(music) Female: This is a really strange painting, I think, with this man sticking his head into this room and this
woman taking up this space He looks very stiff. Every time I see it at the Met I pause in front of it bcause it seems so odd. Male: It is a very unusual
painting to our eyes. At the time, it was painted around 1440, it was actually very innovative for the Italian Renaissance. This is exactly the
period when portraiture emerged in Italy as its own independent type of painting. Female: How come there
weren't portraits before that? Male: Well, there were
portraits before that but they were usually integrated into larger compositions, like a historical or biblical narrative. It's around 1440 in Florence and Ferrara and north central Italy that portraiture becomes its own type of painting. Female: So before that,
a person could appear in a painting as a donor. Male: In a way, this painting is typical of early Renaissance portraiture because we see the main subject, the woman, in profile. The profile is the standard format because it was part of the revival of Classical antiquity. Of course many coins
and metals had survived from ancient Greece
and Rome, and they show people in profile, so that's the format painters and sculptors
chose in the beginning. Female: There's a kind of
formality and seriousness to that pose that I think is
important for them, right? Male: Absolutely. Since the sitter is
represented in profile, not looking out at the viewer, the artists were really limited in terms of how they could represent a person's
facial expressions or character, and so the
way that was usually done was mostly through symbolism. Rather than using facial expressions to describe what someone's interior characteristics and personality was like, they would use symbols and iconography. Like for here, for instance,
we see the very pale skin, representative of purity;
the very expensive clothing, representative of her wealth. Generally, female beauty was taken as a real sign of interior virtue. So we're supposed to understand that she is very virtuous from
the way that she looks. Female: And that was considered to be very beautiful to have
a very high forehead, wasn't it? Male: They plucked their hairline. It's also worth noting, in terms of this being a representation of a woman, that this is probably
one of the very first Italian Renaissance wedding portraits. These kinds of portraits were used in arranged marriages for the purpose of introducing the man to his fiancee. They probably never met before, but her family or his family commissioned Fillippo Lippi to paint this portrait of her to
show the husband-to-be what she looked like. Female: So this is interesting, also, from the point of view of it
being a a portrait of a woman, she's very much in an enclosed space where the man is outside of that space. Male: He's in the outside public realm. She is confined to the domestic sphere. She's also represented very passive, very object-like. In a way, she's just
another beautiful object like her fancy broach or her fancy clothes that he's looking inside
at and appreciating. Female: Literally, she was property. Male: Absolutely. When a woman married a man in the Renaissance, she and all her belongings became the legal property of her husband. Female: Let's look at
another example of a portrait of a woman, a famous portrait of a woman, from, what, about 50 or 60 years later, in the High Renaissance and Leonardo does something really very different than Frau Fillippo Lippi did, because we really see her face here. Male: Sure. Here, Leonardo did something rather revolutionary for
portraiture of women. He's turned her so that
her face is looking out at the viewer. This is what we call a
three-quarter profile, that's not entirely frontal, but there is a direct engagement. Rather than sitting there passively not returning the viewer's glance, the Mona Lisa looks us right in the eye and engages with us, almost as an equal rather than a passive object. Because she looks us right in the face, Leonardo takes the opportunity to suggest what she's like, suggest her personality through her enigmatic facial expression. You'll notice she's not
wearing any jewelry. Her clothing is not that particular. She doesn't have a fancy headdress. Leonardo is giving up, he's not using iconography and symbolism to describe what someone is like, but he's actually representing what someone might be like. Now, what we should understand is that this painting was probably painted for her husband, and that might explain why she's positioned and
looking the way she is. If you look at the chair, you'll see that she's actually sitting sideways out on a balcony, and yet
her face turns toward us. So maybe the suggestion
is that the Mona Lisa was sitting in her chair on the balcony, her husband approaches, and she turns and looks at him, and this is the expression on her face, of recognition and intimacy. This is not a wedding portrait. This is for a couple
that is already married. When we look at this, we should imagine the husband standing in front of it. Then it makes a lot more sense. (jazzy music)