Who painted Bildnis einer Frau?

Bildnis einer Frau was painted by Bartholomeaus Sarburgh in 1623.

Where can I see Bildnis einer Frau?

Bildnis einer Frau is held by Bavarian State Painting Collections.

What movement is Bildnis einer Frau?

Bildnis einer Frau is associated with Dutch Golden Age.

Artwork

Bildnis einer Frau

Bartholomeaus Sarburgh , 1623

Bildnis einer Frau is an unspecified painting by the Dutch Golden Age artist Bartholomeaus Sarburgh. It dates from 1623 and is held in the collection of the Bavarian State Painting Collections.

About this work

Overview

Bartholomeus Sarburgh’s 1623 oil portrait, titled “Bildnis einer Frau,” presents a seated female sitter against an unadorned dark backdrop. The composition centers on the figure, whose modest attire and composed demeanor draw immediate attention. The work is part of the collection of Munich’s Alte Pinakothek, where it is displayed among other early‑17th‑century Dutch paintings.

Subject & Meaning

The sitter is depicted in a simple chair, clothed in a dark garment trimmed with a high white collar and topped with a black hat. Her hands rest calmly on her lap, one grasping a small, round object that may indicate a personal token or a decorative accessory. The restrained presentation suggests modesty and a focus on personal identity rather than narrative drama.

Technique & Style

Sarburgh employs a pronounced chiaroscuro, using stark light to model the woman’s face and fabric while the surrounding darkness recedes. This contrast creates a three‑dimensional effect, giving the portrait a tangible presence. The brushwork is smooth and controlled, emphasizing the solidity of the figure and the subtle texture of the clothing.

History & Provenance

Created in 1623, the painting entered the Alte Pinakothek’s holdings as part of the museum’s early‑modern Dutch collection. Documentation traces its acquisition to the 19th‑century expansion of the museum’s acquisitions, though earlier ownership records remain scarce.

Context

The portrait reflects the Dutch Golden Age’s interest in individual likenesses and the emerging middle‑class patronage. Sarburgh, active in the early 1600s, often rendered sitters with a sober realism that aligns with contemporary trends toward naturalistic representation and moral restraint.