5/7/2023 0 Comments Renaissance portraitsThe earliest independent portrait from Florence to survive is Fra Filippo Lippi's Woman with a Man at a Window, which has been plausibly identified as portraying a young woman named Angiola Sapiti who married into the Scolari family in 1436. The groom responded with a counter-dowry of equally lavish clothing and jewelry. As the family's status depended on projecting a public image of financial success, the amount spent on the bride's clothes could represent a significant share of her family's worth. Arranged by the families of the betrothed, marriages entailed a huge financial commitment in the form of the bride's dowry, which consisted of a gift of money plus a luxurious wardrobe. Consequently, most female portraits were probably occasioned by the sitter's marriage, for which the ideal age was sixteen men usually delayed marriage until their thirties when they could better shoulder the responsibility of a new household. In the case of women, the individual was seen in the light of her social status and role as wife and mother. Over time the portraits of women also became larger in scale, more elaborate, and more communicative with the viewer.Įarly Renaissance portraits lack the psychological dimension characteristic of modern portraiture as they reflect a different conception of identity. The works of art on view illustrate the broad shift that occurred in this period from the profile portrait to the three-quarter or frontal view of the sitter. 1540 it also presents several male portraits, Northern European or courtly analogues, and works that relate specifically to Leonardo's Ginevra de' Benci, one of only three female portraits painted by the master. Virtue and Beauty focuses on the flowering of female portraiture in Florence from c. Almost from the outset, this development included women as well as men. In fifteenth-century Florence, portraiture expanded to encompass members of the merchant class, who appear in scores of panel paintings, on medals, and as marble busts. Secular portraiture was limited mainly to likenesses of rulers or images of donors tucked into the corners of altarpieces and other paintings of sacred themes. But that was the case in Europe before the fifteenth century when artists devoted themselves almost exclusively to representing saints, biblical figures, and religious scenes. In a visual culture such as ours, it is hard to imagine a world nearly devoid of images of living people.
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