Portrait Of A Noblewoman, Alonso Sánchez Coello (valencia, 1531 – Madrid, 1588) Workshop Of
Artist: Alonso Sanchez Coello (valencia, 1531 – Madrid, 1588) Bottega Di
Alonso Sánchez Coello (Valencia, 1531 – Madrid, 1588)
Workshop of
Portrait of a Noblewoman
Oil on canvas
100 x 70 cm. - In an antique frame, 120 x 92 cm.
FULL DETAILS OF THE WORK (click HERE)
This portrait, rich in charm and of the highest quality, depicts a young woman of noble birth immortalized in her sumptuous ceremonial gown; is a typical example of court portraiture following the strict stylistic and decorative protocols of the Spanish Counter-Reformation of the late 16th century.
She is depicted in half-length, with an austere and solemn expression, exuding a strong regal dignity, reflecting the strict etiquette of the Habsburg court in Spain, and in a formal pose, with her left hand resting firmly on her hip to convey authority, and her right hand lowered, clutching a handkerchief finely embroidered in gold—a typical accessory of prestige from that era.
Her attire undoubtedly plays a central role in the work due to the opulence with which it is depicted; it consists of a sumptuous gown in shades of orange, made of damask fabric with stylized floral and plant motifs in silver and gold threads. The monumental ruff framing her face, made of the finest white honeycomb lace—a typical element of the fashion of the high aristocracy of the time—makes a striking impression.
The jewelry and accessories also emphasize the wealth of the aristocratic patron, from the intricate network of intertwined golden chains embellished with pearls above the stiff bodice to the striking dark dangling earrings that stand out against the white lace.
The subject is set within a sober interior, partially obscured by a heavy dark green curtain with golden fringes at the top and on the left—a theatrical device designed to create depth and highlight the woman’s figure. On the left, in the background, a small table is visible, on which rests a small book—a symbol of the young woman’s erudition, devotion, or high social status.
Chronologically, we can date this painting to between the second half of the sixteenth century and the early seventeenth century; the formal style and composition of the figure allow us to attribute it to the work of a Spanish painter, strongly influenced by the models of Alonso Sánchez Coello (1531–1588) and his workshop.
As we can see from this painting, a hallmark of his work is the perfect fusion of analytical Flemish precision and the formal composure of the Italian Renaissance tradition—characteristics that made him the foremost exponent of Spanish court portraiture during the reign of Philip II.
In fact, he spent time both in Flanders, where he was a student of the painter Antonio Moro, and in Venice, where he personally studied the portraiture style of the master Titian, copying numerous paintings by him.
As a favorite painter of the Spanish court, the growing success of his artistic output was strongly supported by his prolific workshop, making him one of the most sought-after artists among the powerful figures of Italian and European courts, who vied for his works.
Based on these considerations, even though it is difficult to attribute the painting to a specific artist, we are inclined to identify the hand of Juan Pantoja de La Cruz (Valladolid, 1553 – Madrid, 1608), one of the most important painters of the Spanish Renaissance, a direct pupil of Coello who inherited his workshop upon his death in 1588 and was formally appointed Pintor de Cámara (court painter) in 1596.
His works, many of which are housed at the Prado Museum in Madrid, are distinguished by a austere aesthetic deeply rooted in the tenets of the Counter-Reformation, codifying the official image of the Spanish Habsburg monarchy during a period of utmost formal protocol.
ADDITIONAL INFORMATION:
The painting is complete with a beautiful gilded frame and comes with a certificate of authenticity and a descriptive iconographic sheet.
We handle and arrange the shipping of purchased works, both within Italy and internationally, using professional and insured carriers.
If you would like to view this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, located at Viale Giuseppe Canella 18. We look forward to seeing you!
Please contact us for any information or to schedule a visit; we’ll be happy to assist you.
Follow us on:
https://www.instagram.com/galleriacastelbarco/?hl=it
https://www.facebook.com/galleriacastelbarco/
Workshop of
Portrait of a Noblewoman
Oil on canvas
100 x 70 cm. - In an antique frame, 120 x 92 cm.
FULL DETAILS OF THE WORK (click HERE)
This portrait, rich in charm and of the highest quality, depicts a young woman of noble birth immortalized in her sumptuous ceremonial gown; is a typical example of court portraiture following the strict stylistic and decorative protocols of the Spanish Counter-Reformation of the late 16th century.
She is depicted in half-length, with an austere and solemn expression, exuding a strong regal dignity, reflecting the strict etiquette of the Habsburg court in Spain, and in a formal pose, with her left hand resting firmly on her hip to convey authority, and her right hand lowered, clutching a handkerchief finely embroidered in gold—a typical accessory of prestige from that era.
Her attire undoubtedly plays a central role in the work due to the opulence with which it is depicted; it consists of a sumptuous gown in shades of orange, made of damask fabric with stylized floral and plant motifs in silver and gold threads. The monumental ruff framing her face, made of the finest white honeycomb lace—a typical element of the fashion of the high aristocracy of the time—makes a striking impression.
The jewelry and accessories also emphasize the wealth of the aristocratic patron, from the intricate network of intertwined golden chains embellished with pearls above the stiff bodice to the striking dark dangling earrings that stand out against the white lace.
The subject is set within a sober interior, partially obscured by a heavy dark green curtain with golden fringes at the top and on the left—a theatrical device designed to create depth and highlight the woman’s figure. On the left, in the background, a small table is visible, on which rests a small book—a symbol of the young woman’s erudition, devotion, or high social status.
Chronologically, we can date this painting to between the second half of the sixteenth century and the early seventeenth century; the formal style and composition of the figure allow us to attribute it to the work of a Spanish painter, strongly influenced by the models of Alonso Sánchez Coello (1531–1588) and his workshop.
As we can see from this painting, a hallmark of his work is the perfect fusion of analytical Flemish precision and the formal composure of the Italian Renaissance tradition—characteristics that made him the foremost exponent of Spanish court portraiture during the reign of Philip II.
In fact, he spent time both in Flanders, where he was a student of the painter Antonio Moro, and in Venice, where he personally studied the portraiture style of the master Titian, copying numerous paintings by him.
As a favorite painter of the Spanish court, the growing success of his artistic output was strongly supported by his prolific workshop, making him one of the most sought-after artists among the powerful figures of Italian and European courts, who vied for his works.
Based on these considerations, even though it is difficult to attribute the painting to a specific artist, we are inclined to identify the hand of Juan Pantoja de La Cruz (Valladolid, 1553 – Madrid, 1608), one of the most important painters of the Spanish Renaissance, a direct pupil of Coello who inherited his workshop upon his death in 1588 and was formally appointed Pintor de Cámara (court painter) in 1596.
His works, many of which are housed at the Prado Museum in Madrid, are distinguished by a austere aesthetic deeply rooted in the tenets of the Counter-Reformation, codifying the official image of the Spanish Habsburg monarchy during a period of utmost formal protocol.
ADDITIONAL INFORMATION:
The painting is complete with a beautiful gilded frame and comes with a certificate of authenticity and a descriptive iconographic sheet.
We handle and arrange the shipping of purchased works, both within Italy and internationally, using professional and insured carriers.
If you would like to view this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, located at Viale Giuseppe Canella 18. We look forward to seeing you!
Please contact us for any information or to schedule a visit; we’ll be happy to assist you.
Follow us on:
https://www.instagram.com/galleriacastelbarco/?hl=it
https://www.facebook.com/galleriacastelbarco/
12 000 €
Period: 17th century
Style: Louis 15th - Transition
Condition: Excellent condition
Material: Oil painting
Width: encadré 92 cm.
Height: encadré 120 cm.
Reference (ID): 1807436
Availability: In stock
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