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 ...
The identity of this sitter is unknown. She is seated in a garden in front of a fountain in the shape of a putto holding up a ewer. The orange blossom in her hand refers to her allegiance to the House of Orange & the bas-relief of embracing cupids sugge ...
A three-quarter-length portrait of an unidentified sitter. The picture has been attributed to Solimena, & described as one of his very late works. It reflects the style of his paintings, but appears to be inferior in quality to portraits by the artist. ...
The unidentified richly dressed sitter is depicted behind a parapet. Her clothes of the subject are thought to date from the period around 1516-17. Attributions to Palma Vecchio & Licinio have been suggested, but the condition of the picture precludes a ...
The sitter, who carries a small dog under her arm, is unidentified. She is probably from Antwerp in the Low Countries (modern Belgium) where the artist painted many similar portraits of women. The small size of the portrait & the three-quarter-length fo ...
Painted in Holl&, twelve years after Johnson left Engl&. The sitter has not been identified. Her black gown seems to have been the property of the artist since it appears in at least five other Johnson portraits between 1649 & 1658. ...
The sitter has not been identified. This work was formerly attributed to Bronzino & to Alessandro Allori; neither of which seems acceptable. The costume has been said to accord best with a dating in the late 1550s or early 1560s. ...
The painted framing at the top of this painting appears to be in the North European tradition, suggesting that this picture might be by a German or Netherlander established in Venice. The costume suggests the approximate dating of the work. ...
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Portrait Of A Lady
The sitter's costume is typical of representations of Florentine noblewomen in the late 1570s and early 1580s. Her identity is unknown, and she may be a pastiche of several portraits of Medici ladies by Bronzino. She was formerly believed to be Bianca C
The sitter's costume is typical of representations of Florentine noblewomen in the late 1570s & early 1580s. Her identity is unknown, & she may be a pastiche of several portraits of Medici ladies by Bronzino. She was formerly believed to be Bianca C
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Portrait Of A Lady National Gallery
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Portrait Of A Man National Gallery
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Portrait Of A Man National Gallery
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Costume - Clothes that set a scene of a particular theme or time period.
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