500 Years of Female Portraits in Western Art

This video is called: 500 Years of Female Portraits in Western Art.

As depicted by: Leonardo Da Vinci, Raphael – Raffaello, Titian – Tiziano Vecellio, Sandro Botticelli, Giovanni Antonio Boltraffio, Albrecht Dürer, Lucas Cranach the Elder, Antonello da Messina, Pietro Perugino, Hans Memling, El Greco, Hans Holbein, Fyodor Stepanovich Rokotov, Peter Paul Rubens, Gobert, Caspar Netscher, Pierre Mignard, Jean-Marc Nattier, Élisabeth Vigee-Le Brun, Sir Joshua Reynolds, Franz Xaver Winterhalter, Alexei Vasilievich Tyranov, Vladimir Lukich Borovikovsky, Alexey GavrilovichVenetsianov, Antoine-Jean Gros, Orest Adamovich Kiprensky, Amalie, Jean-Baptiste Camille Corot, Edouard Manet, Flatour, Jean Auguste Dominique Ingres, Wontner, William-Adolphe Bouguereau, Comerre, Leighton, Blaas, Renoir, Millias, Duveneck, Mary Cassatt, Weir, Zorn, Alphonse Mucha, Paul Gauguin, Henri Matisse, Picabia, Gustav Klimt, Hawkins, Magritte, Salvador Dali, Malevich, Merrild, Modigliani, Pablo Picasso.

Which portraits are they? See here.

This is how much the female portrait has evolved in the last 500 years: here.

Apart from being subjects, women of course through the ages have also been creators in visual arts.

National Museum of Women in the Arts in Washington, DC, USA: here.

Venus, by Cranach, censored in London underground: here.

3 thoughts on “500 Years of Female Portraits in Western Art

  1. Botticelli exhibit unveils surprises for art scholars

    Show at Milan’s Poldi Pezzoli museum gathers eight key works

    30 November, 17:49

    Botticelli exhibit unveils surprises for art scholars (by Emily Backus). (ANSA) –

    Milan, November 30 – In honor of the 500th anniversary of the death of Sandro Botticelli, an exhibit at the Poldi Pezzoli Museum in Milan unites for the first time all of the Renaissance painter’s works in public collections in Lombardy.

    Famed for The Birth of Venus, showing Venus suspended on a half shell over rolling waves, and Primavera, an allegory of spring that is also one of the most popular paintings in Western art, Botticelli was a master of the Florentine school in the late 1400s and enjoyed the patronage of the Medicis, Florence’s ruling family during the Renaissance.

    The exhibit, which runs through February 28, unveils critical new discoveries bound to influence the future course of scholarship on the painter, curators said.

    Meticulous new restoration of Madonna of the Book, a graceful portrait of the Madonna and haloed infant belonging to the museum, reveals colors previously dulled by centuries-old varnish.

    A dusky background gave way to what had originally been a bright, cheerful morning.

    Careful study also showed that the Madonna’s mantle had been painted with extremely costly lapis lazuli dust, evidence of the original customer’s eminence.

    Another piece in the exhibit, The Suffering Christ in the Act of Blessing, has now been definitively traced to Botticelli’s own hand, whereas previously it had been attributed to his workshop.

    Exhibit curator Andrea Di Lorenzo reconstructed its original context as half of a diptych. He found a century-old image showing the Suffering Mother which had originally been joined to the Suffering Christ panel.

    The diptych had once belonged to a Russian noble, but was divided and traces of the Suffering Mother have been lost in time. “With this exhibit, we want to confirm the important role that museums continue to have in promoting study and archival research, scientific analysis and conservation work,” Annalisa Zanni, director of the Poldi Pezzoli Museum wrote in presenting the event. The eight works are displayed with a highly original backdrop created by architects Luca Rolla and Alberto Bertini, who sought to highlight the intrinsic originality of each work by making them stand out as the only points of light and color in black and shadowy exhibition spaces. Although cherished by landmark, 16th century art historian Giorgio Vasari for spearheading a “golden age” in art, Botticelli’s reputation was eclipsed in his lifetime by his own pupil, Filippino Lippi, as well as the Florentine painter Perugino.

    Botticelli was largely unemployed by the early 1490s and died 20 years later, impoverished and in obscurity.

    Di Lorenzo laments Lombardy’s lost opportunities for acquiring a more significant body of Botticelli’s work when, in the waning years of his career, Ludovico il Moro, ruler of Milan, passed him over in favour of Lippi and Perugino for important works in a large monastery in Pavia, near Milan.

    At about the same time, the duchess of Mantua also snubbed Botticelli, instead commissioning Perugino for his “sweet” and “genteel” style. “Quite probably the fame and fortune of Lombardy’s Botticelli collection would have been very different if (the painter) had had the opportunity to execute paintings for clients as important as the Duke of Milan and the Duchess of Mantua,” according to Di Lorenzo.


  2. Pingback: Pre-Biblical Adam and Eve story discovery | Dear Kitty. Some blog

  3. Pingback: Unequal women in art | Dear Kitty. Some blog

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