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Venetian school, 18th century, Portrait of a gentlewoman with fan
$5,511.46
£4,102.16
€4,600
CA$7,549.32
A$8,396.50
CHF 4,384.39
MX$102,176.41
NOK 55,995.34
SEK 52,513.75
DKK 35,018.19
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About the Item
Venetian school, 18th century
Portrait of a gentlewoman with a fan
Oil on canvas, 79 x 60 cm
Framed, 92 x 74 cm
The oil on canvas under consideration, to be referred to the Venetian school of the 18th century, faithfully reproduces the famous portrait known by the graceful nickname of The Lady in White or Portrait of a Gentlewoman with a Fan currently preserved at the Gemäldegalerie Alte Meister in Dresden, one of the most significant works of Titian Vecellio's (Pieve di Cadore, 1488/90 - Venice, 1576) mature period, which helped establish him as one of the greatest portrait painters and a leading figure in Venetian painting. The work depicts a young maiden in a three-quarter pose, wrapped in a sumptuous white brocade gown of fine tailoring, adorned with delicate gold and lace embroidery on the shoulders and with thin puffed sleeves. With her right hand, the woman casually holds a typical 16th-century fan. The face catalyzes the viewer's attention, adhering to precise canons of Renaissance beauty as revealed by the high forehead, thin eyebrows, vivid gaze of black eyes, pale cheeks mottled with red, and honey-colored hair styled in a bun.
As shown in a letter from the painter rediscovered for publication in the treatise Il Microcosmo della Pittura (1657) by art historian and physician Francesco Scannelli, the painting had been sent to the Duke of Ferrara Alfonso II d'Este in 1561, described by the author himself as "the most precious being in the world."
The search for the identity of the effigy has always been the main issue on which art historical studies have dwelt, which have long proposed to recognize Titian's daughter Lavinia in her wedding dress, a hypothesis later disproved due to a lack of temporal coincidence (Lavinia, in fact, married six years before the creation of this painting, while her other daughter Emilia did not marry for another seven years). Titian probably created an idealized image of female beauty, using a model he had already portrayed in other paintings: on the basis of a comparison with the painting Portrait of a Young Girl now at the National Museum of Capodimonte in Naples, which shows close physiognomic similarities, other hypotheses would have it that the woman belonged to the Roman court of the Farnese family (at whom Titian had stayed around 1545-46) or was the daughter of Cardinal Alessandro the Younger, Clelia, while according to yet another thesis she would be such Angela, a courtesan and mistress of the same cardinal, as well as the muse inspiring the figure of Danae, also placed in Capodimonte.
An innovative and multifaceted artist, as well as a master, together with Giorgione, of tonalism, Titian was one of the rare Italian painters who owned a real "company," a shrewd entrepreneur of his own workshop as well as of his personal production, directly in contact with the powerful of the time, his major patrons. The canvas presented here, in fact, hints precisely at the hand of an artist who had an opportunity to see the master's iconographic model later: Titian was able to shape the way of representing female beauty with a refined, never vulgar sensuality. The softness of the flesh, the luminosity of the skin, the golden or auburn hair, often loose or elaborately styled, are recurring elements, alongside which is a careful psychological and emotional analysis that became a benchmark for portraiture throughout Europe.
- Dimensions:Height: 60 in (152.4 cm)Width: 79 in (200.66 cm)Depth: 5 in (12.7 cm)
- Style:Other (Of the Period)
- Materials and Techniques:Canvas,Oiled
- Place of Origin:
- Period:
- Date of Manufacture:18th 18th Century
- Condition:Wear consistent with age and use.
- Seller Location:Milan, IT
- Reference Number:1stDibs: LU5918245619932
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