Portrait of Laura Chigi

Mattia employs a chiaroscuro scheme, contrasting the illuminated figure with the deep surrounding darkness to model volume and create spatial depth. The artist’s handling of oil paint is meticulous, evident in the rendering of fabric folds, the sheen of the dark collar and cuffs, and the delicate rendering of the sitter’s hands and jewelry.

Executed in 1662, the portrait entered the Statens Museum for Kunst’s holdings through acquisition in the early 20th century, though the precise chain of ownership prior to its museum entry remains sparsely documented. Its presence in a national collection underscores its value as a representative example of Italian portraiture from the period.

The work belongs to a broader tradition of Baroque portraiture in which artists emphasized realism, psychological presence, and the interplay of light and shadow. Mattia’s approach aligns with contemporaneous practices in Rome and Florence, where portraiture served both as a record of lineage and as a visual affirmation of the sitter’s virtue and education.