Aimee Ng: "Truth and Fiction in Italian Renaissance Portraiture"

Ian Wardropper, director of The Frick Collection, introduces a lecture on the exhibition 'Moroni: The Richness of Renaissance Portraiture'. The exhibition, featuring works by Giovanni Battista Moroni, is the first major show on this artist in North America. The lecture is given by Aimee Ng, associate curator at The Frick, who provides a professional background and overview of her involvement in past exhibitions.

Aimee Ng discusses the collaborative effort behind the Moroni exhibition and acknowledges contributions from co-curators and colleagues. She addresses the newfound attention on Moroni's work, specifically his influence on European portraiture and the socioeconomics of his patrons. She prompts conversations on the genius of Moroni and his portrayal of individuals like 'The Tailor', challenging notions of artistic fame and historical bias.

Ng explores Moroni's work, highlighting the artist's focus on portraiture over religious paintings. She contemplates Moroni's choices and the factors influencing his artistic output, including geographic and market constraints, hypothesizing on opportunities for artistic expression and genius outside major art centers. She uses Moroni's repeat patrons and stylistic formulas as a lens to discuss the artist's market-driven choices.

Ng challenges perceptions of Renaissance art, questioning the balance of realism and idealization in portraiture. She examines Moroni's 'naturalism', exploring how this woodworking factor is perceived both positively and negatively. By comparing Moroni to other artists, Ng discusses how historical critique often misses the nuanced artistry within his seemingly straightforward works.

Ng continues examining Moroni's artistic strategy, dissecting his use of models, backgrounds, and composition. She introduces the concept of 'sacred portraits', paintings that blend portrait and religious imagery, showcasing Moroni's innovative approach within traditional portraiture. Ng suggests that Moroni's regional position may have afforded him artistic freedoms unencumbered by the conventions of larger art centers.

Ng analyzes Moroni's choice of materials and craftsmanship by juxtaposing paintings with period artifacts. She reveals the intricate processes behind luxury items depicted in Moroni's work, emphasizing the artistic liberties Moroni took in rendering details, such as rich fabrics, to achieve a particular visual impact, thus highlighting the sophistication in his artistic decisions beyond mere replication of reality.

Ng focuses on specific portraits, revealing Moroni's dedication to capturing material authenticity through careful artistic manipulation of textures and details, such as in depicting brocade fabrics. This detailed exploration serves to illustrate Moroni's technique in balancing painterly abstraction with a semblance of detailed reality, challenging the notion that his works were simple mirrors of the real world.

Ng reflects on the broader cultural and geographic influences in Moroni's work. She asserts that despite working within regional confines, Moroni's art was informed by a rich tapestry of cultural exchanges, seen in the inclusion of diverse influences and objects within his portrayals. This point highlights the global connections present in seemingly 'local' art, enriched by a flow of people and goods from beyond Italy.