The sitter in this painting has not been identified. The presence of the books as well as the prominent sword suggest why the good breeding of the sitter is stressed in the traditional Italian title, ' Il gentile cavaliere'. The fashionable costume, which ...
The man in this portrait has not been identified. The tunic is the kind worn beneath armour & he rests his hand against a helmet & on a broken column. The column shaft may symbolise the sitter's fortitude or, since it is broken, his misfortunes; but slightly ruinous marble settings were common in Moroni's portraiture. For much of the 19th century this portrait was attributed to Titian. The style of tunic allows the approximate dating for the work. ...
The costume of the unidentified sitter suggests the approximate dating of this picture to 1585-95. The condition of the picture makes a precise attribution difficult. ...
The rich costume of this unidentified sitter would suggest that she came from a wealthy & possibly aristocratic family; a Habsburg identification has been proposed. It is likely that this bust-length portrait has been cut from a larger work. The style of ...
The child shown in this portrait has not been identified; her costume is consistent with a date of about 1640. The portrait was formerly attributed to Jacob Gerritsz. Cuyp (1612 - 1652), who painted a number of full length children's portraits. His style, ...
The costume corresponds with that of a Grand Vizir, but the sitter may just be wearing a Turkish costume. He was once identified as Edward Wortley Montagu (1713 - 1776), & again as a self portrait. Liotard travelled widely in Europe & the East. ...
The date of this painting is just visible on the letter carried by the sitter; the words of the letter are otherwise illegible. The melancholy mood of the painting is underlined by the inscription in the parapet which reads, in primitive French, 'who loves well is slow to forget'. The sitter wears the Maltese Cross of the Order of Saint John; the order was expelled from Rhodes in between 1522 & 1523 & established in Malta in 1530. The painting recalls the work of Andrea del Sarto. The landscape itself, treated more in the manner of Fra Bartolommeo, is prominent in the design of the painting & may refer to a particular site. ...
This work is traditionally regarded as Florentine, but possibly of North Italian origin. It has been reduced in size. The identity of the sitter is not known, but the costume suggests a date of about 1540. It was formerly attributed to Bronzino & then t ...
It has been suggested at different times that the sitter is the Duchesse D' Angouleme, or Francoise d' Orleans, Princesse de Conde. Neither of these identifications is convincing. The picture is dated by the costume of the sitter, which is thought to be of t ...
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Portrait Of A Girl Print
An early 19th-century label on the back of the lining canvas identifies the girl as a member of the Braganza family, but no other clues to her identity are known.
An early 19th-century label on the back of the lining canvas identifies the girl as a member of the Braganza family, but no other clues to her identity are known.
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Portrait Of A Girl National Gallery
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Jargon Buster
Canvas - A heavy duty plain woven fabric. Used on tents, footwear and painting
Print - A mechanical process of putting text onto paper. It can also relate to a pattern on an item.
Family - A group of people that live together made up from parents and children.
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