Portrait of a Young Woman
101 x 127 cm Institue of Arts, Detroit This portrait is painted on the reverse of the Nightmare. The portrait is generally believed to be of the woman Fuseli loved, Anna Landolt, who was a niece of the Zerich physiologist Johann Caspar Lavater (1741-1801). Lavater and Fuseli were close friends, but Fuseli's suit was rejected by Anna's parents, and it may not be coincidence that the portrait is on the reverse of his painting The Nightmare. Artist: FUSELI, John Henry Title: Portrait of a Young Woman , painting Date: 1751-1800 Swiss : portrait
Painting ID:: 62845
1475 Tempera on panel, 61 x 40 cm Galleria Palatina (Palazzo Pitti), Florence There are several assumptions concerning the identity of the young woman (Simonetta Vespucci, Clarice Orsini, Fioretta Gorini etc.). The picture was partly repainted. The sleeve of the robe covers the left hand in a very unnatural way. The lock of hair coming loose from her bun gives a more spontaneous feeling to this severe profile portrait. The half length figure is slightly to the left of the centre of the picture. Behind her is a dark window frame and it contrasts with the gentle flow other contours. The attribution of the work to Botticelli is disputed. Artist: BOTTICELLI, Sandro Painting Title: Portrait of a Young Woman , 1451-1500 Painting Style: Italian , , portrait
Painting ID:: 62943
1518-19 Oil on wood, 85 x 60 cm Galleria Nazionale d'Arte Antica, Rome Much of Raphael's energy during his last years was directed toward public activity, or at least toward commissioners who were influential in city life and life within the Papal States (he designed a villa, known as the Villa Madama, for Cardinal Giulio de' Medici). Furthermore, many critics attribute to him a series of compositions of the Holy Family and of Saints which were then executed by his followers. The famous portrait of a young woman, called La Fornarina, must also be viewed in this perspective, although it is signed, in Latin, "Raphael from Urbino". The signature is engraved on the thin ribbon that the girl wears just under her left shoulder. Tradition identifies her with Margherita Luti, a Sienese woman whom Raphael loved, the daughter of a baker from the Roman district of Santa Dorotea. The stiffness of her features and the heavy chiaroscuro effect make La Fornarina an almost certain workshop piece with the contribution of Raphael, for Raphael's own work from this period is far more delicate. There are several old copies of this painting, the most famous in the Galleria Borghese.Artist:RAFFAELLO Sanzio Title: Portrait of a Young Woman (La Fornarina) Painted in 1501-1550 , Italian - - painting : portrait
Painting ID:: 63786
1440 Silverpoint on prepared paper, 166 x 116 mm British Museum, London The finest of the drawings ascribed to Rogier is the Portrait of a Young Woman. In its freshness of observation and lively expression the drawing comes closest to the painted portrait of another young woman (Staatliche Museen, Berlin), although in contrast to that painting - probably the earliest of the independent portraits by Rogier still extant - the draftsman has modeled the face with much greater plasticity, using light and shade to make shapes like the eyelids appear more rounded and fleshier. This factor in turn links the drawing closely to a portrait of a woman ascribed to the Master of Fl?malle, now in the National Gallery, London, and to the faces in Rogier's earlier Deposition (Prado, Madrid). The strong, bright reflections on the shaded areas of the sitter's throat and cheeks also adopt a method frequently used by Jan van Eyck to heighten the sense of three-dimensionality. By comparison with the chiaroscuro and the powerful three-dimensional style of the drawing, the painted face of the young woman in the portrait appear generally more linear - paradoxically, one might almost say more like a drawing. The draftsman's intention of placing several strong contrasts of light and shade side by side also matches the effects in the Deposition. Like the shaded side of the head of the Virgin, the right-hand side of the portrait drawing shows the alternation of light and very dark areas, and the artist has even shaded the headdress heavily next to the area of reflected light on the sitter's jaw line just below her ear, though this effect is illogical, since if the head-dress is to reflect light it ought to be lit there itself. However, the darkness in the outer area of the drawing, emphasizing the fold at the back of the head-dress, is a genuinely distinctive feature, producing the effect of heavy shadow. There are no such heavy shadows in any painted portrait by Rogier; this pictorial device, creating a sense of space around the figure, first appears in painting around the middle of the century in works by the artist Petrus Christus, who was active in Bruges. Here the draftsman may have created the shadows before drawing the sitter herself, or he may have placed them there to make the back of the headdress retreat into the background - an effect that would also be achieved by the uniform dark ground of a painted portrait. The immediacy of this portrait gives the impression that it was drawn from life. Such an impression is further supported by the fact that only the head and the complicated head-dress are executed in detail, while the upper part of the sitter's body is only lightly indicated; her dress with its patterns of folds could be added later, and leaving it out while the woman herself was being portrayed would have spared her the tedium of sitting for the artist. Such details could easily enough be copied from a painting, but the visible part of the woman's body appears rather awkwardly executed. The right hand on the edge of the picture is particularly jarring, and does not quite connect up anatomically with her shoulder. It is complex in structure, but only half shown, and its clear outline does not make it look like a study from nature. Perhaps the artist completed the lower areas of the portrait later, using a work already in his stock, and experimenting with the composition of his planned painting. All Early Netherlandish portraits were certainly based on drawings from life, for the long process of painting would not have allowed the artist to work from a living model. The Portrait of a Young Woman, outstanding as both a drawing and a portrait, must be one of the very few examples of this genre to have been preserved. Since over and beyond these qualities, the drawing shows similarities with Rogier's painted portraits in its presentation, and with his Deposition in the manner of depicting a head, it could well be by his own hand. It was probably done quite close to the time of the great altarpiece for the Archers of Leuven, while the other (painted) Portrait of a Young Woman must have been executed rather later.Artist:WEYDEN, Rogier van der Title: Portrait of a Young Woman Painted in 1401-1450 , Flemish - - graphics : portrait
Painting ID:: 63866
Portrait of a Young Woman
Italian Mannerist/Baroque Era Painter, ca.1535-1612 Date between 1570(1570) and 1575(1575)
Medium Oil on paper
Dimensions Height: 45 cm (17.7 in). Width: 33 cm (13 in).
Painting ID:: 85585
Christoph Amberger (c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures.
Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.
Portrait of a Young Woman after 1548(1548)
Medium oil on panel