Where can I see Le Zendale (Woman in a Hood, or the Woman Returning from Church)?

Le Zendale (Woman in a Hood, or the Woman Returning from Church) is held by National Gallery of Art.

What movement is Le Zendale (Woman in a Hood, or the Woman Returning from Church)?

Le Zendale (Woman in a Hood, or the Woman Returning from Church) is associated with Romanticism.

Artwork

Le Zendale (Woman in a Hood, or the Woman Returning from Church)

Le Zendale (Woman in a Hood, or the Woman Returning from Church) is an ink print by the Romanticist artist Giovanni David. It dates from 1775 and is held in the collection of the National Gallery of Art.

About this work

Overview

Giovanni David’s print Le Zendale, also known as Woman in a Hood or the Woman Returning from Church, was executed in 1775. It is an etching combined with aquatint on laid paper, presenting a monochrome composition that measures the artist’s interest in narrative genre scenes of everyday life.

Subject & Meaning

The image depicts a solitary woman dressed in a long, flowing gown and a wide-brimmed hat, holding a fan and accompanied by a small dog on a leash. She stands before a church with tall spires and a statue, set against a cloudy sky. The title suggests she has just left a service, while her dark attire and composed expression lend the scene a restrained, contemplative tone.

Technique & Style

David employed both etching and aquatint to achieve a range of tonal values. Fine lines define the figure and architectural details, while the aquatint provides broad, velvety shadows that model the clouds and interior spaces. The use of laid paper contributes a subtle texture that enhances the overall depth of the composition.

History & Provenance

Created in the late eighteenth century, the print reflects the period’s fascination with genre subjects and the everyday rituals of the bourgeoisie. It has been documented in several European collections, though specific ownership records from its early circulation remain limited.

Context

Le Zendale belongs to a broader tradition of French and Italian prints that portray domestic scenes with moral or narrative undertones. David’s work aligns with contemporaneous artists who combined technical experimentation in printmaking with depictions of contemporary social life, offering viewers a glimpse into the customs of the era.