Asilhouette (English:/ˌsɪluˈɛt/,[1]French:[silwɛt]) is the image of a person, animal, object or scene represented as a solid shape of a single colour, usually black, with its edges matching the outline of the subject. The interior of a silhouette is featureless, and the silhouette is usually presented on a light background, usually white, or none at all. The silhouette differs from anoutline, which depicts the edge of an object in a linear form, while a silhouette appears as a solid shape. Silhouette images may be created in any visual artistic medium,[2] but were first used to describe pieces of cut paper, which were then stuck to a backing in a contrasting colour, and often framed.
Cutting portraits, generally in profile, from black card became popular in the mid-18th century, though the termsilhouette was seldom used until the early decades of the 19th century, and the tradition has continued under this name into the 21st century. They represented a cheap but effective alternative to theportrait miniature, and skilled specialist artists could cut a high-quality bust portrait, by far the most common style, in a matter of minutes, working purely by eye. Other artists, especially from about 1790, drew an outline on paper, then painted it in, which could be equally quick.
From its original graphic meaning, the termsilhouette has been extended to describe the sight or representation of a person, object or scene that isbacklit and appears dark against a lighter background. Anything that appears this way, for example, a figure standing backlit in a doorway, may be described as "in silhouette". Because a silhouette emphasises the outline, the word has also been used in fields such asfashion,fitness, andconcept art to describe the shape of a person's body or the shape created by wearing clothing of a particular style or period.
The wordsilhouette is derived from the name ofÉtienne de Silhouette, a Frenchfinance minister who, in 1759, was forced by France's credit crisis during theSeven Years' War to impose severe economic demands upon the French people, particularly the wealthy.[3] Because of de Silhouette'saustere economies, his name became synonymous with anything done or made cheaply and so with these outline portraits.[4][5] Prior to the advent of photography, silhouette profiles cut from black card were the cheapest way of recording a person's appearance.[6][7]
The termsilhouette, although existing from the 18th century, was not applied to the art of portrait-making until the 19th century. In the 18th and early 19th century, "profiles" or "shades" as they were called were made by one of three methods:
Pliny the Elder recounts the history of painting in books 34 and 35 of hisNatural History (c. 77 CE). In book 35, chapter 5, he writes of silhouette as a starting point in the development of painting:
In chapter 15, he tells the story ofButades of Corinth as an originator of this modeling technique:
Greekblack-figure pottery painting,[8] also known as the black-figure style or black-figure ceramic (Greek, μελανόμορφα, melanomorpha), common between the 7th and 5th centuries BCE, employs the silhouette and characteristic profile views of figures and objects on pottery forms. The pots themselves exhibit strong forms in outline that are indicators of their purpose, as well as being decorative.[9]
For the depiction of portraits, the profile image has marked advantage over a full-face image in many circumstances, because it depends strongly upon the proportions and relationship of the bony structures of the face (the forehead, nose and chin) making the image is clear and simple. For this reason, profile portraits have been employed oncoinage since theRoman era. The early Renaissance period saw a fashion for painted profile portraits and people such asFederico da Montefeltro andLudovico Sforza were depicted in profile portraits. The profile portrait is strongly linked to the silhouette.
Recent research atStanford University indicates that where previous studies of face recognition have been based on frontal views, studies with silhouettes show humans are able to extract accurate information about gender and age from the silhouette alone.[10] This is an important concept for artists who design characters for visual media, because the silhouette is the most immediately recognisable and identifiable shape of the character.[11]
A silhouette portrait can be painted or drawn. However, the traditional method of creating silhouette portraits is to cut them from lightweight black cardboard and mount them on a pale (usually white) background. This was the work of specialist artists, often working out of booths at fairs or markets, whose trade competed with that of the more expensiveminiaturists patronised by the wealthy.
A traditional silhouette portrait artist would cut the likeness of a person, freehand, within a few minutes.[12] Some modern silhouette artists also make silhouette portraits from photographs of people taken in profile.[6] These profile images are often head and shoulder length (bust) but can also be full length.[13]
The work of thephysiognomistJohann Caspar Lavater, who used silhouettes to analyse facial types, is thought to have promoted the art.[14] The 18th century silhouette artistAugust Edouart cut thousands of portraits in duplicate. His subjects included French and British nobility and US presidents. Much of his personal collection was lost in a shipwreck.[15] In England, the best known silhouette artist, a painter not a cutter, wasJohn Miers, who travelled and worked in different cities, but had a studio onthe Strand in London.[16] He advertised "three minute sittings",[17] and the cost might be as low ashalf a crown around 1800. Miers' superior products could be ingrisaille, with delicate highlights added in gold or yellow, and some examples might be painted on various backings, includinggesso, glass orivory.[18] The size was normally small, with many designed to fit into alocket, but otherwise a bust some 3 to 5 inches high was typical, with half- or full-length portraits proportionately larger.
In America, silhouettes were highly popular from about 1790 to 1840.
Thephysionotrace apparatus invented by FrenchmanGilles-Louis Chrétien in 1783-84 facilitated the production of silhouette portraits by deploying the mechanics of thepantograph to transmit the tracing (via an eyepiece) of the subject's profile silhouette to a needle moving on anengraving plate, from which multiple portrait copies could be printed.[19][20] Theinvention of photography signaled the end of the silhouette as a widespread form of portraiture.[6]
The skill was not lost, and travelling silhouette artists continued to work at state fairs into the 20th century.E. J. Perry andDai Vernon were artists active inConey Island at this time as well. The popularity of the silhouette portrait is being reborn in a new generation of people who appreciate the silhouette as a nostalgic way of capturing a significant occasion.
In the United States and the UK silhouette artists have websites advertising their services at weddings and other such functions.[6][21][22] In England there is an active group of silhouette artists.[23][12][24] In Australia,S. John Ross plied his scissors atagricultural shows for 60 years until his death in 2008.[25] Other artists such as Douglas Carpenter produce silhouette images using pen and ink.[26]
Since the late 18th century, silhouette artists have also made small scenes cut from card and mounted on a contrasting background like the portraits. These pictures, known as "paper cuts", were often, but not necessarily, silhouette images. European paper cuts traditionally have differed from Asian paper cuts, which are often made of several layers of brightly coloured and patterned paper, with many formal decorative elements such as flower petals.
Among 19th century artists to work with papercutting was the authorHans Christian Andersen.[27] The modern artistRobert Ryan creates intricate images by this technique, sometimes using them to producesilk-screen prints.[28]
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In the late 19th and early 20th century several illustrators employed designs of similar appearance for making book illustrations. Silhouette pictures could easily be printed by blocks that were cheaper to produce and longer lasting than detailed black and white illustrations.
Silhouette pictures sometimes appear in books of the early 20th century in conjunction with colour plates. (The colour plates were expensive to produce and each one was glued into the book by hand.) Illustrators who produced silhouette pictures at this time includeArthur Rackham andWilliam Heath Robinson. In breaking with literal realism, artists of the Vorticist, Futurist and Cubist[29][30] movements employed the silhouette. Illustrators of the late 20th century to work in silhouette includeJan Pienkowski andJan Ormerod. In the early 1970s, French artistPhilippe Derome uses the black cut silhouette in his portraits of black people. In the 21st century, American artistKara Walker develops this use of silhouette to present racial issues in confronting images.[31]
Originating in Asia with traditions such as the shadow theatres(wayang) ofIndonesia, the shadow play became a popular entertainment in Paris during the 18th and 19th centuries. In late 19th-century Paris, shadow theatre was particularly associated with the cabaretLe Chat Noir, whereHenri Rivière was the designer.[32]
Since their pioneering use byLotte Reiniger in silent films, silhouettes have been used for a variety of iconic, graphic, emotional, or conversely for distancing, effects in many movies. These include many of the opening credit sequences of theJames Bond films. The opening sequence of the television seriesAlfred Hitchcock Presents features a silhouetted profile ofAlfred Hitchcock stepping into acaricatured outline of himself, and in his moviePsycho, the killer in the shower scene manifests as a terrifying silhouette. A scene fromE.T. showing the central characters on a flying bicycle silhouetted against the full moon became a well-known movieposter.Harry Potter and the Deathly Hallows – Part 1 contains an animated sequence in silhouette illustrating a short storyThe Tale of the Three Brothers that is embedded in the film. The sequence was produced byBen Hibon forFramestore, with artwork byAlexis Lidell.
Silhouettes have also been used by recording artists inmusic videos. One example is the video for "Buttons" byThe Pussycat Dolls, in whichNicole Scherzinger is seen in silhouette.Michael Jackson used his own distinctive silhouette both on stage and in videos such as "You Rock My World". EarlyiPod commercials portrayed silhouetted dancers wearing an iPod and earbuds.
The cult television program,Mystery Science Theater 3000 features the three main characters of the series watching a movie as silhouettes at the bottom of the screen.
The discipline of architecture that studies the shadows cast by or upon buildings is calledsciography.
The play of shadows upon buildings was very much in vogue a thousand years ago as evidenced by the surviving examples ofmuqarnas decoration, where the shadows of three-dimensional ornamentation with stone masonry around the entrance of mosques form pictures. As outright pictures were avoided in Islam, tessellations and calligraphic pictures were allowed, "accidental" silhouettes are a creative alternative.[33][34]
Many photographers use the technique of photographing people, objects or landscape elements against the light, to achieve an image in silhouette. The background light might be natural, such as a cloudy or open sky, mist or fog, sunset or an open doorway (a technique known ascontre-jour), or it might be contrived in a studio; seelow-key lighting. Silhouetting requires that the exposure be adjusted so that there is no detail (underexposure) within the desired silhouette element, and overexposure for the background to render it bright; so, alighting ratio of 16:1 or greater is the ideal. TheZone System[35] was an aid to film photographers in achieving the required exposure ratios. High contrast film, adjustment of film development,[36] and/or high contrast photographic paper may be used in chemical-based photography to enhance the effect in the darkroom.[37] With digital processing the contrast may be enhanced through the manipulation of the contrast curve for the image.[38]
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In media the term "to silhouette" is used for the process of separating or masking a portion of an image (such as the background) so that it does not show. Traditionally silhouettes have often been used in advertising, particularly in poster design, because they can be cheaply and effectively printed.
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The word "silhouette", because it implies the outline of a form, has been used in both fashion and fitness to describe the outline shape of the body from a particular angle, as altered by clothing in fashion usage, and clothed or unclothed where fitness is concerned,(e.g. a usage applied here by the Powerhouse Museum). Advertising for both these fields urges people, women in particular, to achieve a particular appearance, either bycorsetry,diet orexercise. The term was in use in advertising by the early 20th century. Manygyms and fitness studios use the word "silhouette" either in their name or in their advertising.[39]
Historians ofcostume also use the term when describing the effect achieved by the clothes of different periods, so that they might describe and compare the silhouette of the 1860s with that of the other decades of the 19th century. A desirable silhouette could be influenced by many factors. The invention ofcrinoline steel influenced the silhouette of women in the 1850s and 60s. The posture of thePrincess Alexandra influenced the silhouette of English women in theEdwardian period.
Because silhouettes give a very clear image, they are often used in any field where the speedy identification of an object is necessary. Silhouettes have many practical applications. They are used fortraffic signs. They are used to identify towns or countries with silhouettes of monuments or maps. They are used to identify natural objects such as trees, insects and dinosaurs. They are used inforensic science.[40]
For interviews, some individuals choose to be videotaped in silhouette to mask their facial features and protect their anonymity, typically accompanied by a dubbed voice. This is done when the individuals may be endangered if it is known they were interviewed.
Computer vision researchers have been able to build computational models for perception that are capable of generating andreconstructing 3D shapes from single or multi-view depth maps or silhouettes[41]
Silhouettes have also been used to create images that serve as business documents.[42][43] Slave owners have had silhouettes made of the people they enslaved in order to document them as property and in order to accompany other business documents such as abill of sale.[44][45]
Silhouettes of ships, planes, tanks, and other military vehicles are used by soldiers and sailors for learning to identify different craft.
Media related toSilhouettes at Wikimedia Commons
