Others, like Guillaume Rouilles Promptuaire des Medalles (1553), articulate a growing sense that "true" images should rely upon physiognomic likeness in representing their subjects. 16th Century Italian Renaissance Extremely Rare Oil Painting Portrait of a Lady, circa 1535 Ecce Homo 16th Century Dutch Old Master Oil Painting Wood Panel Ecce Homo Dutch School, 16th century Follower of Lucas van Leyden (1494-1533) oil painting on wood panel, framed panel: 8.5 x 6.75 inches framed: 12 x 10 inches provenance: private c. This fact works against our simply saying that in the 1500 painting, we see Dürer as Christ. According to this representational paradigm, images need only be distinctive and memorable to be "true" artists could thus produce "true" images entirely from fantasy. Dürer painted at least 8 self-portraits, and they would likely have been known to his contemporaries. A Knight of the Rehlinger Family by Unknown German Artist, 1540. Portrait of a Member of the Wedigh Family, 1532. Several of these books, such as Jean Bouchet's Anciennes et modernes généalogies des Roys de France (1528), derive their understanding of likeness from earlier medieval concepts of visual representation, in which images play a crucial role in mnemonic systems. Agnolo Bronzino, Portrait of Ugolino Martelli, c. Through an examination of a group of books containing "effigies" of the kings of France, this article charts the development of modern concepts of portraiture during the sixteenth century. Portrait of a Christian II, King Of Denmark & Norway, 16th Centuryfollower of Michael Sittow (14691525)Fine 16th Century Netherlandish Old Master portrait of King Christian II of Denmark, oil on canvas.
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