It is unquestionably true that ‘the only good portrait is a realistic portrait’. This is because a realistic portrait conveys the subject’s distinctive and idiosyncratic features and can be used for propaganda purposes. This is noticeable both in the Renaissance and in the art of Ancient Rome. Therefore, it is beyond question that 'the only good portrait is a realistic portrait'.
It is indisputable that 'the only good portrait is a realistic portrait'. This statement is evident in Ancient Roman culture and art, spanning from 500 BCE to 450 CE. Early Roman portraiture was highly characterized, where they decided to depict all the idiosyncratic and detailed features of a person, even to the extent that if a person was not known to have complimentary features, they would not adjust a thing. These realistic types of portraiture were used for propaganda purposes, communicating messages through the pose, figure, gesture and costume of the human subject. An example of this is ‘Augustus of Prima Porta’, a full-size portrait statue of Roman Emperor Augustus Caesar. The pragmatism of the sculpture is clearly explored through numerous parts of Augustus’ body and his costume choice. Through the use of many techniques, the Ancient Romans have effectively portrayed Augustus’ as a superior, controlling authoritarian through his strong stature and tranquil facial expressions. The portrait portrays him as strong and a commanding leader to his enemies and to the people of Ancient Rome. Therefore, it is undoubtedly true 'the only good portrait is a realistic portrait’.
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A further artwork that cements the idea that ‘the only good portrait is a realistic portrait' is ‘Head of a Roman Patrician’. This Ancient Roman sculpture was created at a time when Roman culture preferred realistic portraiture rather than idealized portraiture. ‘Head of a Roman Patrician’, created in 1st-century BCE, exhibits a high level of verism or natural realism in art and literature. Instead of coping large marble statues of idealized Greek gods as previously popular, the anonymous sculpturer decided to focus mainly on formerly considered human ‘flaws’ such as his wrinkled and saggy skin. This bust also majorly emphasizes the subject’s age - therefore, leading the audience to believe the subject to have been wise. This was conveyed through distinct wrinkles carved into his face and neck. Evidently, it is obvious that 'the only good portrait is a realistic portrait'.
Another example, coming this time from the Renaissance, supporting the statement 'the only good portrait is a realistic portrait', is ‘Man in a Red Turban’ by Flemish artist Jan Van Eyck dating to 1433. The technique of realism in this piece of art helps the onlooker see what the person really looked like and gives them an insight into how much they cared about their appearance. This technique of realism was very sort after in the Renaissance period, which spanned from 1300CE-1600CE. These portraits were used to depict a subject’s true features and a mirror image for us to now imagine what they really looked like. Van Eyck conveyed realism in the painting from the color scheme through to the prominent and distinctive features of the subject, widely considered to be a self-portrait of the artist himself. Van Eyck used realism efficiently to convey idiosyncratic features and convey what the subject really looked like. Thus, cementing the statement 'the only good portrait is a realistic portrait'.
Subsequently, realistic portraiture is the truest form of portraiture as it conveys the person’s distinctive and idiosyncratic features and depicts their true self. This point is highlighted by many works of art from Ancient Rome and the Renaissance, such as ‘Augustus of Prima Porta’, ‘Head of a Roman Patrician’ and the painting ‘Man in a Red Turban’. Thus, it is obvious that 'the only good portrait is a realistic portrait'.
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