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| Leonardo's Da Vinci's "La Belle Ferronniere." |
The identity of women during the Renaissance period (15th century) was based on her family and her husband. The profile portrait, commonly used to portray women during this period, thus exemplifies how women were separated from society and the viewer, by avoiding his gaze.
During the Renaissance period, women were banished from active roles in society; they were relegated to a life of domesticity. Furthermore, aristocratic women were not permitted to be viewed in the public eye. And I thought I had problems!
Domenico Ghirlandaio's Giavanna Tornabuoni, née Albizzi, is an example of an aristocratic woman's portrait in the Renaissance. Like many images of the time, Giavanna is presented as the object of the male gaze. During this period, the gaze was viewed as a metaphor for worldliness and purity, meaning that Giavanna was being exhibited, and, thus, open to criticism from both her peers and the male viewer.
Giavanna's husband commissioned the work. She is depicted as noble and virtuous, wearing her husband's initial, L, embroidered on her sleeve. In this sense, they were evaluated by their husband and his wealth.
In many cases, fathers would have their daughters' portraits painted for potential suitors. To that degree the bride could be described as merchandise, she is being sold by the measure of her beauty and purity in comparison to the ideals of that period. Keeping in mind that virtue is of the utmost importance in a bride, the portraits were done in profile.
The artist painted his female subject turned away to represent her inactiveness.
It was only during the latter part of the 15th century that women began to be viewed in frontal or three-quarter poses. However, the profile pose was not retired altogether, in some cases the profile portrait was still used. As women were considered property, feminists can see this as a stepping stone in achieving a significant role. The idea that a woman could be not only the subject but also a patron is a form of rebellion.
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| Leonardo's Da Vinci's "Isabella" |
Da Vinci depicts Isabella d'Este in both the profile and frontal view, whereas her body is positioned facing the viewer, her head is turned away, painted in profile. Isabella is presented with the least plastic of poses; she does not appear as fake and motionless as the Ghirlandaioi's portrait. She appears more real and tangible in comparison to the flatness of the other women. She also appears more active and aware of her surroundings, which is evidently parallel to the changes that had occurred in art and society at the time.
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