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The Renaissance (UK: / r ɪ ˈ n eɪ s ən s ... Portrait of a Young Woman ... most have settled on "a middle of the road definition... the movement to recover, ...
Veronica Franco was born to a family in the Cittadino class. [1] She developed her position in Renaissance Venetian society as a cortigiana onesta (Honest Courtesan), who were intellectual sex workers who derived their position in society from refinement and cultural prowess.
Notable women associated with the Renaissance era (circa 1450-1600). Subcategories. This category has the following 5 subcategories, out of 5 total. 0–9.
Krystyna Moczulska suggests that the ermine follows the meaning of an ermine or weasel in classical literature, where it relates to pregnancy, sometimes as an animal that protected pregnant women. Around the time of the painting's creation, Cecilia was known to be pregnant with Ludovico's illegitimate son. [1]
"La Fornarina (The Portrait of a Young Woman) is a painting by the Italian High Renaissance master Raphael, made between 1518 and 1519. It is an oil-on-panel with 86 x 58 cm dimensions, located in Room IX of the Borghese Gallery.In Olimpia Aldobrandini's two inventories (1626 and 1682), the art work is attributed to Raphael.
La Bella is a portrait of a woman by Titian in the Palazzo Pitti in Florence. The painting shows the subject with the ideal proportions for Renaissance women. [1] In parallel the stringent composition corresponds to Titian's real portraits. The work can be dated by a letter about "that portrait of that woman in a blue dress" in May 1536.
In Renaissance usage, the Italian word cortigiana, feminine of cortigiano ("courtier"), came to refer to a person who attends the court, and then to a well-educated and independent woman, eventually a trained artist or artisan of dance and singing, especially one associated with wealthy, powerful, or upper-class society who was given luxuries ...
Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci (born c. 1458).It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. [1]