Artwork
Head of a Woman under an Arch, Full Face (panel from a painted ceiling)
Head of a Woman under an Arch, Full Face (panel from a painted ceiling) is a tempera painting by the Early Renaissance artist Unknown. It dates from 1470 and is held in the collection of the Victoria and Albert Museum. The work presents a frontal portrait of a woman positioned beneath an ornamental arch.
About this work
Overview
The work presents a frontal portrait of a woman positioned beneath an ornamental arch. She is shown with a neutral expression, looking directly at the viewer. A red necklace encircles her neck, and a white headdress adorned with red and black motifs crowns her head. The surrounding space is rendered in muted browns, blacks and tans, while the arch features elaborate decorative patterns.
Subject & Meaning
The figure’s direct gaze and composed demeanor suggest a formal or ceremonial representation, possibly intended to convey dignity or status. The inclusion of a richly colored necklace and patterned headdress may indicate a specific social role or identity, though no explicit narrative is provided within the composition itself.
Technique & Style
Executed in tempera, the painting displays the medium’s characteristic fine brushwork and matte surface. The layered pigments create subtle depth, particularly in the folds of the headdress and the intricate detailing of the arch. The restrained palette of earth tones for the background contrasts with the vivid reds, emphasizing the central figure without relying on dramatic chiaroscuro.
History & Provenance
The panel originates from a painted ceiling, suggesting it was once part of a larger architectural scheme, perhaps in a domestic or religious setting. Specific details regarding its creation date, artist, or subsequent ownership are not recorded in the available documentation.
Artist & collection
Domestic Scene
Giacomo and Cardinal Marco, investing Andrea, Abbot of San Zeno, with his Benefice
The Nymph of Fontainebleau
Portrait of a Woman
Madonna and Child with Saints in the Enclosed Garden
Venus and Minerva
Family Group of Four on Sofa
Wall painting from Room H of the Villa of P. Fannius Synistor at Boscoreale
Head of a woman under an arch, full face
Untitled
Woman Holding Fruit
Profile Bust of a Lady Facing Left (one of 29 painted panels from a frieze)
Profile Bust of a Lady Facing Left (one of 29 painted panels from a frieze)
Profile of a Woman Facing Left (one of 29 painted panels from a frieze)
Lame man and sinner from Boí
Upper Half of a Decorative Figure, with the Remnant of a Rectangular Frame (fragment of a wall decoration)
Maica Domnului cu Pruncul Iisus
Profile Bust of a Lady Facing Left (one of 29 painted panels from a frieze)
Icoana denumită și "Maica Domnului jalnică" sau îndurerată, o redă pe Maica Domnului în prim plan, cu mâinile împreunate, privind în depărtare către Fiul Ei răstignit pe cruce. Imaginea planurilor este inversată, accentul căzând pe durerea Mamei la moartea lui Iisus, redat în planul îndepărtat, răstignit pe dealul Golgotei. Fecioara Maria, cu capul ușor înclinat spre stânga, are părul despletit, căzând pe umeri, ovalul feței rotunjit, nas subțire și drept, gura mică, ochi migdalați, mari, sprâncenele arcuite, mâinile împreunate la piept.În jurul capului aureolă cu motive geometrice incizate, la fel coroana ce depășește linia de delimitare a chenarului, deasupra aureolei . Tunica are cu mâneci larg cu borduri cu motive geometrice. La baza crucii Răstignirii craniul lui Adam. Pământul sugerat de benzi de culoare alb-gălbui, negru și verde. Chenar dublu, la interior motive geometrice: zigzaguri, puncte și motive fitomorfe. Siclitadele Maicii Domnului în chenare circulare pe fondul aurit. În stânga inscripție parțial indescifrabilă, din care se poate deduce doar numele Mariei(Precista) Bordura marginală(și foița metalică incizată) specifică icoanelor de tip krashnuskha, realizate în centrele de la Holui și Mstera.
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