the forefront of many people's minds these days, perhaps more so than at any other time in recent history. The global economic meltdown that, according to many economists, we might be nearing the end of has led to many different suggestions as to how to restore and strengthen economic growth. These suggestions have included many re-examinations and reminders of established relationships between external and (somewhat) more easily manipulated fields of endeavor and the development of the economy. One area of human achievement that has been quite strongly and clearly linked in economic development is technology, and specifically the way in which technology facilitates trade and the transfer of information. From the implementation of the wheel and onwards, the main purpose of technology has been to make work of any kind easier, which generally makes goods and services cheaper and more accessible, which creates economic development by increasing prosperity.
In our modern world, the immense and pervasive role that technology plays in our day-to-day lives has made its relationship with the economy and economic development quite complex. To a large degree, technology is about efficiency, both on the personal and the corporate and industrial levels (Microsoft 1999). This is as true of the wheel as it is of computers and the Internet, two of the most important recent technological developments. By enabling the transfer of goods and information in a more efficient way—that is, in a way that is easier (i.e. requires less work) and faster—more goods and services can be produced and consumed, which is the very essence of economic development in a capitalist system. This is the most simplistic—yet incredibly important and profound—way in which technology has an effect on economic development, and it has this effect since long before the beginning of recorded history.
There are also more complex ways in which technology affects modern economic development—according to Alan Greenspan, the technology sector (primarily the portion of the industrial and corporate sectors concerned with hardware and software development) "generated more than one-third of the nation's economic growth from 1995 to 1998" (Microsoft 1999). To a large degree, the economy of the United States and other developed countries has become dependent on their companies that deal directly, primarily, and perhaps even solely with technology. This creates a complex interplay between the technological development and economic development of a given region, country, or even the world. The technology industry was one of the hardest hit when consumer spending was cut in reaction to the current economic situation (Sams 2009).
This led, or at least partially contributed, to a cycle of both economic and technological stagnation. The reduced consumer spending across all sectors, including technology, has led to (and in part defines) a lack or reversal of economic development; at the same time, the companies that are first and hardest hit by such reduced spending must reduce costs in order to save money, and one of the quickest and most certain ways to do this is to stop the research and development of new technologies (Sams 2009). This, economic stagnation leads to technological stagnation, which means there will be fewer technological advancements both to make business more efficient, and also fewer products to sell (which would also encourage economic growth) (Sams 2009).
As this clearly shows, technology plays a huge and increasingly important role in the development of the economy. This complex relationship will continue to evolve with technology.
Works Cited
Microsoft. "Technology and Our Economy." 20 September 2009. Accessed 2 June 2009. microsoft.com/issues/essays/1999/09-20tech.mspx
Sams, Brad. "The Economy and Technology." 25 January 2009. Accessed 2 June 2009. neowin.net/news/main/09/01/25/the-economy-and-technology
Personal Statement
One of the most essential aspects of an individual's personality in the field of education is the ability to work comfortably and efficiently with those who perceive the individual as an authority figure. For this reason, I believe that my empathy and understanding of others is the character trait that best qualifies me—and will be most helpful to me—as I pursue my studies and career in education. I have no real desire to wield authority over anyone else, and do not believe that this is always (or even often) the most effective type of relationship to exist between an educator and their students. Yet I also understand that the perception of such authority often exists in students towards their instructors, and behaving in a manner that simply rejects this can lead to communication problems in the teacher-student relationship down the line. Even though I am actually made personally uncomfortable by situations that make others see me as a figure of authority, I realize that I cannot simply discount such perceptions and attitudes. I have learned, through various aspects of my education and my experience. To adequately and appropriately fill the roles of authority that others might endow me with even when I feel more comfortable in more equal relationships.
The pursuit of any field to a level of mastery will necessarily involve certain expectations from others not just in terms of the level of knowledge and expertise attained, but also in behaviors and attitudes. At the same time, it is necessary that a good educator be able to speak candidly about ideas and beliefs—which can often be sensitive areas—with their students, and this is not possible with the division of austere authority standing between them. I have been quite lucky in experiencing many situations where this balance was necessary from both sides of the situation, and believe that this has led to a great ability at assessing the correct balance to strike between professionalism and personability. The two concepts are not, of course, in direct opposition to each other, or even mutually exclusive, but at times a seeming relaxation of professionalism is necessary to put others at ease.
At other times, of course, certain people (generally those older than the typical high school or college student with whom I have had the majority of my leadership experience) much prefer the austere professionalism and distance of the stereotypical college professor. My empathy does more than allow me to strike the right balance between these two aspects, but also enables me to see what type of person I am dealing with, and what responses and attitudes from me help to put them most at ease. Participating in any type of education, as teacher, student, or in less strictly defined roles, requires this ease for truly effective progress and/or learning, making this empathy a very important quality that I possess.
At the same time, I also possess a great integrity. On some views, this might seem to contradict the shifting personalities I suggest myself of being capable of above. I am very strongly committed to my ethical and moral principles, and in no way do these alter based on my assessment of the students and peers that I interact with. On the contrary, my commitment to come to a true understanding of others and to develop the ability to offer real help to the people I interact with in these situations is best served by the subtle shifts made in the presentation of personality. It is my belief that everyone deserves to be dealt with openly and honestly, while at the same time ensuring that every interaction is as positive and productive as possible—which calls for conscious assessment.
Like everyone else I am largely a product of my experiences, and the combination of personal and professional experiences that have led to my current position, and my future goals, makes it clear how my integrity and empathy developed in tandem. Perhaps the most telling and all-encompassing experience I recently had, however, is actually a mixture of both personal and professional.
Over the past summer, I was afforded the opportunity to direct a large group of high school students (thirty-two actors and at least ten additional crew members) in a full-scale production of a British farce (Tom Stoppard's On the Razzle). I had had some theatrical experience prior to this, but nothing that prepared me for the extent of this undertaking. More than anything else, I found the many interpersonal interactions tremendously difficult. The many different personalities and egos at work during rehearsal and in production meetings proved very difficult to negotiate, especially given my own commitment to aesthetic quality. The added challenge of imparting knowledge to the students as we mounted a full production made my dual role of director/educator that much more complex, and required a careful balance of tone and method in achieving the desired results with each individual student. Some students responded better to straightforward requests, while others required more cajoling and/or explanations to fully embrace their work. Eventually, the production came together and was largely successful. I credit this largely to the hard work of all involved, but I believe this also stands a testament to my ability to get along with many different personalities, and to encourage success and progress in those who view me as an authority figure (as the high school students with whom I was working certainly did).
The production also reflects my integrity, which instills in me and my actions not only the desire for moral and ethical correctness but a desire to do everything to the absolute best of my capabilities, and not to accept substandard work from myself or those dependent on me. The twin qualities of empathy and integrity are, I believe, the most essential traits in an educator and in an effective student, and will be of great benefit to me in my future studies and career.
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