Episode 52 - Wizarding Portraits: Paint Me Like One of Them French Girls

Episode 52 – Wizarding Portraits: Paint Me Like One of Them French Girls

Join hosts Sam, Sierra, Sophia, and guest Matthew as they discuss the magic behind wizarding portraits and paintings.

In this episode:

  • Differences between paintings and photography
  • How does distance work in paintings?
  • Are wizard paintings the magical version of AI?
  • 2 years in, we have now introduced the “podcast canon”
  • Gilderoy Lockhart’s paintings obliviate the other paintings
  • Is it possible to create fantasy characters in paintings?
  • Argus Filch, the painting restorator and curator

Resources:

Posted in Episodes, Sam, Sierra, Sophia, Topics.
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Louise Freeman Davis
Guest
11 days ago

When I think of transitions in Strike, the first thing that comes to mind is the Blue Land Rover, which is practically a character, along with the Denmark Street office.

TheWeaponWeHaveIsLOVED
TheWeaponWeHaveIsLOVE
4 days ago

A few thoughts!

Filch’s job as a caretaker could include:

  • being in charge of the house elves. Basically being their line manager. Yes, elves do the bulk of the work, but someone will still be in charge. Caretakers in the past might have been wizards, and even though Filch is not, his title as a Caretaker of Hogwarts (endorsed by Dumbledore) is probably enough for house elves to accept his authority.
  • lots and lots of filing. There appears to be an archive of detention records + all the stuff confiscated. Filch seems to be in charge of keeping it all together (with varying degree of success)
  • he probably oversaw some minor detentions or used to be in charge of minor corporal punishment when it still existed. You don’t need magic to hit someone with a ruler or a cane.
  • being a mischief deterrent for students from misbehaving. Sure, older students don’t give a shit, but he’s plenty intimidating to the younger ones.

Regarding portrait painting:

  • pre-photography became widespread, portrait painting was more of a trade than art as we understand it in the modern world. You would apprentice to a portrait painter in your teens and learn the trade.
  • Aristocracy and aristocracy-adjacent people, like the sacred 28, would probably have an established relationship with a particular painter (I imagine the trade could have run in families for generations, like wand-making for various Ollivanders throughout centuries), so they won’t have to try that hard to pretend to like the subject of the painting. It’s business and they are professionals.
  • regarding people not liking to be in random paintings – artists used to routinely use models for painting, who were paid. So it was a source of income for someone, even if they didn’t get a “named” painting from it.

Regarding learning art/portrait painting in Hogwarts:

  • I think this would have been considered not a core subject (like Charms, Transfigurations, and Potions, for example). So it was probably only taught when there was a teacher at Hogwarts with particular interest in this.
  • This is not uncommon in the UK – some subjects’ availability comes and goes with staff, e.g. my son’s school used to offer GCSE Psychology, but no longer does it because the Art teacher who used to teach it has left. She was hired to teach Art, but was qualified to teach psychology as well, so not as crazy as it sounds 😀
AbsentMindedRavenD
AbsentMindedRaven
3 days ago

French cats – way to undermine the bit! :o)

At one point I made a “ooooOOoooo” noise that I don’t think we ever came back to: it was the thought that, if portraits can develop and grow based on their own experiences, you could have a subject and their portrait that (while starting out the same when the portrait was painted) diverge and become very different people.

Last edited 3 days ago by AbsentMindedRaven