Choose a language
Use Arthive in the language you prefer
Sign up
Create an account
Register to use Arthive functionality to the maximum

Portrait of a young lady, called "Anthea"

Painting, 1530-th , 135×88 cm

Description of the artwork «Portrait of a young lady, called "Anthea"»

Like definciency "La Gioconda" the mysterious beauty of a painting Parmigianino for several centuries does not give peace as the venerable art historians and ordinary art lovers. Largely due to the fact that "Anthea" asks more questions than it answers. It is not known when, where, and under what circumstances was painted the image of a girl. Even more is on the minds of experts the model's personality, about which there is still no consensus.

The first reason: zesty

Its current name portrait of a young lady received after more than a century after its creation, thanks to a little-known Italian artist Giacomo Barry. It was he who first suggested that Parmigianino depicted famous Roman courtesan anteyu. Theoretically, he could get involved in it during your stay in Rome.

In favor of this version resulted in the details of the outfit young lady. Gold jewelry and fur was presented to the fans in hope of getting some beauties, and their numbers on the character portrait (the principle of "put all the best once") supposedly indicates its popularity among the male audience. Some even see Parallels with antee Fornarina, legendary lover Rafael. But if the idol Parmigianino left no ambiguities, portraying the half-naked woman with sensual look, then why should his successor literally chained little girl in heavy, layered clothing?

In addition, the hypothesis of a courtesan with confidence throw researchers who claim that women of this class in an era when it was created, Parmigianino, such garments were unusual. So it's exciting legends about secret lover antee was only the title of the painting. Which, by the way, was successful. In the sense that this word (literally meaning "blooming") the ancient Greeks gave to their goddesses Hera, Aphrodite and others. Who, if not "blossoming goddess," we see, looking at this portrait?

Version two: front-output

More earthy and therefore not entertaining such explanation before us is a traditional ceremonial portrait a young niece patrons Parmigianino, aristocrats Elena and Francesco Bardi. And all the jewels and trimmed in gold and silver robes, which demonstrates the dignity of the girl, Ottavia Camille if received as wedding gifts from her betrothed, count Magrino Beccaria.

If to take into account the date of birth of the proposed model (1524) and the fact that she was married at the age of 14, the portrait had to be written not earlier than 1537. This is just the upper limit of the period to which include a picture of most of the sources (1535 – 1537).

The upcoming wedding (and not the fact that with the beloved girl, not elect Rodney calculation) may explain the mixed range of feelings in her hypnotic eyes. Some tension, fear of entering a new life together with the dignity with which she accepts her fate – perhaps, in this complex palette of emotional tones is the secret of magnetism anteia.

Third version: abstract-vain

And finally, the least creative and most boring theory that the mysterious stranger is only the collective image of the ideal of femininity and beauty, how it saw Parmigianino. It is noteworthy that its soft canvas "Madonna with the long neck" one of the angels is not only extremely similar to Antea facial features, but even her characteristic, as if immersed in gloomy thoughts, look. Just written a difficult angel with obviously more young, almost a child. Whether the painter is already in the process of working on "Madonna" have honed this collective image, whether it's evidence to the Treasury the previous version (he could write Ottavio Camille Bardy a young girl) – it is not quite clear.

Others dare to take this hypothesis even further, seeing and Anthea, and Angela similarity by Parmigianino during his "Self-portrait in a convex mirror". Supposedly the artist gave their own standard of beauty, the resemblance to himself. Like forever nostalgic about the past when he was looking like an angel.

Version four: conspiracy

In this case we are not talking about the identity of the model, and on the comparability of its sophisticated petite face and body size. Like a fragile head anteia belong to one woman, and a massive, big-boned body another.

This example of disparity in the painting leads the artist Parmigianino David Hockney as one of the confirmations of his theory. He suggested that the extraordinary versatility and realism of the Renaissance masters was not reached due to the progress in painting, and the use of special optical devices.

According to this theory, to obtain a uniformly sharp image on the canvas had to be periodically moved relative to the projection, which gave the camera obscura. From-for what ostensibly and there were such distortions as asymmetric shoulders anteia, little head on "Portrait Paolina Adorno" Anthony van Dyck or gigantic feet an elderly man by Georges de Latour.

Hypothesis Hockney has long challenged all and Sundry. And in the case of Parmigianino a mismatch between the size of the body and head and is easily charged to its typically Mannerist techniques.

Author: Natalia Azarenka
I like15 To the selection22
About the artwork

Art form: Painting

Subject and objects: Portrait

Style of art: Renaissance

Materials: Canvas

Date of creation: 1530-th

Size: 135×88 cm

Artwork in selections: 22 selections