Who painted Head of an Elderly Woman with Upturned Eyes?

Head of an Elderly Woman with Upturned Eyes was painted by Antonio del Castillo in 1640.

Where can I see Head of an Elderly Woman with Upturned Eyes?

Head of an Elderly Woman with Upturned Eyes is held by National Gallery of Art.

What movement is Head of an Elderly Woman with Upturned Eyes?

Head of an Elderly Woman with Upturned Eyes is associated with Baroque.

Artwork

Head of an Elderly Woman with Upturned Eyes

Antonio del Castillo , 1640

Head of an Elderly Woman with Upturned Eyes is a chalk drawing by the Baroque artist Antonio del Castillo. It dates from 1640 and is held in the collection of the National Gallery of Art.

About this work

Overview

Antonio del Castillo’s drawing, titled Head of an Elderly Woman with Upturned Eyes, dates from 1640 and is executed in black chalk on laid paper. The work presents a tightly cropped portrait of an older woman, rendered in a single medium that emphasizes line and tone rather than colour. The paper’s warm, yellowed surface contributes to the overall atmosphere of the study.

Subject & Meaning

The composition focuses on the woman’s face, her hair rendered in loose, wavy strokes and her eyes half‑closed, gazing upward. The expression, marked by subtle wrinkles and a slightly lifted mouth, suggests a moment of introspection or quiet resignation, inviting viewers to contemplate the passage of time and the inner life of the sitter.

Technique & Style

Del Castillo employs rapid, sketchy marks that convey texture and form with economy. The black chalk is applied in varied pressure, creating deep shadows around the eyes and forehead while leaving lighter areas for the hair and collar. The irregular, expressive lines give the drawing a sense of immediacy, characteristic of Baroque drawing practices that prized dynamism and emotional resonance.

Context

Created in the early seventeenth century, the drawing reflects the Baroque interest in capturing fleeting gestures and psychological depth. Artists of the period often used preparatory studies like this to explore facial expression and the play of light and shadow before committing a figure to a larger composition or painting.

History & Provenance

The work is attributed to Antonio del Castillo, a Spanish painter and draftsman active in the mid‑1600s. While specific ownership records are limited, the drawing is documented as part of the artist’s oeuvre and is dated to the year 1640, situating it within his productive phase in Seville.