Who painted Young Woman?

Young Woman was painted by Bartolomeo Nazari in 1736.

Where can I see Young Woman?

Young Woman is held by Statens Museum for Kunst.

What movement is Young Woman?

Young Woman is associated with Rococo painting.

Artwork

Young Woman

Bartolomeo Nazari , 1736

Young Woman is an oil painting by the Rococo painting artist Bartolomeo Nazari. It dates from 1736 and is held in the collection of the Statens Museum for Kunst.

About this work

Overview

Created in 1736, *Young Woman* is an oil painting by the Venetian artist Bartolomeo Nazari. Executed during the late Baroque period, the work reflects the lighter, decorative tendencies that would later be identified with Rococo. The portrait is part of the permanent collection of Denmark’s Statens Museum for Kunst, where it is displayed among other 18th‑century European paintings.

Subject & Meaning

The canvas depicts a youthful female sitter, turned slightly away from the viewer and gazing downward. She wears a dark dress trimmed with white lace, a small floral bouquet at the chest, and a hat adorned with blossoms. The subdued pose and gentle expression suggest modesty and introspection, typical of private portraiture intended to convey personal virtue rather than public status.

Technique & Style

The composition balances the Rococo’s ornamental flair—evident in the hat’s flowers—with the more sober realism characteristic of late‑Baroque portraiture.

Nazari employs a restrained palette of deep shadows contrasted with illuminated skin tones, allowing the figure to emerge from a dark background. Soft modelling of the face and delicate handling of the lace and floral details reveal his skill in rendering textures. The composition balances the Rococo’s ornamental flair—evident in the hat’s flowers—with the more sober realism characteristic of late‑Baroque portraiture.

History & Provenance

Although Nazari is chiefly remembered for his portrait commissions in Venice, *Young Woman* entered the Statens Museum for Kunst’s holdings through acquisition in the early 20th century. The painting has remained in the museum’s collection, providing scholars a clear example of Nazari’s work outside his native Italian context and illustrating the cross‑national appreciation of his portraiture.