his penetrating, argumentative, and learned book leaves one wishing for more is a tribute to its intellectual candor and conviction.” “Perkinson writes illuminatingly on the ‘discourse of likeness’ in the late Middle Ages. Julian Gardner, National Gallery of Art, Washington, DC | Art Bulletin Through an examination of well-known images of the fourteenth- and early fifteenth-century kings of France, as well as largely overlooked objects such as wax votive figures and royal seals, Perkinson demonstrates that the changes evident in these images do not constitute a revolutionary break with the past, but instead were continuous with late medieval representational traditions. Focusing on the Valois court of France, he argues that local practice prompted shifts in the late medieval understanding of how images could represent individuals and prompted artists and patrons to deploy likeness in a variety of ways. Unwilling to accept the anachronistic nature of these claims, Perkinson both resists and complicates grand narratives of portraiture art that ignore historical context. But did portraits, as such, exist in the medieval era? Stephen Perkinson’s The Likeness of the King challenges the canonical account of the invention of modern portrait practices, offering a case against the tendency of recent scholarship to identify likenesses of historical personages as “the first modern portraits.” Anyone who has strolled through the halls of a museum knows that portraits occupy a central place in the history of art.
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