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About

Head of a Woman in Profile (Jacqueline)

On her shoulders, slightly open to reveal the chaste neckline, is the black cloak of the bautta, the traditional dress of Venetian women. The chronological attribution of the painting -on which is based the engraving Franz Xaver Jungwirth made, among others, shortly after the middle of the 18th century- to the first mature years of the artist, that is, the s, a fact undoubtedly plausible from a stylistic point of view, could also be deduced from an external detail: Even if this identification were incorrect, there is no doubt that the face of the woman portrayed in the small Thyssen canvas appears many times in the works of Piazzetta, and with such insistence that it may at least be supposed there was a certain familiarity between the artist and the model. If, as Knox believes, Rosa Muziolo, just over the age of twenty, is the person portrayed in a drawing belonging to the Royal Collections in Windsor Castle, in which we can see the bust of a young woman in left profile, her hands together, then we should identify also as Rosa the Susanna of the famous painting by Piazzetta today at the Uffizi and which belonged for some time to Francesco Algarotti's brother, Count Bonomo , whose execution, at the latest in the first years of the s, would confirm Knox's hypothesis. If we limit ourselves to following the fil rouge of this image of a young woman in profile holding in her right hand her Carnival mask il volto , we will see that, in spite of the limitations of the subject, we will have made a useful-not only iconographically-journey into the world of Piazzetta. So it seems that Rosa Muziolo has to be considered as the protagonist of some of the most famous paintings by her illustrious husband, in spite of the fact that they show the marks of a "neoth-century" style and offer a chiaroscuro approach which are not to be found in the delicate "domestic" characterisation of the Thyssen portrait. Indeed, how can we not think of the implacable executor in Judith and Holofernes, from the Academy of Saint Luke in Rome, with her slightly rounder cheeks, or the protagonist of Rebecca by the Well from the Brera Museum? The execution of the masterpiece is usually dated around the middle of the 's, which could explain, in contrast with the freshness of the young woman in her early twenties in the Carmen Thyssen painting, a slightly fuller, more florid figure.

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Licensing[ edit ] This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason: Public domainPublic domainfalsefalse This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus years or less. You must also include a United States public domain tag to indicate why this work is in the public domain in the United States. This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights. The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain". This photographic reproduction is therefore also considered to be in the public domain in the United States.

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Instead, I was hunting for the woman in the profile picture, the person whose identity had been stolen. My goal was to draw a straight line from a Twitter bot to the real, live person whose face the bot had stolen. Bots are like a sorority party at 3 a. But the women they portray are actual people, somewhere in this world. And how were their photos dislodged from their original place? This is a mostly pointless exercise, I knew:

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File:Pencil Drawing of Young Woman in Profile, Vanderpoel.jpg

This is one of the most exquisite drawings by the young Raphael and dates to the period when the artist moved to Florence between and The work, previously ascribed to the Florentine sculptor Mino da Fiesole, was inspired in both subject and composition by the famous female portraits painted in the second half of the fifteenth century by Piero del Pollaiolo and Domenico del Ghirlandaio, reinterpreted in a more three-dimensional and sculptural style. While characteristics of Raphael's artistic individuality can already be noted, the work still features elements of the Umbro-Marchigiana style of sketching matured during his seminal collaboration with Perugino, while the geometric, almost modular regularity of the head and bust seem to recreate the established models of Urbino artistic tradition. As well as influences from Piero della Francesca, the work appears to replicate the essential and elegant shapes of the head-and-shoulders portraits painted by Francesco Laurana at the end of the fifteenth century for the court of Federico da Montefeltro, which Raphael would have most likely admired. On the verso, there is a vague trace in pen of the painting on the recto, carried out by an unknown artist.

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