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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 man is shown in three-quarters view with his face dramatically lit by light falling from the left. This device provides striking contrasts of light and shadow [2] and draws the viewer's attention on to the man's face. He has brown eyes, and while his expression is impassive there are traces of melancholy, especially in the down-turn of his ...
Three-quarter view may refer to: The three-quarter profile (or two-third) in portraits; The three-quarter perspective (2.5D) in video games This page was last edited ...
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]
There are three main portrait types: a three-quarters view, probably of 1523, best known from the National Gallery version; a profile view also from 1523, reading, as in the Louvre, and an older three-quarters view, perhaps c. 1530, probably best represented by the portrait miniature, a roundel 10 cm across, in the Kunstmuseum Basel.
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 ...
With a diameter of just 1 + 3 ⁄ 4 inches (4.4 cm), the work was one of over a hundred miniatures and portraits painted by Holbein while in England. This work is one of a pair of pendants; the second depicts the sitter's husband. Roper is depicted in three-quarters view with a narrow face and wearing extravagant clothes that reflect her social ...
The architecture of the weeping woman's face is very distinctive and shares many design elements with the four female figures depicted in Guernica. The face is portrayed from mixed viewpoints, with the nose in profile, the mouth shown in three-quarters view and the eyes viewed from the front.