What Is a Tronie in the History of Portraiture?

During the Dutch Golden Age, a period of thriving artistry spurred by economic stability and urban expansion, portraiture emerged as a beloved genre. Amidst this, a particular painting style known as tronie, though less recognized today, raises an intriguing question: how does tronie differ from the traditional portrait?

Tronies, often showcasing exaggerated facial expressions, typically portrayed anonymous figures, a stark departure from commissioned portraits linked to specific sitters or individuals. They served as studies of human expression, physiognomy, or character, delving into aspects like age or race. These works zoomed in on the head or bust, emphasizing diverse features to highlight the artists’ mastery of color and light. In the rich allegorical landscape of the Baroque era, tronie took on multifaceted roles, symbolizing both positive and negative human traits and occasionally representing divine figures like God, Christ, saints, or angels. Intriguingly, these paintings found their way into the art market without any clear identification of the subject depicted.

Left: Leonardo di Vinci – Grotesque Head, between circa 1482 and circa 1499. Black chalk and charcoal. Height: 38.2 cm (15 in); width: 27.5 cm (10.8 in). University of Oxford. Image via Creative Commons. / Right: Frans Floris – Portrait of an Elderly Lady, 1558. Musée des Beaux-Arts de Caen. Image via Creative Commons.

The Origin of a Tronie

While the term “tronie” lacks a precise definition in art history, it generally referred to the portrayal of a face, encompassing the head and bust, rarely extending to the entire body. This artistic expression is primarily manifested in paintings, though there exist a few instances of cronies depicted in sculpture.

The roots of this genre trace back to the 16th century in the Low Countries, comprising regions now known as Belgium, the Netherlands, and Luxembourg. Tronie’s origins are often linked to the grotesque paired heads presented in profile by Leonardo da Vinci, a notable Italian master. Another influential predecessor of this style can be found in Quentin Massys’ iconic painting, The Ugly Dutchess. Artists in the Low Countries adopted Leonardo’s dual representation, exemplified by the work of Joannes and Lucas van Doetecum, who engraved seventy-two heads around 1564 or 1565, credited to Pieter Brueghel the Elder, drawing from this paired model.

During this period, painters used live models for tronies, often employing them in the creation of larger historical compositions. Many artists amassed collections of head studies as preparatory sketches for their portraits, such as those crafted by Frans Floris around 1562, which evolved into individual artworks. This Flemish painter generated these head studies for personal use and to guide assistants and apprentices in his workshop. Over time, these paintings gained favor among local art enthusiasts, now standing as remarkable reflections of the artistic culture of Antwerp, their place of origin.

Left: Frans Hals – The Mulatto, circa 1628. Oil on canvas. Height: 75.5 cm (29.7 in); width: 63.5 cm (25 in). Museum der bildenden Kunste. Image via Creative Commons. / Right: Lucas Franchoys the Younger – A man removing a plaster, the sense of touch. Image via Creative Commons.

The Peak of Popularity

During the 17th century, the art of tronies became widespread across the Dutch Republic, notably flourishing in cities like Leiden and Haarlem. Jan Lievens, a painter from Leiden, played a pivotal role in elevating the tronie genre by drawing inspiration from the study heads of revered masters like Rubens and van Dyck. At a certain point, Lievens dedicated himself entirely to portraying heads or busts. Even the celebrated painter Frans Hals, based in Haarlem, delved into tronie painting, creating iconic works such as the Gypsy Girl. Similarly, artists from Hals’ hometown, including Facnhoys Elaut, Pieter de Grebber, and Adriaen van Ostade, practiced this genre.

As Rembrandt gained prominence, tronie evolved into an independent art form. Some of the master’s self-portrait etchings and depictions of family members are considered tronies. Among the most renowned works in Western art history, Vermeer’s Girl with a Pearl Earring and Young Girl with a Flute are also categorized as tronies.

Learn more about the legacy of Rembrandt’s paintings.

Adriaen Brouwer, a Flemish painter, was noted for his adeptness in the genre, marked by expressive depictions often portraying figures from the lower class. His vibrant works exude an array of emotions, exemplified in pieces like Youth Making a Face, capturing the quintessence of tronie.

Tronies also served as a means for artists to explore the allegory of the five senses. Works like Lucas Franchoys the Younger’s A Man Removing a Plaster, symbolizing the sense of touch, and Joos van Craesbeeck’s painting The Smoker, representing taste, stand as prime examples of this thematic exploration within the genre.

Left: Adriaen Brower – Youth Making a Face, between 1632 and 1635. Oil on canvas. Height: 13.7 cm (5.3 in); width: 10.5 cm (4.1 in). National Gallery of Art. Image via Creative Commons. / Right: Joos van Craesbeeck – The Smoker, circa 1635 -6. Height: 41 cm (16.1 in); width: 32 cm (12.5 in). Louvre Museum. Image via Creative Commons.

The Significance of Tronie

The tronie, despite its connection to the portrayal of an actual person embodying a historical or mythological figure, was a genre cherished by many for an extended period. Its popularity in the Netherlands led to a vibrant market where these paintings were accessible to a wider audience due to their affordability.

This genre, seemingly tailored for the masses, often depicted the inherent dualities within each individual. In this regard, tronie was yet another genre of the time and region that conveyed moral values and held relevance in public life. Over time, it earned legitimacy and influenced the evolution of portraiture.

Exploring art history further reveals the legacy of tronie in the works of Francisco Goya and, well into the 20th century, in the paintings created by artists associated with Expressionism or the New Objectivity movement. This suggests an interpretation of tronie as a socially charged genre that favored portraying society’s marginalized individuals – beggars, those with mental challenges, and others. Regardless of the final conclusion drawn, this genre left a lasting impact on human perception of self and others, provoking contemplation on matters of representation even in today’s digital age.