The subjects of portraiture have historically been rulers, people with exulted social roles or people who could afford to commission an artist. However, after the 1848 revolution in France, the realists (such as Courbet and Millet) could exult the rural poor as high subject matter since it was socially acceptable to do so (2). Nochlin notes that this was a significant development as, "by painting peasants au sérieux, without any idealisation, on the scale and with the earnestness and seriousness formerly reserved for history painting, they were making an assertion of value that at once assumed contemporary relevance, in the context of mid-century social history" (3).
Taking a step back from such assertions of social value, the French Impressionists following them painted family and friends as subjects of their light observations and parts of middle-class life. However the development of describing an individual’s likeness in a cheaper, more affordable form came with the advent of photography in the 19th century. While in the 20th century this led to the proliferation of images and photographic portraits of all types of people from contrasting social backgrounds, this investigation shall purposely focus on what intersects with the painted or drawn portrait.
(Gustave Courbet, The Stone Breakers, 1849, Oil on canvas, 165.1 x 238.8 cm)
(Pierre-Auguste Renoir, The Luncheon of the Boating Party, 1881, Oil on canvas, 129.5 x 172.7 cm)
Taking a step back from such assertions of social value, the French Impressionists following them painted family and friends as subjects of their light observations and parts of middle-class life. However the development of describing an individual’s likeness in a cheaper, more affordable form came with the advent of photography in the 19th century. While in the 20th century this led to the proliferation of images and photographic portraits of all types of people from contrasting social backgrounds, this investigation shall purposely focus on what intersects with the painted or drawn portrait.
(William Fernyhough, Mickie, Lake Macquarie, Newcastle, 1836, Print, planographic, 22.4 x 28.4 cm)
In colonial Australia (from the 1830s) series of lithographic portraits that documented groups of people became popular. Some were concerned with presenting the ‘typical’ in the society, while others sought to be more comprehensive in documenting an entire community, such as an aboriginal tribe. Such groupings are revealing of colonialist perspectives and values with regard to different people groups and social roles. From the groups we see decisions as to whether settlers should be separated from aborigines, whether women and children were of equal interest as men, or whether they should be included at all (4). Bonyhady notes that while women would generally be presented as much as men in Aboriginal groupings, in sequences featuring colonists they were rare (5).
Nowadays in middle-class Australia, living in the environment of post-feminism, a policy of multiculturalism and official repentance over the stolen Aboriginal generations, many people may take social equality for granted. If someone has access to good education there is the assumption that if they work hard enough they can become whatever they want. They can become great. They can become a politician or someone famous and have their portrait commissioned in honour of their illustrious career. Yet what about someone who went to the same school, left at year 10, studied building at TAFE, twenty years later they damaged their back, were unable to work and so became homeless? Are they as a person less valuable than the class mate who became a politician?
Nowadays in middle-class Australia, living in the environment of post-feminism, a policy of multiculturalism and official repentance over the stolen Aboriginal generations, many people may take social equality for granted. If someone has access to good education there is the assumption that if they work hard enough they can become whatever they want. They can become great. They can become a politician or someone famous and have their portrait commissioned in honour of their illustrious career. Yet what about someone who went to the same school, left at year 10, studied building at TAFE, twenty years later they damaged their back, were unable to work and so became homeless? Are they as a person less valuable than the class mate who became a politician?
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