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[3] The portrait is similar to other female portraits by Rogier and Robert Campin. It was not until Hans Memling (c. 1435–1494), a pupil of van der Weyden, that a Netherlandish artist set a portrait against an exterior or landscape. She is slender and depicted according to the Gothic ideal of elongated features, indicated by her narrow shoulders, tightly pinned hair, high forehead and the elaborate frame set by the headdress. On the reverse is a 17th-century (or possibly earlier) inscription "Ruggero di Bruselle/1460" (i.e. Find more prominent pieces of portrait at Wikiart.org – best visual art database. Charles Willson Peale Self-Portrait … The composition is built from the geometric shapes that form the lines of the woman's veil, neckline, face, and arms, and by the fall of the light that illuminates her face and headdress. Unusually for a van der Weyden', she does not bow her head or gaze into the middle distance. [3] It is widely believed that she was modeled on the artist's wife,[5] Elisabeth Goffaert, though this has not been proven. He adapted his own aesthetic, and his portraits of women often bear a striking resemblance to each other. [2], The drawing is worked in silverpoint on ivory-coloured prepared paper. Recommended. Unusually for a van der Weyden', she does not bow her head or gaze into the middle distance. Van der Weyden reduces his focus to four basic features: the woman's headdress, dress, face and hands. It is the only known portrait of a woman accepted as an autograph work by van der Weyden, yet the sitter's name is not recorded and he did not title the work. Although van der Weyden did not adhere to the conventions of idealisation, he generally sought to flatter his sitters. The background is flat and lacks the attention to detail common in van der Weyden's devotional works. Portrait of a Young Woman Created around the same time. [4] The model is likely a member of the middle class, given her relatively plain dress, matronly features and accentuated breasts. The vivid contrasts of darkness and light enhance the almost unnatural beauty and Gothic elegance of the model. Portrait of a Young Woman (or Lady Wearing a Gauze Headdress) is a painting completed between 1435–1440 by the Netherlandish artist Rogier van der Weyden. [6], The portrait was held in the collection of a Princess Soltikoff in Saint Petersburg until acquired by the Berlin State Museums in 1908. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). It has been described as "famous among all portraits of women of all schools". Portrait of a Lady (or Portrait of a Woman) is a small oil-on-oak panel painting executed around 1460 by the Netherlandish painter Rogier van der Weyden. ‘Portrait of a Woman’ was created in 1464 by Rogier van der Weyden in Northern Renaissance style. [3], Christ on the Cross with Mary and St John, Portrait of Antoine, 'Grand Bâtard' of Burgundy, Diptych of Philip de Croÿ with The Virgin and Child, Jean Wauquelin presenting his 'Chroniques de Hainaut' to Philip the Good, Fragments of a Cope with the Seven Sacraments, https://en.wikipedia.org/w/index.php?title=Portrait_of_a_Young_Woman_(van_der_Weyden)&oldid=963425516, Prints and drawings in the British Museum, Creative Commons Attribution-ShareAlike License, Drawing, silverpoint on ivory-coloured prepared paper, This page was last edited on 19 June 2020, at 18:54. It depicts a young woman wearing a headscarf pinned to her hair and has been variously dated as c. 1430s and c. 1440 - 1445. The buff-coloured hennin headdress is draped with a large transparent veil, which spills over her shoulders, reaching her upper arms. Portrait of a Lady (or Portrait of a Woman) is a small oil-on-oak panel painting executed around 1460 by the Netherlandish painter Rogier van der Weyden. As is usual of van der Weyden's female portraits, her hands are clasped tightly in prayer, while her expression is generally humble. The drawing is presumably a study for a painted portrait now lost, but likely to have been similar to the Portrait of a Woman in Berlin. As is usual of van der Weyden's female portraits, her hands are clasped tightly in prayer, while her expression is generally humble. The sitter in this small work wears a wide, white henninover a brown dress, which features a black-lined, v-shaped neckline. Portrait of a Woman with a Winged Bonnet By same artist. 34 in the de Vos catalogue raisonné of the artist. Loggy and Alex’s friendship in Miami’s redeveloping Liberty Square is threatened when Loggy learns that Alex is being relocated to another community. It depicts a young woman wearing a headscarf pinned to her hair and has been variously dated as c. 1430s and c. 1440 - 1445. The full text of the article is here →, {{$parent.$parent.validationModel['duplicate']}}, en.wikipedia.org/wiki/Portrait_of_a_Lady_(van_der_Weyden), 1-{{getCurrentCount()}} out of {{getTotalCount()}}, https://en.wikipedia.org/wiki/Portrait_of_a_Lady_(van_der_Weyden), Portrait of a Young Woman in a Pinned Hat, St. Luke Drawing a Portrait of the Virgin Mary. Rogier van der Weyden, Portrait of a Lady (X-Ray) Sharp, interlocking shapes produce a severe balance of form in this portrait. [3], The sitter is presented in three-quarter view and appears lively and direct. [1] The identity of the woman has not been established, nor her social class. The sitter in this small work wears a wide, white hennin over a brown dress, which features a black-lined, v-shaped neckline. Portrait of a Young Woman (or Lady Wearing a Gauze Headdress) is a painting completed between 1435–1440 by the Netherlandish artist Rogier van der Weyden. Instead she looks directly at the viewer, creating an intimate relationship between sitter, viewer and artist,[1] which art historian and research curator Lorne Campbell describes as "appealing and vibrant". Campbell and van der Stock remark that on the one hand the relatively flat cap suggests a middle-class background, while on the other hand the fur-lined collar suggests the upper-class. Like his contemporary Jan van Eyck (c. 1395 – 1441), when working in portraiture, he used dark planes to focus attention on the sitter. [2], The sitter has unusually bright, large and attractive blue eyes; their rendering may be considered outside of contemporary representation in that the artist did not reduce the size of the sitter's left eye to reflect the scale of her turn of head to the viewer's left.

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