Who painted Mädchen in blauem Kleid?

Mädchen in blauem Kleid was painted by Christian Seybold in 1741.

Where can I see Mädchen in blauem Kleid?

Mädchen in blauem Kleid is held by Kunsthistorisches Museum.

Can I buy a print of Mädchen in blauem Kleid?

Museum-quality prints of Mädchen in blauem Kleid are available made-to-order from Artifact World Gallery.

Artwork

Mädchen in blauem Kleid

Christian Seybold , 1741

Mädchen in blauem Kleid is an oil painting by Christian Seybold. It dates from 1741 and is held in the collection of the Kunsthistorisches Museum.

About this work

Overview

The work depicts a young woman in a blue dress with a white collar, her hair gathered in a bow and a single pearl earring adding a touch of refinement.

Created circa 1741, *Mädchen in blauem Kleid* is a small portrait executed on copper by the German Baroque artist Christian Seybold. The work depicts a young woman in a blue dress with a white collar, her hair gathered in a bow and a single pearl earring adding a touch of refinement. A dark, subtly textured backdrop frames the figure, allowing the illuminated face and garments to dominate the composition.

Subject & Meaning

The sitter is presented without narrative context, emphasizing her individual character rather than a mythological or historical role. Seybold’s focus on the expressive face and delicate accessories suggests an interest in capturing a momentary psychological presence, a hallmark of the tronie genre popular in the 18th century.

Technique & Style

Rendered on a copper plate, the painting benefits from the smooth, reflective surface, which supports fine detail and luminous color. Seybold employs chiaroscuro, contrasting bright illumination on the face and dress with deep shadows in the background, thereby modeling volume and enhancing the tactile quality of the fabric and skin.

History & Provenance

Christian Seybold, active in the early to mid‑1700s, was known for his meticulous character studies and portraiture. While specific ownership records for this copper work are limited, it remains attributed to Seybold’s mature period, reflecting his established reputation for lifelike depictions of individual subjects.

Context

The painting belongs to the broader Baroque tradition of intimate, non‑narrative portraiture that flourished in German-speaking regions. By choosing copper as a support, Seybold aligned with a practice favored for its durability and capacity for fine brushwork, common among artists seeking to render precise facial expressions and textures.