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The Head of the Virgin in Three-Quarter View Facing Right was made on a rectangular sheet of paper measuring 20.3 × 15.6 cm. It seems that several years after its creation, it was amputated by wide strips on all four sides, as evidenced by copies made by followers, such as the one preserved in the Albertina Museum in Vienna (dated between 1508 and 1513 and measuring 22.7 × 26 cm): it thus ...
The subject's head may turn from "full face" (front view) to profile view (side view); a "three-quarter view" ("two-thirds view") is somewhere in between, ranging from almost frontal to almost profile (the fraction is the sum of the profile [one-half of the face] plus the other side's "quarter-face"; [5] alternatively, it is quantified 2 ⁄ 3 ...
Three-quarter view may refer to: The three-quarter profile (or two-third) in portraits; The three-quarter perspective (2.5D) in video games
Detail of the face. This painting was executed in oils and perhaps tempera [n 2] on a small, 44.7 cm × 32 cm (17.6 in × 12.6 in) walnut wood panel. [4] It depicts a young man in bust length and three-quarter view, whose right hand holds a folded piece of sheet music.
Charles I in Three Positions, also known as the Triple Portrait of Charles I, is an oil painting of Charles I of England painted 1635–1636 [1] by the Flemish artist Sir Anthony van Dyck, showing the king from three viewpoints: left full profile, face on, and right three-quarter profile. It is currently part of the Royal Collection. [2]
Art historians say Leonardo da Vinci hid an optical illusion in the Mona Lisa's face: she doesn't always appear to be smiling. There's question as to whether it was intentional, but new research ...
[note 6] Most are three-quarter face and half-length. They typically set their models in front of a dark background that is uniform and nondescript. While the portraits are noted for their expressive pathos, [23] the facial features of the women strongly resemble one another. This indicates that although van der Weyden did not adhere to the ...
Three Studies for George Dyer is a small-format triptych painted by the Irish-born British artist Francis Bacon in 1964. It comprises three portraits of Bacon's lover George Dyer : from left to right, a three-quarter view, a right profile, and a face-on view.