HHHoliday • 英国的肖像:A Brief Summary of The Face of Britain 不定期更新
"Every portrait is the result of a three-way contest. First of all there’s the vanity of the sitter, of course—how we think we’d like to be seen. But then there’s the job of the artists who mischievously complicate that vanity. And then, not least, there is the verdict of the public. And it’s this three-way game which gives portraits their complexity, their richness and their intrigue."
以温斯顿·丘吉尔（Winston Churchill）的晚年开头（Graham Sutherland’s Churchill），盛年结尾（Yousuf Karsh’s Churchill）。中间按照时间顺序讲述了faces of power。
为庆祝丘吉尔八十岁生日而作，《王冠》里有这一情节。丘吉尔说：“The portrait is a remarkable example of Modern Art.” 后来将此画烧毁。
This is a portrait of a magnificent ruin. Britain’s triumph in the 1950s is that it is full of magnificent ruins, being magnificent and being ruined is the battle of Britain, it is the British history. If only the picture was still here, we would all love and revere it and say “this is Britain.”
What they wanted was Bulldog bravura, implacable strength, indomitable resolve.
从伊丽莎白一世（Queen Elizabeth I）的彩虹肖像画（the Rainbow Portrait），到安东尼·凡·戴克（Anthony van Dyck）的查理一世（Charles I）。
Christ in majesty replaced by the King in majesty.
Emblem, allegory, symbol, fantasy, visual hyperbole is what it’s all about.
It’s an amazing piece of visual performance which situates this picture exactly between the theatrical and the spectacular on the one hand, and the creepy and the paranoid and the vigilant on the other hand.
从斯宾塞家族（The Spencers）的崛起及其衍生出的dynastic portraits，到18世纪以詹姆斯·吉尔雷（James Gillray）为代表的政治讽刺画的盛行。
Laughter and liberty danced freely around the pretentious of the mighty.
照相技术的出现重塑了英国皇室甚至君主立宪制的形象。
叙述由撒切尔夫人（Margaret Thatcher）对个人形象的重视转向唐宁街十号里的历届首相肖像，一气呵成。
No place capture the spirit of British democracy like number 10.
Most of the portraits ever painted have been of the great and the good, who’ve paid handsomely to look their best. But there’s always been a rogue strain—a glorious strain in British art that tells it like it is—according to which, all humanity is fit for portrayal.
提起诺丁山，脑子里浮现的是朱莉娅·罗伯茨和休·格兰特主演的电影。诺丁山位于伦敦西区，是一个世界各地居民混居区域。在上世纪五十年代更是race riots的代名词。以牙买加移民 Charlie Phillips 为引，进入主题——Faces of the People。
No dogs, no blacks, no Irish—that was the era we were live in.
威廉·霍加斯（William Hogarth），英国绘画之父
Art in Britain was about pleasing the King and the court and the aristocracy. There was no grundy theatre of seeing art, until along comes Hogarth.
John Kay的蚀刻画与爱丁堡人民
History isn’t just made up of self-important, swaggering people making grandiose public utterances in big, public spaces. It’s also made up of the Margaret Sutties and the Andrew Donaldsons—an infinity of wonderful characters, with whom history losses all its richness, all its human variety, all its reality, and we would not know about any of these people, were it not for the quizzical eye and large heart of John Kay.
Silhouette剪影（个人认为这个角度很特别）
福特·马多克斯·布朗（Ford Madox Brown ）加入了拉斐尔前派，但从未成为该运动的一员。
Henry Tonks以在一战中毁容的士兵们为原型进行创作。（不放太多图，可能会引起不适）
The Singh Twins印度二代移民，融合东西文化元素，还谈到了八十年代求学期间，老师认为亚洲文化/东方文化是落后的以及移民的自我身份认知。画作色彩极为丰富，对我来说是视觉享受。
Their determination to be both Sikhs and Britons find expression in all of their work, which uses ancient techniques of Indian miniature painting to tell contemporary British stories.
